电子音乐市场的细分化进程，仍在如预期那样如火如荼地进行着，House 和 Techno 作为开拓听众视野的 “急先锋”，已经让全球听众都不再习惯把它们视为地下音乐的代名词。

那么下一个风口，或者说已经降临的热潮又是什么呢？

Drum & Bass (DnB)，这个答案想必时至今日已然能够脱口而出，里里外外都有太多迹象可以证明它似乎正在迎来自己生命史上的又一高潮。

同时，我们认为属于某种音乐的每一次高潮，也意味着它的另一种变化和进化，绝不会是对旧日固有形式的“朝花夕拾”那么简单。

当“异军突起”与“浪潮翻新”这两个形容词碰撞在一起，也必然会蹦出一批新的如雷贯耳之名。本期IMPACT(影响力专访)，我们特意邀请来即将抵达国内演出的Buunshin。能够与他构建对话，针对当下Bass音乐趋势和听众变化展开此番畅聊，这对于平时歌单和DJ现场常备Buunshin作品的Mixmag编辑来说，感到这个六月都变得无比兴奋！

▎Mixmag China = M

▎Buunshin = B

PART.1 BUUNSHIN，保守绝缘体

M：你的身影频频出现在Rampage、Let It Roll这些世界最大的DnB音乐节上，而此次中国行你选择了地下俱乐部，俱乐部和音乐节的氛围有着很大的差异，对此，你在set的编排上会做出一些改变吗？
you’ve been hitting up big DnB festivals like Rampage and Let It Roll worldwide, but for your China tour, you’re opting for underground clubs. Clubs and festivals have pretty different vibes. So will you be switching up your set to match the club scene?

B：我总是喜欢即兴表演，虽然在这个追求“完美”的时代，即兴表演尚未流行起来，但我认为很多人已经失去了把握当下的动力。当我表演时，我亲自邀请观众接近我并一起感受当下，那一刻我会尝试读懂观众，察觉他们的情感。

我宁愿冒着犯错的风险去做这件事，也不愿意强推一个准备好的歌单给他们。正是这种风险让表演变得有趣，自然而然我可以根据不同的环境进行不同的表演。
I’ve always been a fan of improvisation. While it’s definitely not very popular in this age where musicians strive for perfection, I think a lot of people have lost the motivation to harness the moment. When I perform, I ask my audience to be in the here and now with me, and in that moment I try to read the audience and feel their emotions. I would rather do that while running the risk of making a mistake than to push a prepared setlist onto them. The risk is what makes it fun for me. Naturally, the result of this is that I therefore always perform differently depending on the environment.

M：Noisia 身为Bass Music领域最重量级的组合之一，想知道你是怎么跟他们结识，并在其厂牌 Vision Recordings 发行音乐的？
We’re curious about that how you got connected with Noisia and released music on the  label Vision Recordings?

B：我第一次听说Noisia是他们的Incessant EP，我立刻就被吸引了。他们始终在追求更高水平的制作质量，因而我也把它视为鞭策自己的力量。随着我们的关系越来越紧密，我意识到正是我们对制作标准一致的高度追求，才促成了我们彼此之间的相互尊重与欣赏。

我第一次和Noisia成员Martijn见面是在捷克音乐节Let It Roll后台，在即将面对上万人演出前的大约20分钟，他还想要我的音乐。因为我总是做足准备（以前的我太认真了），我立刻向他展示了我所有的未发布音乐，并把它们放在我的U盘上，从那一刻起，他意识到他想要签约这些音乐。仅在者短暂的互动后，他上台就播放了我的 ‘CANCELLED’ 这首歌，这成为了我签约于Vision Recordings的首支曲目。

The first time I heard of Noisia was their Incessant EP, and I was instantly hooked. Their drive to strive for the highest possible level of quality in production is something that I saw as an opportunity to challenge myself. As our bond grew stronger over the years I came to realise that it was our common interest in our standard for production quality that formed the mutual respect we have for each other. The first time I spent some time with Martijn from Noisia backstage at Let It Roll festival in Czech Republic he asked me for some music about 20 minutes before he had to perform in front of over 10000 people. Because I was always prepared (because I took everything way too seriously back then) I immediately showed him all the unreleased music I had made and brought on my USB, and it was at that moment that he realised he wanted to sign it. He performed my track “CANCELLED” 20 minutes after that interaction, and that became my first signing in Vision Recordings

M：Bass风格领域里面有着诸多不同面的音乐变体，除了DnB 之外，你有没有“降速”的计划，在140领域作出尝试？(比如Hard Drum、Dubstep、UKG、Neo-Grime、Breaks之类的)
Are you planning to slow things down a bit in the realm of Bass music and try your hand at genres such as Hard Drum, Dubstep, UKG, Neo-Grime, or Breaks, apart from DnB?

