2018年6月，Deniz Tek 以個人的名義組織了一個豪華陣容(The Fucking Godoys & Guitarist Keith Streng from the The Fleshtone)的樂隊來華巡演,與之結伴的是上海的朋克樂隊Round Eye。Deniz Tek是70年代活躍在澳大利亞搖滾圈的老前輩，作為影響了一代人的樂隊Radio Birdman的主創與吉他手是一個異常冷靜與友好的帥氣老哥哥。而當我在談話中把Deniz Tek這一次演出的音樂歸類為朋克時，他停下了手中正在做的事情，轉過頭來，很嚴肅地對我說「我的音樂不是朋克，是搖滾！」
頓時，我不知所措，因為巡演的所有宣傳都是在誇讚他是一個多麼牛逼的老朋克，已經精釀朋克了40年之類的。難道他的音樂卻不是朋克類型？而且為什麼他那麼反感別人用朋克來形容他的音樂？帶著這個重大的疑問，我決定在巡演最後一站結束後，用喝得微醺的時候用採訪的形式讓他來解惑:(見題7)。當然這次採訪也是圍繞我一直想寫的巡演主題，而且是絕密版。
June 2018, Deniz Tek & Band (The Fucking Godoys & Guitarist Keith Streng from the The Fleshtone) had his first China tour with Round Eye. Deniz Tek is the main member of Australian Punk Band from the 70s, as the band who influenced a lot of band in Australia and the world. Deniz is a friendly and calm soul with a super handsome smile. But when I defined his band's music easily as Punk rock， he stopped whatever he was doing at the time and turned to me, said: "It's not punk, it's Rock n Roll." I was in shock, because all along we were promoting the tour as the punk lengendary for 40 years, what did he mean by saying that, so I decide to ask him in the interview I was planning on the whole tour because I would like to write the second article about touring, so after his last show in YuYinTang in Shanghai, I had a few drinks, and had the balls to ask all the questions, here it goes:
時間/Time：凌晨01:30 2018年 6月23日 June 23rd 2018
地點/Place：上海育音堂樂休息室 Backstage in YuYinTang
Interviewing Deniz Tek from Radio Birdman
與Radio Birdman的主創Deniz Tek的對話
Q1：對樂隊來說，巡演有多重要？為什麼？
A1：極其重要。對樂隊作為個人或者整體的表演能力都是一種進步的必要步驟。巡演能創造一個能讓隊員之間越來越團結的環境，因為他們會在路上遇到無數問題，必須一起解決。在巡演的時候，樂隊的音樂也被帶到了更多人的面前，在新的城市裡擲地有聲，非常重要。
Q1:How important is touring for bands? Why?
A1: Its extemely important. It's important for the band to improve it's performance, individually and as a unit. It creates a deeper invovment for the band members to bond and face different problems and overcome them. It present the music to a wider audience when they go to new places. So it's very important.
Deniz Tek @Boo Livehouse TaiYuan
Q2：巡演能促發什麼靈感？
A2：當你在巡演時，你用一種全新的演繹方式來表達你的音樂，因為你不能每一場都演得一模一樣啊。你必須挑戰自己的底線，而且往各種方向挑戰，巡演是你再學習你自己的音樂和如何在表達這些作品的最好的方式。而且巡演可以創造一個真正全部關於音樂的環境。
Q2: What does touring inspire you?
A2: When you are on tour, you look for a new way to present the music, you can't do it the same way every night. You have to push the boundry out to different directions. The way we do is that we do it spontanously, with sounds, with defferent expriments, it's a way to learn your music and present it. Touring create an environment which music actually involves.
