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Ya Cha Ban 丫​杈​坂

by Mind Fiber

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about

Ya Cha Ban is a hill to the north of Lijia Village, a village in South China, where Li Jianhong grew up. On one side of the hill lies a woodland graveyard where the village ancestors are buried, the other hillside, facing the sun, used to be local kids’ secret playground, it also buries Li Jianghong’s own sweet childhood memories.

Li Jianhong left the village in 1994 for Hangzhou, the capital city of the province, he would move on to establish a career as a versatile guitarist and free improviser, before returning to Ya Cha Ban in 2010, by which time the hill had long been abandoned by the village kids. And so was the village itself, withering away in China’s decades-long project of radical urbanization.

At Ya Cha Ban, Li Jianhong and Wei Wei, who performs improvised sounds and processed signals under the moniker VAVABOND, made their first recording as Mind Fiber. Previously unreleased, the pieces in this cassette document a charming moment in the early phase of the duo’s still ongoing exploration of what they call “environment improvisation”.

Wei Wei was raised in a Northern Chinese city. Untuned to her partner’s bittersweet homecoming, she was a complete outlander to Ya Cha Ban. Feeling initially at sea, Wei Wei soon opened up her senses to the woods, which in return embraced her with a vibrating calmness. Sitting on the grass, the duo improvised with Ya Cha Ban’s spontaneous soundscape: the whistling of mountain wind, the hiss of grass and bamboo leaves, the chirps of frogs, birds, and insects, and the distant murmur of suburban traffic. A symphony of tiny, subtle resonances entangled with whirling emotions and fragments of scattered memories. They played from noon until daylight faded.

In her recording notes, Wei Wei writes to the listeners: “the coexistence of every individual and her environment, her fellow humans, and her own emotions creates and constitutes her own world, her own memories, and her own lived experience. And you will create and harvest your own through this record.” We do sincerely hope so.

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《丫杈坂》录制于2010年,是李剑鸿与VAVABOND(韦玮)以Mind Fiber为名的音乐计划的第一次录音。在两人对“环境即兴”延续至今的探索与实践中,这是一份珍贵的早期记录。

对于李剑鸿来说,丫杈坂是埋藏了少年回忆的向阳山坡,也是故乡在城市化洪流中黯然颓敝的无言见证;而来自北方的韦玮则一度在陌生的竹林中陷入疏离,甚至感到无“兴”可“即”的怅然。在丫杈坂的午后,两人默契合奏,却又心境迥然,“各自独享着自己的世界”。山林吐息,记忆交叠,声音挣脱语义的轮廓;情动与遗忘、演奏与聆听,一同构成了这场轻灵细密的微暧交响。

这次录音之后,韦玮写下一篇恳切详实的录音笔记,李剑鸿也用文字记录了自己关于丫杈坂的若干回忆,在此一并附在文后。

真幻莫语,愿你也能在丫杈坂打开自己的天地。

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关于丫杈坂的一些记忆 / 李剑鸿

丫杈坂是一处地名,在李家村北边的一个山坡上。
丫杈坂的右边是一处乱坟岗,那些隆起的小土包层层叠叠,埋葬着李家村好几代祖先的尸骨。我父亲的爷爷和奶奶也埋葬在丫杈坂。

而我对于丫杈坂那些相对美好的记忆都是在它的左边——一块向阳的斜坡。斜坡被一片幽深的竹林包围。沿着竹林边缘一条被杂乱的灌木和带锯齿的茅草隐藏了一半的土路,就能走到坡顶的一个草坪。草坪周围同样被竹林、灌木和茅草团团圈围。过去,这里是我们的开心乐园和秘密基地。小伙伴们夏天躲在竹林下乘着阴凉,冬天躺在枯黄的草丛中晒着太阳,分享着零食和他们心中的每一个小世界。

现在,已经不会再有孩子来这里了——随着村民的搬迁,学校的废弃,留在李家村的孩子已是寥寥无几。越来越荒芜的丫杈坂正在和这个老去的村子一样,逐渐蜕变成一部分人的记忆。

实际上,我对丫杈坂的记忆稍微有一些奇怪,像是对一种气味的追忆。丫杈坂的草坪上经常会遗留有一些动物的粪便,毛发和气味,有放养的牛羊留下的,也有野兔、野猪、山獾一类的野生动物经过时留下的。
这些形状各异的粪便零星又隐约地掉落在野草丛中,三十年前是这样,三十年后也是这样。就是这些经过动物们胃里反刍、略带青草纤维味的粪便,散发了那些看不见的气味。这些熟悉的气味连着这整片竹林周围的虫鸣、鸟啼、山民们偶尔经过的脚步声和谈话声,以及任何自然力量下的风吹草动,所有的这些点滴——看得清楚的、听得明白的、想得起来的,构成了我对丫杈坂的所有记忆。
这也是一种带有泥土味道的记忆——泥土中既有雨后万物成长的清新气味,也透着时光流逝中死亡腐烂的味道。无论春去还是冬来,我对丫杈坂的记忆都集中在这样的一些气味中。
一半温暖,一半感伤。