B：我觉得Buunshin这个名字之于DnB领域，就是“保守”的反义词，以跳出DnB原本固有线性化思路为出发点。其实我近期发的EP都尝试在更多风格中表达自己，我肯定会更加强调自己多元化的音乐身份。我觉得我本身就是乐于寻求变化的那种人，所以我想充分利用这一点。
I feel like I am quite well known for drifting off the linear path of just doing a dnb set for an hour. All my recent EP’s have had me express myself in multiple genres, and in the near future I am definitely expressing myself more as a multigenre artist. I feel like my sound lends itself to change in genre, so I want to lean into it

M：在互联网音乐思潮的影响下，舞曲领域中的许多风格都在往情绪化、氛围化发展，而你的作品似乎也逐渐在增添更多描摹情绪的旋律部分，你如何看待这个趋势？
With the influence of internet music trends, many styles in the dance music realm are leaning towards more emotive and atmospheric vibes. It seems like your work is gradually incorporating more melodic elements to capture emotions. How do you perceive this trend?

B：我不太认同你的第一个观点。依我对目前舞曲场景的角度来看，艺人主要还是更倾向于短期的快感而不是绵长的氛围或缓慢的蓄势。

目前欧洲的趋势似乎是更响、更嘈杂、更具爆炸性的声音更能吸引你的注意力。话虽如此，我不喜欢这种方式，不是我内心所向往的。我觉得我和我的朋友们拥有更注重创造性的作品，是对这种总是靠“高声喊叫”来招引注意力的趋势的一种反抗。

要感知速度，你需要先体验慢的感觉；要感受黑暗，你需要先看到光。最重要的是，要真正体验能量的全面释放，音乐人们需要先学会克制。要真正让我的观众通过情感建立联系，我总是需要在某个时候将能量暂时归零，以便有一个干净的画布，之后我可以从中建立起真正的联系。旋律只是一个工具，让我能够传达我的感受，我所能做的就是希望他们接触到这些情感，并产生共鸣。

I actually do not agree with your first statement. From the perspective that I see dance music in, a lot of artists are preferring short term pleasure over long term atmospheres or slow arrangements. The trend in Europe currently seems to be that louder, noisier and more explosive sounds seem to get your more attention. That being said, I do not like doing things that way. It feels bad to me. I feel like my own creative output and the output of my friends are a rebellion against this movement of always screaming for attention. To perceive speed, you need to experience slowness. To feel darkness you need to see the light first. Most importantly, to perceive a full blown release of energy, musicians need to learn how to show restraint first. To truly make my audience experience a connection through emotion, I always need to bring back the energy to 0 at some point to have a clean slate after which I can build a true connection. The melodies are just a tool that allow me to communicate what I feel, all I can do is hope that accept those feelings and that they resonate

PART.2 你缺失的部分，不一定是你的短板

M：你认为自己的制作路线可被划分在 Neurofunk 这个范畴么？
Do you think your main production style fits into the Neurofunk category?

B：不属于。
No.

M：你怎么看诸如Current Value、Sleepnet、Grey Code这些不喜欢按套路出牌的制作人？你认为自己和他们在Drum & Bass 音乐的理念上是否体现出一致性？

What’s your opinion about the producers like Current Value, Sleepnet, and Grey Code, who also tend to break away from conventional norms in their productions?

And do you feel there’s a consistency in the philosophy you share with them regarding Drum & Bass music?

