Controlled Bleeding’s Paul Lemos Discusses the Ten Albums that Most Influenced Him

Controlled Bleeding’s Paul Lemos Discusses the Ten Albums that Most Influenced Him

Paul Lemos | Credit: Bill T. Miller

Paul Lemos | Credit: Bill T. Miller

What influences the originators? Artists like Paul Lemos of Controlled Bleeding were essential to building and defining the industrial genre and have served as inspiration to hundreds of other artists. But as original and groundbreaking as their music is, it does not arise in a void. The genius of those who build something new is their ability to synthesize a diversity of influences with their own imagination. The best continue to do so throughout their careers, remaining avid and open-minded listeners and finding ways to incorporate new sounds and structures into their own music.

To give some insight into how that process works, Paul Lemos gives a list of the albums that influenced him and that proved essential to the work of Controlled Bleeding. Look for their new album, Larva Lumps and Baby Bumps, to drop on August 26th on CD and September 23rd on vinyl.

—by Kate MacDonald


1. The Stooges - Fun House

1. The Stooges – Fun House

My Aunt bought me this second Stooges album for Christmas when it came out in 1970, and I have been obsessed with it ever since. The album retains its pure bestial power forty-five years later and is, for me, one of the absolute classics, along with Never Mind the Bollocks and Raw Power. Ron Ashton‘s barbaric, gut-wrenching guitar squalls, the band’s endlessly repeated Neanderthal riffs, and Iggy Pop‘s animalistic vocal presence coalesced into something far more primal and nihilistic than anything I had ever heard or felt.

2. Henry Cow - In Praise of Learning

2. Henry Cow – In Praise of Learning

This is the polar opposite of Fun House, by one of the most cerebral, inventive, virtuosic bands ever. What an incredible combination of creative minds at the peak of their collective powers.Fred Frith, Chris Cutler, Dagmar Krause, Anthony Moore, Lindsay Cooper, and the brilliant, sorely underrated genius Tim Hodgkinson combine their musical and political vision into a recording of real depth and beauty as the group moves effortlessly from intricately composed vocal pieces to free improvisation. Henry Cow’s ability to blend elements of free jazz, modern classical composition, and musique concrete within the context of rock was deeply inspiring.

3. Einstürzende Neubauten - Kollaps

3. Einstürzende Neubauten – Kollaps

I found this by accident when it was first released, lying among a heap of imported LPs being dumped for a dollar each in a local shop on Long Island. Suffice it to say that Kollapsimmediately changed my view of what music could be and what I needed to express. Here was the same raging emotional violence that I had tried to articulate using guitars, bass and drums, but Einstürzende Neubauten conveyed their angst using the tools of industry, hammered metal on metal, primal screaming distortion, and cracked industrial springs. Kollaps was a real musical epiphany for me.

4. The Velvet Underground - White Light/White Heat

4. The Velvet Underground – White Light/White Heat

John Cale is one of my musical heroes—a true innovator and musical terrorist who rarely receives the credit he is due for shaping modern music. He delved into drone music and avant-classical composition in the mid sixties with the likes of John Cage and LaMonte Young, and was responsible for the meth-fueled mind fuck that is White Light in 1967. A truly ugly, headache-inducing classic released on a jazz label, White Light/White Heat stood in total opposition to everything that was considered music at the time.

5. The Godz - Contact High

5. The Godz – Contact High

ESP-Disk was putting out totally avant-garde records with no commercial potential through the mid sixties and early seventies, and was home to some of the great, early explorers of American free jazz like Albert Ayler and Sun Ra. Contact High was made by a bunch of acid-backed fuckups with no musical knowledge, and like the Shaggs album, it is blissfully horrible and beautiful in its own right.

6. Mahavishnu Orchestra - Between Nothingness and Eternity

6. Mahavishnu Orchestra – Between Nothingness and Eternity

Live, this group—powered by a young Billy Cobham on drums and John McLaughlin on guitar—would occasionally reach such dizzying heights of  musical virtuosity and power that it literally gives me chills every time I hear the climax of the twenty-three minute “Dreams” from this live LP. I wanted to convey that same level of pure emotional intensity through my guitar playing.

