阿飛西雅

小簡(jiǎn)介
成員?吉他手/專輯制作人-吳逸駿（小花）?吉他手-張勝為 （維尼）?貝斯手-葉宛青（KK）?鼓手-廖洋（Yonker）
褪去「妮波寺」樂(lè)團(tuán)的濃重色彩，「阿飛西雅」于2007年加入鼓手Yonker，換了團(tuán)名重新出發(fā)，除了參與鄭文堂執(zhí)導(dǎo)的「夏天的尾巴」原聲帶制作，譜出十?dāng)?shù)首溫暖的小品。2008年夏天，阿飛西雅即將發(fā)行全新專輯「失語(yǔ)的鱷魚(yú)社會(huì)」。
「阿飛西雅」的吉他手吳逸駿，是個(gè)腦內(nèi)思考與實(shí)踐行動(dòng)快速的工作者，設(shè)立NOIZ Studio，錄制許多臺(tái)灣的獨(dú)立樂(lè)團(tuán)；也曾經(jīng)與許多朋友創(chuàng)立「大聲志」。吉他手小蘇，是個(gè)永遠(yuǎn)不被時(shí)間空間打亂節(jié)奏，厲行無(wú)碳生活的搖滾DJ，兩人分別配進(jìn)氣氛且對(duì)比不同的吉他旋律，在樂(lè)曲中互相協(xié)調(diào)，為阿飛西雅的音樂(lè)增添了細(xì)致的層次且不失熟男幽默。貝斯手KK身兼小白兔唱片負(fù)責(zé)人，處處綻放的創(chuàng)意推動(dòng)著小白兔唱片在臺(tái)灣獨(dú)立音樂(lè)圈小土地扎根成長(zhǎng)，在音樂(lè)中，也為阿飛西雅注入了一些古怪溫實(shí)。年紀(jì)較輕的活力鼓手Yonker，扎實(shí)穩(wěn)定的功力和高度的自我要求，明快光亮不失穩(wěn)重的節(jié)奏是他的特色，。
2007年以前的「妮波寺」，還懷著「「作者已死」的精神，與完成作品保持距離并著手批判，采實(shí)驗(yàn)手法力圖試探非和諧音調(diào)的組成與其底線，創(chuàng)作出一些又一些的怪奇聆聽(tīng)體驗(yàn)。到了今日，「阿飛西雅」更能成熟的向觀眾敘出一些道理。有機(jī)地尋找音樂(lè)結(jié)構(gòu)中有趣的沖突，塊狀的大面積堆棧，建立出一個(gè)有別于其它臺(tái)灣樂(lè)團(tuán)的聲響廣場(chǎng)。
阿飛西雅亦是少見(jiàn)，有明確中心思想的樂(lè)團(tuán)，「失語(yǔ)的鱷魚(yú)社會(huì)」中，阿飛西雅看其所居住的臺(tái)北城，并忠實(shí)呈現(xiàn)其風(fēng)貌。沒(méi)有邊緣的天際線，映照著混亂的城市街景，煦和的天氣，急迫的道路聲響，人際關(guān)系的疏淡與沖突。吉他的破音交織著一種偏鋒式的狂熱，彈奏中的言語(yǔ)欲征服所有令人不安的人生層面，領(lǐng)聽(tīng)者進(jìn)入一個(gè)寬闊之境。
然后不厭精細(xì)，研究音樂(lè)中難以被察覺(jué)的配置，亦不藉此敘說(shuō)一個(gè)費(fèi)解的長(zhǎng)篇故事；而是取令人感動(dòng)的一景，以流動(dòng)的瞬間構(gòu)置一個(gè)人人皆可看見(jiàn)的風(fēng)景全貌，悠悠且細(xì)致。
此外，他們關(guān)注所有社會(huì)議題與文化現(xiàn)象，讓其音樂(lè)有著與其它樂(lè)團(tuán)全然不同的表述，阿飛西雅的世界不從自我開(kāi)始，也不在自我結(jié)束，而訴求一種「不光只是音樂(lè)」的普遍經(jīng)驗(yàn)。他們投入社會(huì)，透過(guò)自省，以樂(lè)曲言明觀點(diǎn)，邏輯清楚地昭示未來(lái)向行的方向。努力地追求真實(shí)，用從容的態(tài)度去面對(duì)混亂。阿飛西雅的音樂(lè)本身便是，看似直接卻復(fù)雜的意識(shí)。他們是不編造任何謊言，希望正面給予聽(tīng)眾觸發(fā)與沖擊。
只有在聆聽(tīng)的反復(fù)結(jié)構(gòu)與解構(gòu)中，焉能一探他們深沈又聰明的心思，發(fā)現(xiàn)滋味各異的內(nèi)容與一種嶄新的氣度。
Reborn From Nipples Formed in the late 90’s, Nipples is one of the well-established bands in Taiwan’s indie rock scene. Leading by its core couple Yi-Jyun Wu (Guitar) and KK (Bass), Nipples is well known for its provocative sound and aggressive social attitude. Combined with the other brilliant guitarist Su, the two-guitar setup creates huge feedbacks and distortions, and its intertwined structure builds up angular soundscapes and rough textures; that’s the reason why Nipples is sometimes compared to Sonic Youth and other guitar-heavy bands. And indeed, Sonic Youth is one of the most influential bands to the band itself. After releasing two full-length studio albums, Nipples decided to go on a subsequent path. By changing the name to Aphasia, they turned their career to a new chapter. The New Line-Up Apart from their musicianship, three founding members of Aphasia are all involve in other music-related vocations. Yi-Jyun Wu is a professional producer, who is also the owner of NOIZ Studio, which creates some of the best indie albums from the last couple years. Wu is also the editor in chief and founder of Big Sound zine, which focuses on subcultures and other intriguing issues disregarded by mainstream media. KK began her own White Wabbit Records from the early 2000’s. Initially a tiny record shop located in a basement selling import CDs to a small group of hardcore music lovers, after several years of expanding and joined by local music community, White Wabbit Records is now a must-visit record shop and a good hangout for music fans around the world; most importantly, it is also a well-run indie lable releasing, distributing and promoting both local and foreign bands, such as Broken Social Scene and Explosions In The Sky. On the other hand, Su is a veteran PA technician working in esteemed Taipei venue The Wall. Such vast experiences absorbed from different fields make Aphasia carry a