有那么一些时候,坐在丫杈坂的草地上,听着晃动竹叶的沙沙山风,分不清哪一些是童年和少年时代的记忆,哪一些又是近年以来的记忆。其实我也清楚,时间和记忆都是碎片,随时都会灰飞烟灭。

李剑鸿
2012年1月

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《丫杈坂》录音笔记 / VAVABOND

时间:2010年10月3日
地点:浙江省奉化市大堰镇董李乡李家村丫杈坂

11点,早早吃了中饭,我们便上山去了。沿着村后新造的一条小公路,我们向丫杈坂走去。

这条路只铺了一层砂石路基,没有车辆通行,也少有行人。脚下的碎石子缝隙中,长着一些不知名的野草;路边的草丛里,蹲着褐色的、围棋子那么大的小蛙。风高、气爽,望去满山都铺满了绿色的植物,层层叠叠。就是这么惬意的,要开始进行一次环境即兴的录音了。

在到达丫杈坂后,我才发现山里的声音远没有我想像的那么丰富。我脑海中想像的环境,是如同一本美国越战小说里描写的那样──埋伏在越南热带丛林中的美国士兵整日整夜地在听山的呼吸、变幻,如同梦境。

而这里,因为天气的原因,以往经常能听到的松涛声也没有了,只有一些风不咸不淡地吹过竹叶和草,一些普通的夏日虫鸣声,偶尔还能听到山下运毛竹出山的卡车轰鸣着喇叭跑过,而更远一些的地方则传来村里的大喇叭时断时续地播放着的八九十年代港台流行歌曲。

那时的环境,现在想起来,仍是属于李家村的,却不是我的。对于它,我有种陌生感:我在北方的城市长大,从来没有过坐在一片竹林中过,更别提在其中演奏的经验了;我所设想的声音却又落空了,这让我感到有种无“兴”可“即”的淡淡失落。不过,就这么坐着,且听山吟,且看云走,也是件惬意的事情。

这是我第一次在山里录音,由于BCF2000不能幻想供电,我把程序改成了笔记本键盘和触控板控制,倒更加方便了,而这也是我重新思考笔记本音乐的开始──可以触摸、可以用力度和动作直接控制patcher,就如同演奏真实乐器一般。同时,为了节省电力,我将屏幕背光调到最暗,加之太阳的反光,这让我几乎难以看清屏幕。于是我索性看着别处:看着巨大的山蚂蚁一只又一只爬到我身上来;看着有一只蜻蜓停在我电脑屏幕的左上角,飞去又飞来;看着一只刚孵化不久的小青蛙,如同一尊佛像般自始至终蹲在我衣服上……日落风起,我渐渐对这环境打开了心扉,而这时间恰到好处:已是黄昏,山里开始慢慢泛起落日的金黄,鸟儿开始聚会,山风也刮了起来,而远处若隐若现的带着浓重奉化方言的广播声,更为这环境增添了一种暖暖的人情味。录到开心处,李偶尔折两根枯枝,我则拿着一节竹鞭划弄着身旁一米多高的枯草。

没有了对程序的过度关注,我的听觉、触觉和感官都更加敏锐,更能够感受到和听到环境,面对它,进入它,变成它的一部分。我感到自己是一个庞大到无法描述的整体的一部分,哪怕是一个碎片,也会有一种被打动的情感。

环境即兴的迷人之处在于,你永远无法掌握环境的“语言”,但却可以融入环境之中;你永远不能预知下一秒的环境会发生怎样的变化,却能在这样的变与不变之中创造自己的世界。在我们与环境之间,声音只是它自己,而并非构成意义和支撑交流的“语言”;在我和李剑鸿之间,那几个小时里,我们共用着这山林和声场,却又各自独享着自己的世界:风、鸟、虫、竹和来自人类的噪声。人与环境、人与人、人与自己的情绪和情感──正是这样的共存创造并构成了每个人独有的世界、记忆和人生体验。而听这张唱片的你,也会创造和得到属于你自己的。

韦玮
2010年10月

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Dusty Ballz is a London-based label that releases Chinese underground music on cassette tapes. The term originates in an old Soviet joke, which somehow still speaks to the situation today.

在历史悠久的长沙方言中,“蛋蛋沾灰”一词形容儿童玩伴之间亲密与共的珍贵情谊。Dusty Ballz致力于通过磁带介质呈现中国地下之声,在欣欣向荣的新常态下描画人类命运共同体的美好愿景。

credits

released July 1, 2022

录制于2010年10月3日午后,浙江省奉化市董李乡李家村
Recorded on the afternoon of October 3, 2010, at Lijia Village, Dongli Town, Fenghua, Zhejiang Province, China

VAVABOND:笔记本电脑、竹枝等物件
VAVABOND: laptop, bamboo twigs and other objects
李剑鸿:原声吉他、枯枝、泥石等物件
Li Jianhong: acoustic guitar, twigs, mudstones and other objects

录音:Mind Fiber
Recorded by Mind Fiber
混音:李剑鸿
Mixed by Li Jianhong
木刻:张咏瑜
Woodcut by Zhang Yongyu

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