B：提起这几个名字，我必须要为他们鼓掌。我们在反抗固有范式的观念上达成了统一，这让我自己感到是存在交互和理解的。我喜欢他们，因为他们很像我，自然地投身于对那些“非正统”的渴望，由此开创出新的艺术源泉。正是他们的音乐让我对未来的音乐仍充满期待。生活中唾手可得的东西，恰恰意味着它是不值得投资的，所以才需要推陈出新。
I applaud it. We form a unity in the way that we rebel against the norm, and it makes me feel heard and understood. I love that they, similarly to me, naturally give in to their craving for the abnormal, and create new and original art. Their music keeps me interested in what new music there will be in the future. Most things that come easy in life are hardly worth investing in

M：尽管你有一套自己独到的编曲艺术，大家开始纷纷关注你也是因为总能在你的作品中听到别出心裁的段落设计，但相信大部分听众还是因为本身就酷爱DnB才关注到你。那么你认为如今的DnB听众群体跟过去的rooler、stepper和Junglist时期有明显变化吗？
While you have a unique production methodology about DnB music, and many fans started paying attention to you because they could always hear innovative section designs in your tracks. But we believe the bigger factor is that they genuinely love this kind of music in the first place.
So Do you think today’s DnB audience differs significantly from the roller, stepper, and Junglist eras of the past?

B：今非昔比，我们创造音乐的软件(DAW)对于现在任何人都触手可及，只需有一台电脑或平板。因为我是从这个时期开始制作音乐的，所以意识到必须要找到一技之长，才能和所有拥有技术便利的所有人区分开来，以特色致胜。

因此我做了很多研究，关于如何在声音设计和混音方面突破极限，还包括旋律、和声、词曲创作和人声。我当然意识到我的部分粉丝只依据声音工程部分来评判，但这并不意味着我忽视了创造一首好歌的其他方面。我希望我的音乐能够与每一个愿意倾听的人交流，无论年龄、性别、国籍或音乐知识如何，仅仅关注技术(学术角度)对我来说是不够的。

The difference now is that the software with which we can create music is readily available for everybodywho owns a computer, phone, or tablet. Because I started making music in this era, I felt the need to differentiate myself from all the people who had the same access to the same things. I wanted to do a lot of research on how I could push the envelope when it comes to sounddesign and mixdown, and more recently, melodies, harmonies, songwriting and vocals. I definitely am aware that part of my fanbase exclusively judges that engineering part of my sound, but that doesn’t mean I’m neglecting the other aspects of creating a good song. I want my music to communicate with everyone who is willing to listen, regardless of age, gender, nationality, or musical knowledge, and just focussing on technique is not enough for me.

M：会担心自己的音乐不符合所谓老听众的口味吗？
Are you concerned that your music might not align with the tastes of so-called “old-school” listeners?

B：不，我不担心。在我的音乐中，我所能做的就是以最真诚和纯粹的方式表达我是谁和我感受到什么。如果我的想法因为不遵循传统而不能引起某人的共鸣，那么我可以接受。话虽如此，我非常喜欢许多老派鼓组和低音的声音。我会特意在我的制作和表演中引用一些我最喜欢的老派DnB曲目，因为我真心爱它，我自然想在我的制作和表演中反映一些。不管怎样，我的创作导向只是自己怎么喜欢就怎么来。

No, I’m not concerned. All I can do in my music is express who I am and what I feel in the most honest and pure form. If my ideas do not resonate with someone because I do not adhere to a tradition, then I can accept that. That being said, I love the sound of a lot of old school drum and bass. I go out of my way to make references to some of my favourite old school dnb tracks, because I genuinly love it and I naturally want to reflect some of that in my productions and performances. Either way, I make music the way I like to hear it.

M：你曾说过自己首张EP之所以能取得成功，有一部分原因恰恰在于你没有太多RAVE背景，这句话该怎样理解？你让自己的制作始终保持新鲜感的秘诀是什么？
When you mentioned that part of the success of your first EP was due to not having too much of a RAVE culture background, how should we interpret that?
And what’s the secret to keeping your production consistently fresh and interesting?

B：有时对传统没那么了解可能意味着就不会形成“偏见”。你会更聚焦于事物本身来判断，而不是想得太多，导致拿出旧标准强行去进行比较。我没有将我对传统知识的缺乏视为障碍，而是一直将其视为一种力量，这才是如何始终对新鲜事物保持接纳度的秘密之一。追求那种起初让你被某种艺术形式冲击到的兴奋感并将其延续下去，打开新世界的大门往往在你的舒适区之外，你可以学会在那种环境中茁壮成长。

Sometimes a lack of knowledge on traditions can mean a lack of “bias”. You judge matters on how they are, instead of thinking about things too much and comparing the music to old standards. Instead of seeing mylack of knowledge as a hindrance, I’ve always seen it as a power. This is part of the secret on how to always keep things fresh. Chase the feeling of excitement you felt once you got started with your artform of choice. The start of something truly new usually begins outside of your comfort zone, but you can learn to thrive in that environment.