Tek @Loopy HangZhou
Q3：我注意到您每一場演出都會寫一個不同的歌單。你是怎麼決定選哪些歌，以及歌的次序的？
A3：你先決定這場演出一個基本的動態，先寫下三首你覺得最能煽動能量的歌，然後選一些稍微平靜一點的，然後其他的就按動態的感覺來。但是這個歌單應該是在這三種類型的歌之間竄動的，因為那樣的話可以讓每一首先後的歌突出各自的特點。如果你一直是最火爆的幾首一起演，那麼你的聽眾可能會聽累的，他們耳朵的神經都給你震麻木了，你需要給耳朵休息一會的時間，然後再鼓舞他的情緒高漲。在巡演繼續時，你會選擇刪除一些效果不好，有一些問題的歌，先不演，感覺對了，再在下幾場演出時加進去，可能又變得不錯了。
Q3: I saw you making different set lists in every show. How do you decide it?
A3: You start with a basic set with dynamics, so typicially first come out with 3 songs which are powerful and punch hard, and then something quiter, then the rest of the set should be dynamic. It should flow between hard, edged, hard hitting, fast and high energy songs and quiter songs, having them contrasted, makes each stand out more. And having quiter songs in the set, rest the ears of the audience. If you hit them with total high energy, loud music all night, their ears shut down, the nerves shut down, they stop hearing what you are doing, so you have to give the ears to recover, then you can hit it again after that. So you arrange the set with that dynamic. As the tour goes along, you delete the songs which are not working well, the songs which have problems, you take them out of the set, give it a rest, put something on, then after 2/3 shows later, you can bring the songs again to give it a try again, they might be alright again.
Round Eye @Boo Livehouse in TaiYuan
Q4：這個問題可能聽起來會比較刺耳，我聽一些人發表一個觀點：那些一直巡演的樂隊，怎麼有時間好好做音樂，就像Round Eye樂隊，一年當中，有半年在巡演，他們的音樂進步了嗎？
A4：(Round Eye主唱Chachy)他媽誰說的這句話？狗屁！（告訴我巡演對Round Eye有多重要！）巡演促進了我們音樂的真正成長。巡演能讓樂隊真正明白每首歌到底是關於什麼，應該如何去表演才能表達得最好，傳達給觀眾，你在錄音室裡呆著，是沒有那麼多靈感的。每一次我們寫一首新歌，我們都會用4/5個月的時候先演再演再演，然後才會知道我們想讓這首歌錄成什麼樣。
Deniz: 我也更傾向Round Eye的創作方式，但是條件有限，我做不到，因為我們的樂手都來自不同的國家，住在世界的各個地方，我們沒有那麼多一起演出的機會，一年可能只能演50/60場演出。我們一般是先錄音，我先把歌寫好，排列好，在家裡錄一些demos, 然後發給我的樂手們，他們自己先學習和練習，然後我們聚在一個排練室裡排練，然後進行錄音，然後用這些音樂進行巡演。但我更喜歡Round Eye提到的方式，如果我能那樣做，我一定選擇前者。
Q4: This next one is very sharp. I heard Somebody critisize bands who does touring too much like Round Eye, and not producing enough new music, what are your oponions on that? Like touring half an year in a year.
A4 (Round Eye): Who the fuck said that? Piece of shit! (Hahahahahaha! Tell me how important is touring to Round Eye?) Touring helps us to develop the song, really. It helps to present the songs to an live audience, you get more ideas from touring the song than you do in a studio. Whenever we write a new song, it takes about 4/5 months to play it live to understand what the song really means, and what it supposed to sound on a record, play it play it play it, take something out, put something in, then finally record it.
Deniz: I prefer to do that as well. But we don't have that oppotunity. Because we don't play as many shows as Round Eye. I only do 50/60 shows a year. So typicially it's the other way around. We will record first, I will write the songs, arrange them, do home demos, send them around to the guys, they learn them, then we go to a studio to reherse, then we record, then we take the songs out on the road. But I prefer his way. (Round Eye Way). If I have the condition to do it, I would do it that way.