7. Scientist - Rids the World of the Evil Curse of the Vampires

7. Scientist – Rids the World of the Evil Curse of the Vampires

I was introduced to, and came to love reggae in 1974 with Bob Marley‘s Natty Dread LP, but it was the dub work of Scientist in the early eighties that really excited me and made me want to explore dub forms in my own music. This album contains some of the deepest, heaviest grooves I had heard. When Scientist strips down Wailing Souls‘ classic “Firehouse Rock,” the dub goes deep.

8. Fripp & Eno - No Pussyfooting

8. Fripp & Eno – No Pussyfooting

The Bruford/Wetton/Fripp lineup of King Crimson was one of the great bands I’ve seen or heard, and I always loved Eno‘s early work with Roxy Music and as a solo artist. Somehow, he was able to inspire some of Fripp’s best performances on record. The guitar solo on “Baby’s on Fire” (from Eno’s first LP, Here Come the Warm Jets) is just fucking killer—by far Fripp’s most visceral playing. No Pussyfooting‘s “Swastika Girls” featured some similarly incredible, emotionally gripping moments and set the stage for so much that would follow.

9. Swans - Cop

9. Swans – Cop

Swans in the early eighties was a menacing, self-loathing beast—the perfect aural representation of the bleak, filthy swamp of human sewage that was New York City’s Lower East Side. This dissonant, bruising set, propelled by heaving slave ship rhythms and relentless walls of repetition, was a massive inspiration. Skin Chamber really should have been named “SWANS Jr.”

10. Boredoms - Pop Tatari

10. Boredoms – Pop Tatari

When Yamatsuka Eye sent me a copy of his first LP in the late eighties, asking me to send a copy of Knees and Bones in return, I dismissed the record, not realizing the genius of his work. I was just not able to understand the magnificent insanity of his new group. Eye had, in fact, left me in the dust creatively. I was still into his total noise statements with Hanatarash. A couple of years later, guys like John Zorn would integrate Eye’s musical madness into Naked City, Mr. Bungle would imitate Boredoms, and the folks in Sonic Youth would collaborate with him. With the release of Pop Tatari (on Warner Bros., no less!), I finally understood the brilliance of this band. A chaotic amalgamation of the anti-music ethos of the Godz mixed with all manner of progressive rock, metal, and cheesy rock motifs, noodling electronics, and Eye’s unparalleled vocal savagery, Pop Tatari is pure musical hysteria.

Honorable mentions: Captain Beefheart‘s Trout Mask Replica, Arab on Radar‘s Soak the Saddle,No New York, the Ramones‘ first album, Penerecki‘s Kosmogonia, and Hellnation‘s Dynamite Up Your Ass.




一开始,很好奇来自藏族大草的桑吉加,如何可以编导出一部纪录香港情怀的舞作?后来才得知,原来他曾于1999至2003年间在香港生活,此次作为城市当代舞蹈团驻团编舞返港之作,他注力于如何再现香港的“当下发生”。不同于香港编舞那种都市快时尚节奏,桑吉加好像在香港这个商业都会中,透过编排/摆放舞者,构建出一座回归内心的“坛城”, 深入且细腻地探讨着城市与人的关系。





(圖:Conrado Dy-Liacco )

(圖:Conrado Dy-Liacco )




如果中文英文各自表述,還可求個相安無事,那麼即使發音不準、用字錯誤,連表達的能力好像都被剝奪了,還是要說普通話的,是出於恐懼還是巴結?樂知靄反穿着西裝上衣,用半鹹不淡的普通話述說香港本土抗爭的符號之一、人稱「喜帖街」的利東街的故事。在她不遠處可見一雙穿西褲的小腿交疊着,觀眾看不見其上身,但小腿的方向明確表示視線的對象:「Big Brother is watching you。」英文也漸漸翻譯不出喜帖街的故事,還是借一首廣東話流行曲,比較穩妥。