PART.3 好听是王道，曲风不重要

M：经过几十年的发展，DnB已经成为运用场景最多的舞曲流派之一，你如何看待DnB今后的发展趋势？
After decades of development, DnB has become one of the most versatile dance music genres out there. How do you see the future trends shaping up for DnB?

B：我认为只有当制作人普遍开始认识到他们不应忽视音乐基本功时，才会出现更多更好的歌曲。我看到了很多关于声音设计、混音、鼓声、音色的实验，但在旋律、和声、词曲创作和编排思路方面却很少。即使有一个设计得非常好的低音和惊人的混音，如果整首歌的其余部分被忽视了，它仍然会是一首无聊的歌，目前我认为这种情况发生得比较频繁。

I think at this point, better songs are only going to exist if producers start acknowledging that they shouldn’t neglect the basics. I’m seeing a lot of experimentation with sound design, mix, drum sounds, timbre but very little in melody, harmony, songwriting and arrangement. Even if there is that one really well designed sound on the drop with an amazing mix, its still gonna be a boring song if you can hear that the rest of the song is neglected, and currently i think that seems to happen more often than not.

M：以美国市场为代表的北美Heavy Bass场景你是否有所了解？你认为是否在某种程度英美两个Bass音乐体系正在相互靠拢？

Are you familiar with the North American Heavy Bass scene, represented by the US market?

Do you think there’s a convergence happening to some extent between the UK and US bass music systems?

B：DnB绝对已经在美国火起来了。我正在努力准备今年晚些时候在美国的首演。生在美国的制作人现在创作和解读Drum & Bass的成果也非常有趣。我已经和那边多名知名艺术家合作，比如Apashe、Chris Lake、What So Not、IMANU等等，我们合作的方式也绝对是多样化的。只要提起打破陈规我就不困了，超级好奇如果我能赶上这场令人兴奋的浪潮之后会发生的事情。

Drum and Bass definitely is blowing up in the US. I’m working very hard on making my debut over there later this year. Because of their own US based artists they interpret drum and bass from over there, andthe results of that are very interesting. I’m already working with a lot of established artists like Apashe, Chris Lake, What So Not, IMANU, and many others, and the results of our work definitely have been eclectic. I’m all for innovation so I’m curious what will happen if I will ride this wave of excitement that I’m feeling.

M：那么北美Bass音乐领域中有没有特别令你欣赏甚至想要跨界合作的对象？
And are there any particular artists in the North American Bass music scene that you admire or would like to collaborate with?

B：我真的很欣赏那些对个人美学塑造倾注了极大热情的艺术家。因此我一直是G Jones的忠实粉丝，我很想有一天能和他一起探讨并制作一首歌曲，因为我认为这将是一次有意义的合作。

另外，我也很喜欢ISOxo、Eprom、Space Laces，当然还有Skrillex。同时，我一直在与The Glitch Mob、MUST DIE!、Chee、Jon Casey等人联系，但与他们相会将不得不等到我今年晚些时候去美国。

I really like artists that are obsessed with presenting their own aesthetic with great attention to detail. I’ve always been a big G Jones fan and I’d love to pick his brain and make a track one day because I’ve always thought it would be a meaningful collaboration. I’m also in love with IsoXO, Eprom, Space Laces and of course Skrillex. On a similar note, I’ve been in touch with people like The Glitch Mob, MUST DIE!, Chee, Jon Casey, but meeting with them will have to wait until I travel to the USA later this year.

M：对中国的电子舞曲是否有曾了解过？
Have you ever looked into the electronic dance music scene in China?

