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Tunde Adebimpe《Thee Black Boltz》[Hi-Res][24Bit-96kHz][FLAC/分轨]
专辑名称：Thee Black Boltz 歌手名称：Tunde Adebimpe 发行时间：2025-04-18 发行公司：Sub Pop Records For the last 24 years, Tunde Adebimpe has largely been known as the co-founder, co-vocalist and principal songwriter for TV On The Radio. The mostly-black, art-rock band triumphed through two decades of volatile cultural change to become one of the most beloved, enduring and influential groups from New York City’s early-2000s rock scene. Though Tunde’s poetic songwriting and transparent, towering vocals are central to the band’s dissonant sound, TV On The Radio, has and always will be a collaboration between a group of singular musicians. Tunde’s personal story exists on a parallel path, as a sort of creative polymath. He is a musician but also an illustrator and painter. He’s a former animator and one-time stop-motion filmmaker. He is a television and film actor. And now he is also a solo artist, with his first-ever formal solo album, Thee Black Boltz (Sub Pop, 2025). Tunde initially conceived of the album in 2019, while TV On The Radio was on a break. Two years later, as the world was emerging out of the global Covid pandemic, he started to put ideas down on paper; specifically, a notebook, which captures a free-thinking mix of words, illustrations and ideas. It is how Tunde begins most of his projects. Included in this notebook was a list of musical references and visual sketches that constituted what he calls, “mixtape of emotions the music could evoke. A feeling map of sorts.” He started capturing those ideas in 2021 with the help of multi-instrumentalist Wilder Zoby (Run The Jewels), with whom he shares a studio with in Los Angeles. A child of Nigerian immigrants who came to America for a better life, Tunde split his youth between Nigeria and Pittsburgh. His father was a medical professional who loved to doodle and draw, and in doing so, ignited a passion for visual art in his children. “I remember the first time I saw that he could draw, like really draw,” Tunde remembers, “it was like he revealed some superpower. From then on, I was always doodling and he was very encouraging.” Tunde moved to New York to attend college and found himself amongst a group of friends immersed in indie rock, tape-trading and zine-making. He discovered that creative expression, often visual, was a language he felt most comfortable with; that art allowed him to best communicate his feelings and also to make sense of the world around him. NYU Film School followed (much to his parents’ chagrin), and it was there Tunde developed an interest in the world of stop-motion animation. It ultimately led to a job working on MTV’s cult hit, “Celebrity Deathmatch.” Film school is also where Tunde was introduced to acting. “I thought I wanted to be a director, but I didn’t feel comfortable giving anyone real instruction,” he laughs. “But I took direction well, and being in front of the camera felt