十九世紀法國地理學家Élisée Reclus說:「人類生命的每一個時刻都與當時環境的改變相符合。」城市當代舞蹈團的舞者年齡跨度大,在2003年「沙士」發生時,他們當中有三十歲的成年人,也有十來歲的青年,眾人對每天載着口罩的身體大概會有非常不同的記憶吧!當他們以相似的感覺呈現那場改變香港人的疫症時,我不禁想到,舞團本身已經成為了一種美學上的規範,身體如何放置反映腦袋中的價值觀,標準在一代又一代之間傳承之際,與「當代」的本質,漸行漸遠。



ps: 更正:文中提及說普通話的舞者應為Pansy Lo



2015 年,大友良英发行了两张吉他独奏专辑,其中一张名为《Guitar Solo 2015 LEFT》,在这里刊登 The Free Jazz Collective 的一篇碟评,作者是 Chris Haines。中文版本由朱松杰翻译,黄山校对。

cd cover otomo

作者:Chris Haines

1982年,最伟大的自由爵士/自由即兴吉他手之一,高柳昌行发行了一张以翻弹为主的电吉他独奏专辑。在爵士吉他独奏中,吉他手往往会使用和弦+旋律的技术,用丰富的和声演绎作品。高柳昌行没有这样做。录音时,他没有任何伴奏,只用一条旋律线来演奏原曲,这种形式贯穿于整张专辑中。这张名为《LonelyWoman》的专辑以 Ornette Coleman 的这首同名经典开场,除此之外,也包括 Charlie Haden 的 “Song for Che”、两首 Lee Konitz 和 Lennie Tristano 的曲子,一个民谣小曲,以及一首原创曲。高柳不仅仅是翻弹,在他随性而延展的旋律即兴中,这些曲子更是成为吉他独奏的载体和跳板。

现在,33年之后,大友良英发行了这张向高柳昌行致敬的专辑:《Guitar Solo 2015 LEFT》。在得到了高柳昌行具有历史意义的吉他后,大友良英向这位伟大导师致敬。不仅仅是用它录制了一张即兴独奏专辑,他还专门弹奏了高柳曾经在专辑里录制的两首曲子:”Lonely Woman” 和 “Song for Che”。

《Guitar Solo 2015 LEFT》绝不是对高柳昌行的《Lonely Woman》的老调重弹。虽然大友良英曾经是这位伟大导师的学生,但是在过去的音乐生涯中,他拓展了自己的方向。他的个人风格和演奏方式贯穿于专辑的六首作品中。”Lonely Woman” 里,他毫不犹豫地对曲子做了更为自由的改动、添上了尖砺的即兴段落、让吉他在长音上发生反馈,并让这些鸣响进一步地延展。他利用吉普森空心吉他所谓的缺陷(它的频率很容易引起反馈),把它变成了自己对 Coleman 乐曲改编的强项。”Song for Che” 里,他把一根低音空弦当作这首曲子里的长音来使用,并借此把它变成简化了的和声伴奏。每次回到旋律的时候,他都会小心地使用混响和过载效果器为声音增添一些色彩。在即兴时,他同样使用了一些和弦反馈的段落。它们有时会转变为噪音肌理的素材,这样,在单音旋律线之外,许多丰满的声波也进入了演奏。

专辑里还有三首原创曲子,以及对日本民谣歌手加川良的反战歌曲“教训-1”的深沉而含蓄的翻唱。大友良英的原创乐曲“蓝风筝”以简单的传统旋律开头,伴随着猛烈的和弦和刺耳的音符,延绵的音符逐渐变得凶悍而繁复。另外两首都是短曲,“城市之光”(Sono Machi No Kodomo)是一首简单的曲子,”2020 Tokyo”则是一次反馈的疯狂爆发。

专辑里透露出的忧伤是对伟大的高柳昌行的一种纪念。从对翻弹曲目的选择,到对极端的噪音声响的运用,再到那些与专辑中其他复杂的音乐大相径庭的简单乐曲都能看出这点。然而,这些作品也是某种延续。无论是使用这把充满历史感的吉他,还是采用容纳了新想法的既成形式,还是选择与之前作品形成了强烈对比的简单旋律,都贯穿着一种在传承中锻造新事物的意志。大友良英的《Guitar Solo 2015 LEFT》不仅是对高柳昌行一次意味深长的致敬,也是对这位战后最重要的自由爵士吉他手之一的音乐批评。


In 1982 Masayuki Takayanagi, one of the greatest free jazz/improv guitarists, released an album of mainly covers played on solo electric guitar. Unlike many solo jazz guitar albums Takayanagi did not employ the chord/melody technique, where the guitarist can play a tune whilst accompanying themselves with chords giving a full harmonic rendition of a piece. Instead he recorded it just using the single melodic line of the tunes he chose to cover without any accompaniment, with this approach being used as the format for the whole album. The album being discussed, Lonely Woman, took its name from the classic Ornette Coleman tune that was the opening track on the album. Now a classic work in it’s own right the pieces that were covered (also including Charlie Haden’s “Song for Che”, another tune by Lee Konitz, a piece by Lennie Tristano, a folk tune and an original) were used as vehicles and jumping off points for Takayanagi’s spontaneous and extended melodic improvisations on solo electric guitar.

