Crampton的新專輯向一位在加利福尼亞州內(nèi)華達(dá)山脈與野火搏斗多年的被監(jiān)禁男子致敬，他直面潛在的的暴力體系。

Dedicated to an incarcerated man who spent years fighting wildfires in California’s Sierra Nevada, Crampton's latest album confronts the systems of oppression hidden in plain sight.

數(shù)千年來，內(nèi)華達(dá)山脈經(jīng)常爆發(fā)野火。在Yoruk和Karuk等土著部落的控制之下，這些森林大火清除了雜草和垃圾，保持了當(dāng)?shù)厣鷳B(tài)系統(tǒng)的繁榮，但是如果任其瘋長、積累，就可能會引發(fā)難以控制的火災(zāi)。當(dāng)加利福尼亞州在20世紀(jì)初制定消防措施時，火種開始積聚。在過去幾年里，該州的水源因全球變暖而干涸，遭受了毀滅性的大火，其中許多大火是由收入低于最低工資的監(jiān)獄工人和訓(xùn)練有素的消防隊員共同撲滅的。這一現(xiàn)象幾乎將當(dāng)今美國的無數(shù)恐怖化為了一個場景：在一片著火的森林中，幾個世紀(jì)的殖民主義正在逼迫囚犯們打亂其生態(tài)系統(tǒng)更新?lián)Q代的節(jié)奏。

For thousands of years, the Sierra Nevada mountains regularly pulsed with wildfires. Lit by indigenous tribes like the Yurok and the Karuk, these controlled burns kept local ecosystems thriving,clearing weeds and detritus that, if left to accumulate, could fuel devastating infernos. When the state of California instituted fire control measures in the early 20th century, that kindling began to build up. Dried out by global warming, the state’s forests have succumbed to hellish blazes in the past few years, many of which have been fought by prison laborers making less than minimum wage alongside trained firefighters. It’s a phenomenon that nearly condenses the myriad horrors of the contemporary United States into a single scene: a forest on fire, thrown out of rhythm by centuries of colonialism,hosed down by people caught in the gears of the prison industrial complex.

印第安制作人Elysia Crampton的實(shí)驗電子音樂是過去十年中最獨(dú)特、最別具一格的音樂之一，她的新專輯致敬了Paul Sousa，他在被監(jiān)禁期間，在加利福尼亞州內(nèi)華達(dá)山脈做了數(shù)年的囚犯消防員。其實(shí)這張專輯最初是作為Crampton在2018年Biennale de l’Image en Mouvement雙年展上首次亮相的藝術(shù)作品的配樂發(fā)行的。Elysia最開始是故意讓聽眾們在一個有著不斷晃動的模糊光線的黑暗房間中聽到這張專輯，在這個環(huán)境中，聲音充滿了每一個感官，整個大腦都陶醉于音樂之中。作為一張專輯，ORCORARA 2010再次喚起了那種聆聽方式。雖然這張專輯節(jié)奏非常慢，但是，就像是對耐心的聽眾的獎勵一樣，每一個能耐心聽完的人都能感受到一種精巧而又包羅萬象的美。

Elysia Crampton, the American Indian producer whose experimental electronic music ranks among the most singular and idiosyncratic of the past decade, dedicates her latest full-length release to Paul Sousa, a man “who while incarcerated, worked years as an inmate firefighter across the Sierra Nevada of California.” This image hangs over?ORCORARA 2010, which was originally released as the sound track to an installation Crampton debuted at the?Biennale de l’Image en Mouvement 2018. It was first meant to be heard in a darkroom throbbing with diffuse light, an environment where sound overwhelms the senses and the mind can fall into a trance state. As an album,?ORCORARA2010?calls back to that method of listening. Its slow, sparse gestures reward patient attention with delicate, enveloping beauty.

在Crampton 2018年發(fā)行的結(jié)構(gòu)緊湊且精簡的同名專輯中，人聲就像遙遠(yuǎn)的廣播塔發(fā)出的零星的信號一樣，時隱時現(xiàn)。而在ORCORARA 2010中，聲音通過一些合作藝人而成為了中心樂器。Jeremy Rojas在幾首以鋼琴為主體的歌曲中加入了spoken word，這讓這張專輯的敘事更加曲折，而紐約歌手Embaci和Shannon Funchess的人聲則出現(xiàn)在這張專輯的兩個高潮點(diǎn)。Embaci經(jīng)過古典訓(xùn)練的嗓音回旋于雜亂的原聲吉他、嗡嗡作響的合成器和貓頭鷹叫聲之間，這首歌的平靜掩蓋了內(nèi)心深處極度的不安。兩軌吉他時而同時響起，時而交錯，她的聲音也因內(nèi)心的混亂和不安而從甜美而逐漸變得犀利。Light Asylum樂隊成員Funchess的無可挑剔的聲音曾出現(xiàn)在the Knife?2013年的專輯Shaking the Habitual中并使其變得更加優(yōu)雅，她出現(xiàn)在“Crucifixion”中的人聲可以說是驚世駭俗，“Crucfixion”是一首慢節(jié)奏而又遞進(jìn)的歌，在高潮部分，越來越多的聲音堆疊起來，就像是要崩潰一樣。Elysia并沒有用持續(xù)的節(jié)拍來為她激動人心的顫音打底，只有一堆數(shù)字的和實(shí)體的樂器在背景中顫抖，直到鼓消失，以瘋狂的鋼琴和管風(fēng)琴結(jié)束了這首歌。