unique view and a wild range of working philosophies. Disparate ideas offered by three members nurture the band, and let its music become more distinguished. In 2007, Aphasia recruited a new drummer Yonker. Although still a college student, he is already a very skillful musician and teaches drumming in some music institutes. This is a smart and pivotal move for the band. Not only does Yonker bring his youth and freshness to the band, he also makes Aphasia a stable four-piece ensemble. And again, maybe just happened by coincidence, the look and drumming style of Yonker is similar to Steve Shelley, the drummer of Sonic Youth. Everything is all set; it’s time for Aphasia to make some splashes and noises. The Summer’s Tail Soundtrack Asked by the prestigious director Wun-Tang Jheng, Aphasia made their music debut by composing the soundtrack for the film Summer’s Tail. Collaborated with a cellist, Aphasia recorded a bunch of sweet songs, most of them are instrumental, to accompany the storyline and enhance viewer’s moods. Though it works great with the film, released by White Wabbit Records, the soundtrack of Summer’s Tail can also be an accomplished independent project. It can stand on its own rights, not just the background music for the film, but also let people discover the hidden potential from the band, which means, the more quiet and introversive facets. Besides Summer’s Tail, Aphasia also did an interactive performance at this year’s Taipei Film Festival, to create a live set for the classic black-white film The Morning Of Taipei, directed by the master Ching-Jui Pai, who passed away in 1997. The Crocodile Society of Aphasia Step on the success of Summer’s Tail soundtrack, Aphasia finally completes their long-awaited studio album Aphasic Crocodile Society, which will be released by White Wabbit Records on September 12th. This time they work with some big names in the industry. As the good working relationship established during the Summer’s Tail project, director Wun-Tang Jheng is making the music video for the first single Deep Spring. Furthermore, two indie veterans Andy Baker and JJ Golden also join the producing team, which leads by Aphasia’s own Yi-Jyun Wu. As Yi-Jyun Wu taking producer’s chair, Andy Baker, who is a well-respected studio engineer and works very often with Athens post-rock band Japancakes, brings his recording and mixing skills to the table. JJ Golden, on the other hand, whose splendid resume includes cooperation with Sonic Youth, Rachel’s and Calexico, does the mastering part for the album. The result is a satisfying piece of work. The main theme of Aphasic Crocodile Society is the everyday life of Taipei, where all members are long time residents. They re-create the city by their own aesthetics: blending layers and humors, compounding disorders and collapses. Its post-modern vibe is partially because Aphasia’s edgy stance, but still, the music plays the most eminent role. Never being a traditional rock band, the music in Aphasic Crocodile Society is highly organic. While Wu and Su talk to each other by using their hooks and oceans of feedbacks, KK bring her usual quirkiness and female character to the composing process; in the mean time, Yonker’s uplifting poundings push the sound to a brighter and more transparent territory, where is rarely visited by the band before. Bravely play through different genres, from post-rock, punk to metal, Aphasic Crocodile Society is an album which defies to be defined rather than to be understood. It exists in its own world, where the magic and reality can be appreciated simultaneously, and the music speaks by itself.