Now thirty-three years later Otomo Yoshihide releases Guitar Solo 2015 LEFT as a tribute to the great Takayanagi. Having acquired the guitar of his former teacher, Yoshihide pays honour to him by not only using this historic guitar to produce an album of solo improvisations but also taking in two of the pieces originally included on the Takayanagi album, both “Lonely Woman” and “Song for Che”.

Guitar Solo 2015 LEFT is anything but a re-hash of Takayanagi’s Lonely Woman, and although a former student of the great master, Yoshihide has taken his own course over his career path so far and he continues with his own style and way of playing throughout the six tracks on this album. On “Lonely Woman” he immediately takes more liberties with the tune, ornamenting it with improvised angular phrases and allowing the guitar to feedback on the long sustained tones, which he extends even further by allowing them to ring on. Utilising what some would consider a weakness of the Gibson archtop guitar, (it’s frequency to easily feedback), and turning it into a strength for his interpretation of the Coleman tune. On “Song for Che” he incorporates a low open string to act as a drone for the tune, therefore giving it a simple harmonic accompaniment, and carefully uses effects such as reverb and overdrive each time round on the tune to add a different colour to the sound. Yoshihide also utilises ringing chordal passages in his improvisations, which at times turn into noise based materials giving a much fuller sound spectrum than just the single melodic line.

There are also three originals and a reflective and introverted version of the anti-war song “Kyokun I” (translating as “Lesson One”) by Japanese folk singer Kagawa Ryo. “The Blue Kite”, a Yoshihide original, starts with a simple traditional style melody, using sustained tones, which gradually develops into something more ferocious and complex, with slashing chords and discordant notes. The other two tracks are short pieces, “Sono Machi No Kodomo” (The Town’s Children) a simple chord/melody piece, and “2020 Tokyo” a wild frenetic burst of feedback and activity.

There is a sentiment about this album that is partly a memorial for the late great Masayuki Takayanagi, whether through the choice of the covered tunes, the inclusion of extreme noise-based sounds, or the simple pieces that reflect the complexity of the majority of the music on the album. However, there is also a continuation, a will to carry on and forge something new, through the use of this historic guitar, the established forms that can be used for fresh ideas, and the simpler themes that present a strong contrast to what has gone before. Yoshihide’s Guitar Solo 2015 LEFT not only provides a meaningful homage to Takayanagi, but is also a musical critique on one of the most important past masters of free jazz guitar.

via: 燥眠夜




前天,吉田达也、津山笃和河端一的演出太好了,是我在上海这几年来看过的一切现场里,与前年Herbie Hancock四重奏一样好的惟一一场。演出者在一流的音乐修养之后,在现场的敬业与激情更为难得。有趣的是,后者里几位乐手都曾是Miles Davis的手下,而前者则在现场毫不客气地以戏拟的方式嘲讽了Miles Davis一把。

所谓戏拟,是由津山笃和河端一合作的两首10秒左右的曲子,皆为Miles Davis后期的Fusion 时期的风格,在河端一单一的电吉他独奏时,津山笃赫然以短促却淋漓着Miles Davis音色与音调的管乐结束全曲。我想,他们大概是想表达这样一种意思:Miles Davis特别在后期现场里动辄几十分钟的曲子,其本质不过也就这10秒的东西,简直是骗人嘛。

那么,我的这种看法遭到了两位同伴的质疑,他们更认为这两个日本人是在向Miles Davis致敬。但在演出结束后的饭局中,河端一证明了我的看法。以及随后、主要问他对西方那些大师级吉他手态度的聊天里,他的一些看法不但令人惊讶,甚至不快起来。他说他不喜欢Jimi Hendrix的原因,是因为黑人只能玩好纯粹的布鲁斯或爵士乐;而他正是因为不喜欢犹太人,所以不接受John Zorn的Masada。