Deniz Tek & Bordeless on Beijing Street
Q5：在中國巡演有什麼感想？
A5：這跟其他國家沒有什麼區別。世界各地喜歡搖滾樂的人們都差不多，在北京的Temple，在上海的育音堂，如果不看窗外，我會覺得我置身於德國的漢堡，西班牙，澳大利亞，芝加哥，底特律，巴爾的摩。完全一樣，人們都一樣。所以，在中國巡演最有趣的部分是在城市與城市之前的旅程，在火車上，我們看到窗外的景色與即將靠站時的高樓大廈，就像一個科幻電影。還有中國的食物太絕了，所有我們吃到的東西都太好吃了，還有我們在路上遇到的好朋友們，這是巡演最特別之處。當你上臺，為人們表演時，不論你在哪兒，氣氛都是一樣的。如果我們演得好，觀眾們就都能準備上天，他們很棒，所有地方都一樣。
Q5: What do you feel playing in China?
A5: Its like touring in anywhere. People are pretty much the same everywhere. We had greats gigs in Temple, Beijing, in YuYinTang, Shanghai, if you don't look out in the street, see where you are, it could be a club in Hanberg in Germany, or in Spain, Australia, Chicago, Detriet, or Baltamore. It could be exactly the same, the people are the same. So, touring is interesting in China, is that the things we can see inbetween the shows, we ride on the train, we see trousands of high rise buildings in the middle of nowhere, it's like in a science fiction movie. It's facsinating, and the food has been great, and the people you meet touring, that's what makes touring so special. When you get on the stage, play for people, it doesnt matter where you are. If the spirit is there, it is the same. If we play good, they are ready, they are the same.
Tek Crew in Yun Nan restaurant：DaLi RenJia in Beijing 北京的雲南餐廳：大理人家
Q6：但是最大的區別是什麼？中國和美國、歐洲？
A6：在中國，坐的是火車，在美國或歐洲，坐的是巡演經理開的麵包車。
Q6: What's the biggest difference between touring in China and Europe/US?
A6: In China you tour by train, in EU/US, you tour by van.
Q7：朋克搖滾對你來說，是什麼？
A7：這是一個很難回答的問題，我曾經寫過一篇很長的文章，我可以發給你(點擊閱讀 你Y叫誰朋克？by Deniz Tek)，朋克搖滾是70年代後期的一種型，可能就火了2/3年吧，然後就死了。那時候是反抗當時的音樂形態的音樂。是一種反抗的音樂。朋克音樂的結構很簡單，很基本，很吵，很野，你不需要很棒的技術就能玩，任何人都可以玩。這是一種態度。而當時，我們樂隊已成形，但我還在上高中的時候，你可以說我玩的音樂是車庫，我不知道怎麼演奏，但在70年代中期，我已經很會彈了。（可能這是為什麼Deniz Tek覺得自己的新專輯不是朋克而是搖滾吧對不對）
Q7: What is punk rock to you?
A7: That's a very difficult question, I wrote a long article about that, I can send you a copy(Click to read WHO YOU CALLIN』 A PUNK ? Written by Deniz Tek), punk rock is really a style which evolved in the late 70s, it lasted about 2/3 years, by 78/79, it's finished. It's an reaction against the established music at the time. It was protest music. The feature of punk music is basic, minimal, loud, aggressive and you didn't have to have technic, anybody can play it. That's the attitude. By then, we were already an established band, but when I was in high school, you can say that I was playing garage music, I didn't know how to play, by the middle 70s, I played pretty good.
Birdman Logo 標誌
Q8：樂隊是怎麼成功的？如何為大眾所知？（Radio Birdman）
A8: 對的時間，對的地方，對的人，對的東西。在當時的澳大利亞雪梨，人們需要某些東西，我們剛好有他們想要的。我們給了他們當時音樂圈不能給他們的東西，也就是讓人激動，興奮和充滿能量的熱烈音樂。（誰是那些對的人？）一開始，只是我們的一些好朋友，然後好朋友們帶來了他們的好朋友，然後好朋友的好朋友帶來他們的好朋友，大家感覺參加了一個秘密俱樂部，覺得特別酷，當時非常特別，就成了知道Radio Birdman的一個小圈子，其他人不知道，所以圈子裡的人覺得很不同，他們有樂隊的徽章，標誌，他們開始穿一樣的衣服之類的等等。
Q8: How did it take off? How did it become well known? (Radio Birdman)
A8: Right place, at the right time, with the right stuff. In Sydny, Australia. People needed something, we had the stuff they wanted. We provided the music the rest of the music scene didn't have, which was excitment, passion and energy. ( Who were the right people). Enesially, it was just our friends, that came to see us play, then they brought their friends, they brought their friends, it sorted grows a little scene. Because it was unique at the time, it felt like they were in a private club, like we were cool, we are hip people, we know Radio Birdman, and those other people don't know about it. It makes people feel special, they have their badge, symbol, they start to look the same, dress the same way, and it becomes a scene.