more collaborative, more my speed.” Tunde’s first official role in front of the camera was in a classmate’s film, 2001’s “Jump Tomorrow.” Subsequently, Tunde has appeared in several television and film projects, including critically acclaimed roles in “Rachel Getting Married” (2008), “Spider Man Homecoming” (2017), “Twisters” (2024) and “Star Wars: Skeleton Crew” (2024). Around the same time as he was shooting his first movie, Tunde was also experimenting with making music. Making 4-track recordings in his bedroom and doing noise shows with his friends utilized the same creative muscles, he found, as making tapes and zines. “I don’t play an instrument. But it was one of the first times that I really got into just a punk ethos of like, if you have an idea, just get it out. It doesn’t need to be perfect. You don’t need a label or billboards. You can do everything yourself.” It was doing these 4-track songs and moving to Williamsburg in 2000 that led Tunde to meet Dave Sitek and his brother, and their collective lo-fi recordings became the genesis for TV On The Radio. Thee Black Boltz is not a TV On The Radio album. But in a lot of ways, the excitement of doing something on his own for the first time ignited a similar spark in him as the early TV On The Radio days. The songwriting process is the same, he says, but with his TVOTR bandmates, Tunde knows he doesn’t always have to complete his ideas. “I’ve been doing this thing with this group of people for so long, that I can just have a vague sketch of a concept and I know Jaleel or Kyp will have five brilliant ideas on where it can go. But for Thee Black Boltz, I didn’t have that scaffolding to hang on. That was both terrifying and exhilarating.” At the heart of the album is its title, a nod to Tunde’s propensity to write and sing about the human condition, in all its forms, under all its stressors, both big and small. It is his response to the macro unease of a post-pandemic world careening towards violent authoritarianism and the personal grief that has come from loss in recent years, specifically the sudden passing of his younger sister while making this album. Thee Black Boltz is Tunde’s desperate grasping of small moments of joy amidst the dissonance and sadness, any way he can. Making this album, he says, was his way of processing everything. “It was my way of building a rock or a platform for myself in the middle of this fucking ocean.” And thus, Thee Black Boltz. As he writes in his notebook, “The sparks of inspiration/motivation/hope that flash up in the midst of (and sometimes as a result of) deep grief, depression or despair. Sort of like electrons building up in storm clouds clashing until they fire off lightning and illuminate a way out, if only for a second.” “Also,” he adds. “It’s a good name for a cool metal band, and I think that most people would describe me as akin to a very cool metal band.” 01. Thee Black Boltz 02. Magnetic 03. Ate The Moon 04. Pinstack 05. Drop 06. ILY 07. The Most 08. God Knows 09. Blue 10. Somebody New 11. Streetlight Nuevo 《Thee Black Boltz》：在24Bit/96kHz的静电中，捕捉悲伤与希望交错的致命闪光——当TV On The Radio的灵魂化身，在寂静的洛杉矶录音室里，独自面对丧亲之痛与时代眩晕——他用十一首电子哀歌，在绝望的积雨云中，为自己制造了一次次名为“黑色霹雳”的、转瞬即逝的救赎。 