《Artificial Jazz for Commodified Souls》专辑发布

BOREN
6月21日
讀畢需時 8 分鐘

已更新：8月14日

当代的自由，是能被放进店铺音响、算法推荐与 Lo-fi 工作歌单里的那种。

本张专辑是一份模拟自由的提案，也是一次对“舒适”的声音练习。

The freedom of our time is the kind that fits neatly into retail speakers, algorithmic playlists, and lo-fi work mixes.

This album is a proposal for simulated freedom—an acoustic exercise in the aesthetics of comfort.

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商品审美的温柔牢笼

The Gentle Cage of Commodity Aesthetics

我们正在经历一种奇特的爵士时代 —— “自由”的外壳依旧闪亮，演奏者即兴，听众鼓掌，但内部结构却日趋保守，旋律趋于流畅、节奏趋于中庸、调式依然是西方中心主义。西亚音阶没融入，中亚节奏没留住，微分音是遥远的实验室趣谈。

爵士乐正变得越来越“好听” —— 旋律与节奏的预测性、和声结构的可归纳性、情绪起伏的被抚平。但好听缺不代表开放，而是一种对新鲜事物的过滤机制，是文化工业精心雕刻过的“自由模板”，是在它的语法系统里，变得可预测、可调控。原本起源于压迫与即兴解放的音乐形式——逐渐内化了主流审美逻辑，成为都市“有品位生活”的背景音。

《Artificial Jazz for Commodified Souls》，正是在这种“舒适的进化”之中模拟一套“自由模板”。它以讽刺和结构回应当代爵士的商品性美学：我们不直接反对“好听”，而是故意构造一张“耐听”的专辑 —— 在你以为已经进入状态的那一刻，结构却悄悄向另一层偏移。

这是人工爵士（Artificial Jazz）：适度复杂，不越界，情绪稳定，甚至带有一种“被训练好供消费”的驯顺 —— 给那些已被自我商品化的灵魂（Commodified Souls）。

We are living through a strange age of jazz. Its outer shell—freedom—still glows: musicians improvise, audiences applaud. But inside, things are hardening. Melodies grow smoother, rhythms more average, harmonic structures increasingly obedient to Western tonality. Middle Eastern scales remain unincluded. Central Asian rhythms have been lost. Microtonality is still a distant experiment.

Jazz is becoming increasingly “pleasant” — where melody and rhythm are predictable, harmony easy to parse, and emotion neatly flattened. But pleasantness does not equal openness. It is a filtration mechanism for newness, a grammar of what the culture industry deems tolerable. It is a carefully sculpted “freedom template.” A music once born from oppression and improvisational liberation is being domesticated, folded into the ambient soundscape of urban tastefulness.

“Artificial Jazz for Commodified Souls” simulates this “evolution of comfort.” It uses structure and irony to respond to jazz’s current commodity logic — not by opposing “pleasantness,” but by crafting a listenable album that subtly deviates from its own frame.

The moment you settle in, it shifts.

This is artificial jazz: moderately complex, safely constrained, emotionally stable — performing a freedom that has already been trained for consumption — for those who’ve already been self-commodified.

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一场语言、意识的商品化剥离

A Structural Disassembly of Language and Awareness

这张专辑不是线性叙事。它像一套思想的错位笔记，逐步剥离当代商品化审美对感知、语言、神经系统与精神幻象中的自恋。专辑分为四个部分，初世、中世、现世“三部曲”与一个“出世章”。

This album is not a linear narrative. It is a notebook of conceptual misalignment, gradually peeling back how commodity aesthetics shape our perception, language, nervous systems, and spiritual hallucinations. The structure consists of three triptychs — Primal, Middle, and Contemporary — followed by a final chapter: The Post-World.

初世三部曲 | 语言密度与城市节奏

Primal Triptych｜Language Density and Urban Rhythm

现代城市中的思维节奏就像 Bebop：快、密、矛盾。

这里既是语言的过载地，也是表达的坟场。

我们从这里追溯语言如何从工具变成困境。

In modern cities, thought moves like bebop: fast, dense, contradictory.

This is where language overloads, where expression disintegrates.

We begin by tracing how language turned from a tool into a trap.

Mouthful of Dialectics

一嘴辩证法，说不出所以然。

就像思维的反刍，机械地失速。

A mouth full of dialectics, saying absolutely nothing.

Thought becomes cud, chewing itself into collapse.

Syntax Error in D Minor

技术崩溃中的情绪哀鸣，

句法混乱却流畅，

像是电脑崩溃时却加速敲打键盘的人。

Emotional distress through technical failure.

Syntax collapses but keeps flowing

— like someone typing faster during a system crash.

Ellipsis Over the Steppe

语言逐渐沉默，

我们来到了没有高楼的草原，

却在指望在风中寻找 wifi。

Language fades.

We reach the grasslands where no buildings remain,

still expecting to find Wi-Fi in the wind.

中世三部曲 | 意识流与心理结构

Middle Triptych｜Stream of Consciousness and Psychic Structure

我们不再关心“精神状态”是否稳定，

而是在听觉之中模拟解离、退行与神经游移 —— 即使听上去是那么舒服。

We no longer ask whether our mental states are stable.

We simulate dissociation, regression, and neural drift — even if it sounds comfortable.

Fugue State of Babylon

在古老文明废墟上的赋格，

我们的意识像拼贴画一样碎裂，

每个旋律片段都是异梦残片。

A fugue built on ancient ruins.

Consciousness splinters like collage.

Every melodic fragment is a shard from a broken dream.