Q9：你覺得人們怎樣才能保持原創？而不是聽從商業的需求？
A9：首先，你需要一份工作，你不需要用音樂來掙錢。如果你用音樂養活自己，那麼你需要付房租，養家餬口，那些，那樣的話，你就立馬限制了它，所以被逼得不得不商業。所以第一件事就是找一份工作，然後你就可以創作你想做的音樂，我們從來沒想過我們會功成名就，我們沒有想出名，想成功，我們只是在做我們想做的音樂，從不妥協。
Q9: How do you think people can keep being original? Instead of listening to what the commercial side of demands?
A9: The first thing is, that, you have to have a job, a real job. So you don't depend on music for money. If you depend on music to pay the rent, support the family, things like that, then you immidiately restrict it, what you can do, it has to be commercial. So the first requirement is to have another job, then you can do the music you want, you don't have to obey anyone. We didn't have any need to be commercial, we didn't expect to be ever famous or successful, we didn't want to be famouse and successful, we just want to do whatever music we wanted to do, no compromise.
Q10： 對年輕一代的搖滾青年，你有什麼建議？
A10： 找工作！養活自己！不要聽其他人的任何狗屁。做你想做的事情。
Q10: What advice do you have for the younger generation who wants to do Rock n Roll?
A10: GET A JOB! So you can support yourself. Don't take any shit from anybody. Do what you want!
Q11：樂隊如何在新的場地發揮好？有什麼必要元素嗎？
A11: 沒有必要元素。你做你所做，做你最擅長的，大家會跟隨你。
Q11: What is the essensical thing for a band to play a good show in a new venue to a new audience.
A11: There is no special advice for that. You do what you wanna do, What's best for you, people will follow if they can.
Q12：為什麼還在堅持巡演？怎麼做到的？
A12: 我很享受巡演。像你（本次Deniz Tek的巡演經理）和Chachy（本次巡演的總策劃）這樣的朋友幫助我們，我們有最棒的巡演經理，他們為我們安排所有的演出，做所有辛苦的工作，而我們只要保證到場演出就行了。
Q12: Why do you keep touring? How do you manage to do it?
A12: I enjoy it. People like you, help us, people like Chachy (Round Eye's front man), we have great tour managers, tour agencies set it up for us, and do all the hard work of organizing a tour, so we just have to show up and play.
Round Eye @YuYinTang Shanghai
Q13：哪個場地讓你最印象深刻，哪個暖場樂隊？
A13：所有的暖場樂隊都很棒（在這裡列舉一下全國各地的牛逼樂隊們，北京的Sino Hearts, Holy Shit, 太原的老狗，杭州的切和DJL，蘇州的Fourth, 上海的Nerve Panssenger, Pinball City）,最棒的場地是北京的壇，還有這兒（上海育音堂）
Q13: Which venues impressed you the most, and which local acts?
A13: All local acts are pretty good. (Here I have to mention them, because they are sooooo good. Sino Heart, Holy Shit in Beijing, Old Dogs in Taiyuan, Qie, Dear John Letter in Hangzhou, Fourth in Suzhou, Nerve passengers, Pinball City in Shanghai). The best venue is Temple in Beijing and here (YuYinTang in Shanghai).
Q14：你覺得中國的聽眾怎麼樣？
A14：跟其他地方的聽眾沒什麼兩樣，非常好的人，他們聽歌的態度都在那兒，他們想玩兒，他們想蹦迪，他們想要好的的音樂。真的一模一樣！
Q14: What do you think about Chinese audience?