On Crampton’s tight, condensed?self-titled album?from 2018,voices flitted in and out like stray transmissions from distant broadcast towers. Here, the voice emerges as a central instrument by way of a handful of guests. Jeremy Rojas layers a spoken-word performance atop several piano-driven tracks that set the record’s oblique narratives in motion, while the New York-based singers?Embaci?and?Shannon Funchess?appear at two of the album’s high points. Embaci‘s classically trained voice darts between tangled acoustic guitars, droning synthesizers, and owl calls on“Grove,” a song whose placidity belies a gut-deep restlessness. Twin guitar lines strobe in and out of sync, and her voice lifts away from the confusion,gliding and searching. Later,?Light Asylum’s Funchess, whose unmistakable voice graced?the Knife’s 2013 album?Shaking the Habitual, makes an earth-shaking appearance on “Crucifixion,” a slowly building piece that increasingly sounds like it’s on the verge of toppling. There’s no steady beat to ground her stirring vibrato, just a thicket of quavering instruments,digital and physical, that pulse until a frenetic piano and drum breakdown ushers her out.

這張專輯的spoken word都不斷地回歸到暮光（twilight）的概念，這是一種充滿活力的臨界狀態(tài)，日光逐漸消退，所見物體之間的清晰線條往往會變得模糊。 “I confused you with the twilight/Confusing myself with you”，合作歌手Fanny Pankara Chuquimia在平靜的冥想歌曲“Crest”中說道。黃昏中，人與人之間——自我與他者，“我”與“你”之間的界限變得柔和。思想和欲望似乎要跳出人的身體。感受和想法從一個人的皮膚通過血液輸送到另一個人身上，個體逐漸融入到環(huán)境中。

The album’s spoken-word segments return continually to the concept of twilight, a charged and liminal state where daylight ebbs away and the clean lines between seen objects tend to blur. “I confused you with the twilight/Confusing myself with you,” says guest vocalist Fanny Pankara Chuquimia on the tranquil meditation “Crest.” In this dusk,boundaries between people—between the self and the other, the “I” and the “you”—soften.Thoughts and desires become harder to constrain inside a single body. Feeling bleeds from skin to skin, and the individual dissolves into the environment.

ORCORARA 2010這張專輯充滿了環(huán)境音樂和各種留白，里面的詩句充滿著種種哲思，并且時不時出現(xiàn)混亂的高潮，最后漸漸消逝，這實(shí)在是太精彩了，精彩到使外面的世界看起來很怪異，在這一點(diǎn)上，它具有政治力量：很多暴力體系是靠習(xí)慣生存的。足夠多的人已經(jīng)接受了將他人關(guān)在監(jiān)獄里，并在火勢失控時將他們送出去救火的做法。足夠多的人同意維持這個國家和其他國家的許多暴力行為，以至于這種暴行被自然化，這些人顯然是對這些暴行的一個看起來遙遠(yuǎn)但持續(xù)的支柱。這些暴力體系與個人的力量相比簡直是堅不可摧，因為它目前靠一個個簽訂秘密協(xié)議的人組成的網(wǎng)絡(luò)來維持自己，每個人都是這樣一場大行動中的一個小細(xì)胞，如果要以個人的力量來推翻這樣一個體系恐怕是千難萬難。要怎樣才能在其他方面達(dá)成一致----如何減輕他們的，以及我們的痛苦？如何在那種地方讓更少的人死亡？在其催眠性的氛圍音樂和與之形成鮮明對比的大量的混亂中，ORCORARA 2010打開了一扇門，通向隱藏在目前狀況之上的更加理想的生活。

Full of slippage and lacunae, whipping itself from moment to moment and then fading,?ORCORARA 2010?is so absorbing as to make the world outside it seem bizarre, and in this it has political power: There are a great many systems of harm that survive on habit.Enough people have accepted that it is normal to lock others away in cages and send them out to fight fires when the fires get out of hand. Enough people agree upon the many acts of violence sustaining this and other countries that the atrocity is naturalized, a distant but constant pillar of a certain way of life. These systems are bigger than any one person and yet sustain themselves on individuals networked in covert agreement, people who act as porous cells for mass behavior. What would it take to agree on something else—something less painful, where fewer of us die? In its hypnotic and generative confusion,?ORCORARA 2010?bores open a portal to a life hiding just beyond this one.