Ego Dissolved in B♭

自我并没有爆发，而是在一个熟悉又不稳的音域中悄然消散。

你以为还在听，其实你已变成音符。

The ego doesn’t explode—it quietly dissolves in a familiar but unstable key.

You think you’re still listening. But you’ve become the sound.

Notes from the Prefrontal Cortex

前额叶不是理智的堡垒，

而是一台临时搭建的即兴控制台。

节拍是神经的指令。

The prefrontal cortex is not a bastion of reason

— it’s a makeshift console for improvisation.

Beats become neural commands.

现世三部曲 | 科技身体与后人类

Contemporary Triptych｜Technological Bodies and Post-Human Grooves

机械逻辑与未来质地之间的擦拭。

我们不是在模拟 AI，而是用节奏操练人脑的可塑性，

仿佛用人手演奏一个系统提示音。

Between mechanical logic and synthetic surfaces,

we no longer simulate AI. We train the human brain with rhythm

— as if hands could play the system’s notification chime.

Neuroplastic Beats

节奏之于神经就像语法之于语言：

它在训练你、改写你、

让你以为“这就是自然”，并享受其中。

Rhythm is to neurons what grammar is to language:

it trains you, rewrites you,

makes you believe “this is natural,” and makes you enjoy it.

Cosmic Syncopation

宇宙不会打鼓也不会弹琴，

但它呼吸的间隙里正好是一次次节拍错位，

时间是跳音的幻觉。

The cosmos doesn’t drum or solo

— but its breathing creates the perfect misalignments.

Time becomes a syncopation-induced illusion.

Artificial Jazz for Commodified Souls

这是主题之所在

—— 为被格式化的人演奏的模拟爵士。

每个音符都合格，但都无法脱轨。

我们不是为灵魂创作音乐，

而是为被模具制造的人形存在写下一个平滑版本的哀歌。

This is the thematic core

— simulated jazz for formatted humans.

Every note is in place, yet none can deviate.

This is not music for the soul. It is a smooth, gentle dirge for molded avatars.

出世章｜疯癫与空性的终章

Post-World Chapter｜Madness, Emptiness, and Fictional Transcendence

在城市语言、神经技术之后，我们选择以“宗教性”为结尾，但不是高深的“顿悟”，而是碎片化的、虚构的、带着讽刺与沉郁的出走。

After the collapse of urban language and the intrusion of neuro-tech,we close not with spiritual revelation, but with something fragmented, fictional, ironic, and quietly hollow.

三疯茶谱 Tea Treatise by the Threefold Madman

张三丰，是历史、传说与影视塑造出来的混合角色。

这首曲子是如他一般虚构的茶谱，如茶水中的人声呢喃，

飘荡在无意义的空间中，用疯癫掩盖虚无。

Zhang Sanfeng — a hybrid of history, myth, and cinematic fiction.

This song, like him, is a fabricated tea manual, where voices murmur in steam,

drifting through meaningless space. It fills the void with lunacy, not answers.

十牛图合成器 Ten Oxen with Synthesizers

取意于禅宗《十牛图》，以“牛”喻“心”，

从“寻牛”到“人牛俱忘”，万象归零。

电子声音的生成与控制，如同“忘”与“破”。

我们不再试图“找回本性”，

而是用合成手段模拟“本性”之幻影。

在自由爵士的音序中，我们制造一头电子之牛，

在无牛之后继续演奏。

Inspired by Zen’s Ten Ox-Herding Pictures, where the ox symbolizes the mind.

From “seeking the ox” to “forgetting both ox and self,” all appearances dissolve.

Here, electronic sound is the ox.

Its generation and modulation mirror of forgetting and breaking.

We no longer seek “true nature”

— we simulate its illusion, and the music plays on, even after the ox has vanished.

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语言终止，听觉重构

Where Language Ends, Listening Begins

在《Artificial Jazz for Commodified Souls》中，我们试着构造一张“好听得刚刚有点危险”的唱片 —— 它有 groove、有线索、有段落，但又随时可能在结构中崩坏、在调式中走偏。我们不关心“自由”是否存在于音乐的名义之下，而是在模拟那种“自由正在被应用的过程”：

以语言逻辑的过载与崩解开篇，随着每一个节拍都像是一次突触的闪烁，接着看似走入未来，却更像人类退入技术温室中 —— 人工地自由，公式化地惊喜，最后“出世章”，以电子重释禅宗修行，不是终点，而是解构之门。这是一种自我驯化的自由，一种装在盒子里的即兴，一种为被格式化的灵魂量身定制的摇摆。

它们既有起承转合，又避免明确指向 —— 就像禅宗中的“参话头”：不是为了找答案，而是打断追问的冲动，以此呼应第一首的辩证法语言崩塌：我们不再需要解释，而是在听的当下脱离概念、回到此刻。

语言终止之处，正是听觉开始的地方。

This album was designed to be just pleasant enough to be dangerous.

It has groove, cues, and transitions—but may dissolve at any moment, veer from tonality, collapse mid-section.

We don’t ask whether “freedom” still exists in music.

We simulate the process of freedom being applied.

From the overloading of language, through the flickering of neurons, into simulated futures and invented rituals, the music loops back to the start—not as answer, but as interruption.

Like a Zen koan, the point is not to conclude, but to short-circuit your need to know.

This echoes the dialectical collapse at the album’s beginning.

We no longer seek to explain.

We return to the act of listening — concept-free, in the now.

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我们终将无法言说，

我们终将忘记曾说过什么，

而音乐，仍继续。

We will forget how to speak.

We will forget what we once said.

And the music—will continue.

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