A14: They are same as anywhere else, good people, they come with the right attitude, they wanna have fun, they wanna dance, they wanna hear good music, it's no difference, really.
Q15：能告訴我除了這場巡演，最近的一次巡演是什麼時候嗎？
A15：我們在澳大利亞巡了一圈，在主要的一些城市，是跟另一澳大利亞樂隊Died Pretty,一起巡的，我們在更大的場地演，1000人，所有的都售罄！
Q15: Could you tell me the last tour, when was it?
A15: We did all the major cities in Australia, it was a combined tour with an Australian band called: Died Pretty. We were playing venues, like 1000 people capacity, sold out, all of them!
澳大利亞BIRDMAND演出時的千人場地Big Venue in Australia When Birdman Played
Q16：大的和小的演出有什麼區別？
A16：分別有優劣勢。大的場地聲音很棒，當你把音量開到最大，撥動你的琴弦，身後兩個巨大AMP發出的聲音能造成你能感知的聲波，鎮到你的後背，感覺太好了! 但是大的場地一般在觀眾和舞臺之間設置了很大的安全距離，但像今天在育音堂，感覺人們很近，伸手就能摸到他們。
Q16: How is it different between big shows like that and small shows?
A16: Each one has its advantages and disadvantages. I like the big shows because of 2 big Marshall Ampifiers, turn them up very loud, when you hit a cord, you can feel the pressure wave, hit you at the back, it feels great! That's the advantage of it,because of the sound, so big! The disadvantage is that there is a distance between the audience and the band. But tonight, the audience is right there, I can reach out and touch them if I want. In big shows, there are a bit of a gap.
6.16 Deniz Tek @Taiyuan Boo Livehouse
Q17：你覺得朋克音樂和暴力有什麼聯繫？
A17：在以前，有一些朋克樂隊是有意製造暴亂的。因為當時朋克的性質就比較負面。他們反對任何東西。打架，毀壞東西，是朋克圈的一個現象，影響非常不好。（但是為什麼他們要那麼做？）因為他們覺得這是一種抗議的形式吧，他們希望得到大家的關注，就像一個愛哭的嬰兒，把叉子扔在地上，哭鬧！
Q17: What do you think of punk music and voilence?
A17: Back to the old days, some punk bands are deleborately voilent. That was the whole nagative nature of the punk scene. They were ANTI everything, fighting, causing injuries, and causing damage, it's a part of their scene, which was very bad. (But Why did they want to do that?) I suppose it's a form of protest. (Is it because they were not happy? Why?) Its a form of attention getting. Look at me, I am making a problem. It's like a baby throwing somthing out on the floor. It's like that.
Radio Birdman
Q18：70年代澳大利亞的搖滾圈是什麼樣的？那時的生活是什麼樣的？
A18：那時候的音樂特別無聊乏味，電子布魯斯，Boogie，很沒意思！就像我剛剛提到的，我們剛好出現在對的時間，對的地方，那是一張白紙，我們要在上面寫什麼都行，組什麼樣的圈子都行。
Q18: What was the Rock scene like in the 70s in Australia? What were your lives like?
A18: In the early 70s in Australia, there was very borning music, Electric blues, Boogie, nothing really interesting is going on. That's what I was saying before, being in the right place at the right time. It was the right time because there was nothing going on, it was a blank page, we can write anything we want on, when there is nothing going on, you make your own scene, your only fun.
Q19: 最後一個問題，什麼激發你寫歌的靈感？
A19： 任何事情都有可能，大多數是從聽其他的優秀樂隊來，也是最重要的來源。對歌詞來說，周圍發生的事情能激發創作欲望。在日本的時候，我在倒時差，所有凌晨很早就在一個咖啡館喝咖啡，大概6點鐘，我看到街對面，有一對兩人正在吵架。他們很明顯玩到了天亮，但是發生了爭吵。我不能聽到任何聲音，但是我看到他們的動作，其中一個會轉身走開，然後又回來，然後另一個轉身走開，又回來，重複。我就拿起了我的筆，寫下了我腦子裡想像的故事，寫成了一首歌，叫「Corner Conversation」。
只要仔細觀察，靈感會找上門來。
Q19: What inspire you to write songs?