以日本后迷幻摇滚乐为主、还有民谣、人声即兴和爵士乐……这场演出的风格令人眼花同时杂而不乱。这三个人的表演绝非生的纯即兴,应是严格的 Avant-Garde Creative / Structured Improvisation ,在上场前每首曲子应都经过细致的编排与多次的排演,而且曲目顺序的安排都是认真盘算好的,一种听觉的顺序,合理的气氛,并为现场营造了戏剧性。








他们有办法猜报纸上的汉字的,就像我们能猜日文一样。给他们看了上海某报纸的演出预告,吉田问我那个标题——“前卫、前卫、相当前卫”,是不是 “Avant-Garde”?我回答是:“Avant-Garde、Avant-Garde、Very Avant-Garde”。他们笑成一片。












第三个组合“Shrinp Wark”在现场是吉田和河端一的两人搭配,河端一整个晚上并没有特别强调他冥想的灵性的一面,尽管他经常闭着眼,但迸发出来的是起伏,这种起伏一直在梳理着我的感觉。在“Shrinp Wark”的这一段,也许是晚上不是很起眼的那段,但故意的某些不和谐感,让我越发体会背后吕佩尔茨的红色——那个身体的女人变成了一片颜色,那么刺眼。我搜索着全场的红色,最后发现了杨波上身穿的红色。随着高潮的到来,我把他的红色和吕佩尔茨的红色钉在了墙上。

我喜欢他们的同胞谷川俊太郎的诗,是因为一种概括能力。往往很多不是一流的人才缺乏的就是概括的能力,比如:“枯枝是世界的骨骼/静谧是回答”,还有那首《蛇》:“你噙着我的尾巴/我咬住你的尾巴”。日本音乐家说他们的传统文化在骨子里,他们没有刻意要表达什么。但无伴奏人声“Zubi Zuva X”一出来,我就认定他们是“咬住蛇的尾巴的人”。在念叨“玛丽亚”时,他们蹲下站起,再站起再蹲下,像是捉鬼队的……各种形体动作令人忍俊不禁,其中吉田达也的阴性声音让我吞了几颗无形的牙齿。

吉田个人的“废墟”是技术含金量的演示,伴随事先录好的贝司录音,他又回到搏斗、宣泄、狂躁与快速冲刺的境界,二十分钟一点也不单调,至少我 High得停止摄像。鼓的绚烂莫过于此:鼓的交响、鼓的华彩……有一段类似黑色金属的咆哮,他在调配一个乐队。我们往往把这样的野心称为艺术。就是一门死的艺术。

“Zoffy”一上来一段“津轻民谣”式的开场,津山笃的笛子与木吉他,河端一的小提琴与琵琶(他有生以来第一次弹由我借来的这种古波斯乐器)。津山笃如果能带一把三味线来就更好。但现场的“Zoffy”是充满戏剧感的,津山笃的玩笑状态淋漓尽致,他唱了一段迪伦版本的“Smoke on the Water”,已经讽刺味很重了。接着,他戴上帽子、弓着背、手上拿着吹奏乐器,模拟着Miles Davis的样子(实在太像了),这首长达几十分种的“Bitches Brew”在他俩手上只有10几秒,而且津山笃只在结尾处短促地吹上一句。事后,河端一说:“Miles Davis使爵士死去了”。


谁把这场演出统称为先锋了,他们有太多的音乐元素。摇滚乐的“酸母寺”压阵,我曾经把这个乐队和德国70年代那批先行者、自由公社、太空世界等等拿来比较。但所有这些在今晚的这个段落的高/潮中被碾得粉碎,好比我此刻在听河端一的个人的带电的“太空旅行”感觉,我能品出他心里面是如何迈出步子的,腾挪的自由与诗意的奉献。但三个人的“Acid Mothers Temple SWR”离开了冥想层次,它重重地击落我的内心膨胀。我的身体、我的意念如果能飘到哪个角落的话就好了,我想我真的是很色/情的,因为我在品味着“酸母寺”的色彩。也许,三人的“酸母寺”无法尽显这个有很多分支的乐队在唱片里的层次感。





and others link