B：我从未去过亚洲，除了早期支持过Gyrofield，我对中国Bass音乐场景的了解不多，所以请接受我的冒昧。话虽如此，我真的很期待这次来亲身体验中国的音乐文化。我作品背后最大的灵感之一就是挑战自己，去发现世界各地城市本土音乐的美，北京和上海也不例外。

Having never been to Asia in my life, I struggle to come up with knowledge on the Chinese Bass music scene apart from having been an early Gyrofield supporter, so please accept my apologies for my impertinence. That being said, I’m really looking forward to learning more about Chinese music culture by experiencing it first hand. One of the biggest inspirations behind my work is challenging myself to discover the beauty in the local music of cities all around the world, and Beijing and Shanghai will be no exception

M：对这次中国行有哪些特别的期待？
What are you particularly looking forward to during your trip to China?

B：我知道这是个非常典型的回答，但我很有兴趣去更多地品尝东方美食。在我生活过的城市里，有许多声称只提供传统地区中餐的餐厅，并且很好吃，所以我很好奇当真正来到这里，它还是否符合我的期望。期待你们的关照！感谢你们的爱 <3

I’m aware that this is a really stereotypical answer, but I am very invested in learning more about oriental food. In the cities where I have lived I have enjoyed many different types of foods from restaurants that claimed to serve only dishes from traditional regional Chinese cuisines, and I’m very curious if the real thing holds up to my expectations. I’m looking forward to being in your care! Lots of love <3

英美BASS音乐双修狂热乐迷 @魔法猫咪：
A Fanatic of UK&US bass music from China ：

我们都知道你和IMANU受Porter Robinson邀请参加了2021年的Secret Sky线上电音节，那么你在未来会和Porter Robinson合作音乐吗？

We all know you and IMANU were invited by Porter Robinson to participateinthe 2021 Secret Sky online music festival. So, do you have any plans tocollaborate music with Porter Robinson in the future?

B：虽然我很想这样做，但我和颇从未在现实生活中见过面。在合作音乐之前我会优先考虑能否与某人面对面交流，但也许一旦我踏入美国，我将有幸能沾他的光哈哈。我们之间肯定也是相互尊重欣赏的，我可以自豪地说，他至今仍然支持我的音乐，他甚至为我其中的一首歌曲定制了一个bootleg。

As much as I would love to do it, me and Porter have never met in real life. I prioritize being able to see eye to eye with someone before I make music with them, but maybe once I set foot in the US I’ll be lucky enough to bask in his presence one day. The mutual respect is definitely there. That being said, I can proudly say that he still to this day supports my music, and he even made a custom bootleg of one of my tracks

你喜欢跟IMANU一起B2B，你们也曾合作过‘Nagow’这首作品，互相吸引的缘由是什么呢？

You enjoydoing B2B with IMANU, and you’ve collaborated on the track “Nagow.” What do you think is the reason behind the mutual attraction between you two?

B：当我们相遇时，我们碰巧处于完全相同的思维状态，我认为这是最好的解释方式。我们自然有很多相似之处，感觉就像是来自同一血继限界。我把他当作我的兄弟，他也以同样的方式认可我。

When we met we were coincidentally in the exact same headspace. I think that is the best way to explain it. We naturally have so many similarities that we feel like we were supposed to be from the same blood. I recognise him as my brother, and he recognises me the same way

你觉得当前都有哪些艺人被严重低估(非常有实力但是几乎没什么名气，请列举几个名字)？
Who do you think are some seriously underrated artists right now

B：有很多艺术家目前都展示了超高的技艺和作品质量，但仍未接近行业对其本应提升到的认可程度，当问到这个问题便有一些名字马上浮现在我的脑海中，诸如：Zain Wolf、Matens、Voljum、Slickback、Lorem、Woulg。点开你的音乐软件，快去听听他们的作品，就会知道我为什么如此推荐！

There are a LOT of artists out there that present work of a very high quality level while not getting even close to enough recognition for it, but some names that immediately come to mind are; Zain Wolf, Matens, Voljum, Slickback, Lorem, Woulg. Happy exploring <3

幸运的是，Buunshin 并未像其他许多出色的艺人一样，让国内听众眼巴巴看着他们只能进行“环大陆游”，即便是亚洲巡演也没有我们的份儿。但在国内创意团队High Cry的争取下，中国的Bass乐迷(尤其是不在UK和US之间树立界限的)不必感到孤单，因为我们即将看到如今 Bass Music 崭新潮流大势中极具代表性的那位——Buunshin。

6.7和6.8，他将在此次全球巡演中途依次来到上海(CELIA)和北京(DADA)，各位舞池低频劲旅们请提前给自己充满能量备战