A19: Anything can inspire that. I can be inspired by listening to other people's music, probably the most important, and then for the lyrics, events that happened which I saw would inspire me too. In Japan I was on a tour, I was jeg leged, I was up really early in the morning like 6 o clock, I was sitting in a cafe, having coffee, on the street outside, there was a couple who were fighting, a man and a woman, they were up all night, they were going home after being in clubs and stuff, they are having a disagreement, I couldn't hear anything, just see them through the window, I just imagine this story, what they were talking about. One would walk off, and turn around, then come back, then the other one would walk off, they couldn't get it together. So I just got my pen out and wrote this story about those 2 people. I made it into a song: Corner Conversation, on the album of Minal Twsiter. Anything can be an inspration, you will just have to observe life, and it will come to you.
CORNER CONVERSATION (Lyrics) by Deniz Tek
MR LEOPARDSKIN COAT, MISS MICROSKIRT
THEY'RE LOOKING LIKE THEY BEEN UP ALL NIGHT
DOWN ON THE CORNER, WAITING FOR THE PEDESTRIAN LIGHT
TO MAKE THE CHANGE FROM ORANGE TO WHITE
THE LIGHT CHANGED
THEY STAYED THE SAME
THEY REMAINED, TALKING PAIN
THEIR LOVE DRAINED
IT'S ALWAYS THIS WAY
SHE WALKED OFF, HE CALLED HER NAME
SHE STOPPED AND TURNED. SPAT MEAN WORDS
SHE COULDN'T LET IT BE OK
THEY JUST COULD NOT SEE THE WAY
THE LIGHT CHANGED
THEY STAYED THE SAME
THEY REMAINED, TALKING PAIN
THEIR LOVE DRAINED
IT'S ALWAYS THIS WAY
HE WALKED AWAY AT THE LIGHT SHE STAYED
HE DIDN'T LOOK AROUND, SHE DIDN'T TURN AROUND
SHE TRIED NOT TO CRY, SHE HAD NOWHERE TO HIDE
HER EYES COULDN』T LIE AS TEARDROPS SLIDE
FROM THE RIVERS AND THE CANYONS OF HER MIND
THE LIGHT CHANGED
THEY STAYED THE SAME
THEY REMAINED, TALKING PAIN
THEIR LOVE DRAINED
IT'S ALWAYS THIS WAY
ALWAYS THIS WAYCORNER CONVERSATION (D Tek)
MR LEOPARDSKIN COAT, MISS MICROSKIRT
THEY'RE LOOKING LIKE THEY BEEN UP ALL NIGHT
DOWN ON THE CORNER, WAITING FOR THE PEDESTRIAN LIGHT
TO MAKE THE CHANGE FROM ORANGE TO WHITE
THE LIGHT CHANGED
THEY STAYED THE SAME
THEY REMAINED, TALKING PAIN
THEIR LOVE DRAINED
IT'S ALWAYS THIS WAY
SHE WALKED OFF, HE CALLED HER NAME
SHE STOPPED AND TURNED. SPAT MEAN WORDS
SHE COULDN'T LET IT BE OK
THEY JUST COULD NOT SEE THE WAY
THE LIGHT CHANGED
THEY STAYED THE SAME
THEY REMAINED, TALKING PAIN
THEIR LOVE DRAINED
IT'S ALWAYS THIS WAY
HE WALKED AWAY AT THE LIGHT SHE STAYED
HE DIDN'T LOOK AROUND, SHE DIDN'T TURN AROUND
SHE TRIED NOT TO CRY, SHE HAD NOWHERE TO HIDE
HER EYES COULDN』T LIE AS TEARDROPS SLIDE
FROM THE RIVERS AND THE CANYONS OF HER MIND
THE LIGHT CHANGED
THEY STAYED THE SAME
THEY REMAINED, TALKING PAIN
THEIR LOVE DRAINED
IT'S ALWAYS THIS WAY
ALWAYS THIS WAY
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