一、多面体艺术家的终极独白：当“电视”关闭，“广播”继续 过去二十四年来，Tunde Adebimpe 这个名字几乎与 TV On The Radio 这个传奇的艺术摇滚乐队融为一体。作为这支纽约乐队的主唱、主创之一，他充满诗意的歌词、高亢而透明的人声，构成了乐队那不和谐音响中最具辨识度、也最动人的部分。他是一位音乐家，但更是一个创造力的多面体：插画家、画家、前动画师、停格电影人，还是《蜘蛛侠：英雄归来》里的反派、《龙卷风》里的科学家。 然而，在乐队休整的2019年，一个想法开始滋长。2021年，当世界从新冠大流行的阴影中蹒跚走出，他开始在笔记本上记下思绪——那是文字、插图和想法的自由混合体，是他所有项目的起点。这本笔记里有一份音乐参考和视觉草图的清单，他称之为“音乐所能唤起的情感的混音带，一种感觉地图”。 于是，在洛杉矶与多乐器演奏家Wilder Zoby的合作下，Adebimpe的首张个人正式专辑《Thee Black Boltz》诞生了。这不是一张TV On The Radio的专辑。但他说，独自完成某事带来的兴奋感，点燃了与乐队早期相似的火花。“为这张专辑，我没有了（乐队成员）那可以依靠的脚手架。这既令人恐惧，也令人振奋。” 二、“黑色霹雳”：悲伤积雨云中的希望闪电 专辑的核心，是它的标题。 “Thee Black Boltz”——他如此书写。Adebimpe解释道，这指的是“在（有时正是由于）深重悲痛、抑郁或绝望之中，迸发出的灵感/动力/希望的火花。就像在暴风云中积聚、碰撞直至迸发闪电的电子，照亮一条出路，哪怕只有一秒钟。” 这个意象，精准地概括了专辑的创作背景与情感核心。这是他对后疫情世界滑向暴力威权主义的宏观不安的回应，更是对近年来个人丧失——特别是制作这张专辑期间，他妹妹的突然离世——所带来的深切悲痛的回应。这张专辑是他在混乱与悲伤中，不顾一切地攫取微小快乐瞬间的方式，是他“在汪洋中为自己建造一块岩石或平台”的方式。 “同时，”他补充道，带着一丝标志性的、狡黠的幽默，“这也是一个很酷的金属乐队的好名字，而且我觉得大多数人都会形容我类似于一支非常酷的金属乐队。” 三、声音地图：十一座悲伤与欢愉的临时纪念碑 在笔记本的感觉地图指引下，专辑的十一首曲目勾勒出一条穿越不同情绪地形的蜿蜒路径。 《Thee Black Boltz》：同名开篇曲，很可能是宣言，也是方法论。它或许会用工业感的节拍、扭曲的合成器音效，模拟出“电子积聚”的紧张感，直到Adebimpe标志性的嗓音如闪电般撕裂声场，唱出那个核心比喻。 《Magnetic》：可能关于吸引力、关于那些在黑暗中依然将我们拉向彼此或拉向毁灭的无形力量。音乐或许带有一种催眠般的、循环的质感，模拟磁力的不可抗拒。 《Ate The Moon》：一个超现实的、充满神话感的标题。可能关于贪婪、野心，或是吞噬了光明的疯狂。Adebimpe的想象力在这里可以自由驰骋，或许搭配迷幻或低保真的制作。 《Pinstack》：可能指保龄球瓶，暗示着被轻易击倒的脆弱状态。也可能指向某种精准排列的秩序（如细条纹西装“pinstripe”），以及随后的混乱。音乐可能充满突然的节奏中断与重建。 《Drop》：既是“坠落”，也是电子音乐中的“高潮段落”。这可能是一首关于失重、放弃，或恰恰相反，关于等待最终释放时刻的歌曲。或许在歌曲中段会有一个戏剧性的、宣泄性的“Drop”。 《ILY》：“I Love You”的缩写。在悲伤的背景下，这首情歌注定充满复杂性。它可能不是甜蜜的，而是沉重的、充满疑虑的，或是在绝望中抓住的救命稻草。Adebimpe的人声表现力将在此经受考验。 《The Most》：可能关于极限，关于“最……”的状态。是“我付出了我最深的爱”，还是“我承受了最重的伤”？音乐可能走向一种极简的、近乎枯竭的，或是一种饱和的、达到顶点的状态。 《God Knows》：标题透露着一种在超越性力量面前的无力与托付。在失去亲人的语境下，这首歌可能是一首直白的、充满灵魂拷问的哀歌，也可能是对未知的、苦涩的接受。 《Blue》：忧郁的颜色，也是布鲁斯的根基。这首歌很可能是一首简约、缓慢、浸透悲伤的蓝调变体，Adebimpe用声音绘制一幅情感的单色画。 《Somebody New》：关于转变、重生，或仅仅是伪装。在悲痛之后，成为“某个新的人”是可能的吗？还是只是一种生存策略？音乐可能体现出一种试探性的、正在成形中的质感。 《Streetlight Nuevo》：以“新街灯”作结。这可能是一个充满希望的意象——在黑暗中点亮新的指引；也可能带有疏离感——人工光源下的孤独城市风景。它为专辑画上一个开放性的、暧昧的句号，不是解决，而是指向了下一步。 四、Hi-Res声景：为何“感觉地图”需要24Bit/96kHz的精密测绘？ 对于一张如此依赖人声的细微表情、合成器纹理的复杂层次，以及动态的情感对比的专辑，高解析度音频是展开那张“感觉地图”的终极工具。 人声的“地震仪”：Adebimpe的演唱是TVOTR魅力的核心，在个人作品中更是唯一的叙事锚点。他的声音能从耳语般的低吟，瞬间升至福音式的嘶吼。24Bit/96kHz能捕捉到他声带每一次颤动的完整谐波频谱，那些即兴的哽咽、呼吸的停顿、嘶吼边缘的破音，都是情感最真实的载体。在《God Knows》或《Blue》中，这种人声的“肉身性”是理解悲痛深度的关键。 电子声效的“解剖学”：与Wilder Zoby的合作，意味着专辑会有丰富的电子音色设计。从《Thee Black Boltz》中可能模拟雷鸣的低频脉冲，到《Drop》中可能出现的锐利数字合成器Lead，Hi-Res格式能清晰呈现这些声音的空间定位、频率演变与动态衰减。你能听到一个贝斯音色是如何从纯净正弦波逐渐加入失真的，也能分辨背景氛围音效中叠加了多少层细微的噪点。 动态的“心电图”：专辑情感的核心在于“霹雳”——那种在绵长压抑后突然的爆发。这意味着音乐会有极端的动态设计。宽广的动态范围确保了《Pinstack》中可能存在的、几乎无声的脆弱时刻不被底噪淹没，也让《Thee Black Boltz》标题曲中那象征“闪电”的强奏段落，拥有足以震撼心灵的冲击力，而非刺耳的音量。 空间的“真空与压力”：Adebimpe提到“在汪洋中建造岩石”，这暗示了专辑可能有两种对立的声场：一种是浩瀚、淹没性的混响空间（象征海洋/悲伤），另一种是近距离、干燥、具有实体感的亲密空间（象征岩石/作品）。高解析度录音能精确呈现这两种空间的质感对比，增强聆听的心理体验。 五、文化坐标：在集体创伤时代，个人创作的救赎 《Thee Black Boltz》的发行，超越了一张个人专辑的范畴。它是一个在集体创伤时代（疫情、政治撕裂、战争）与深重个人悲剧夹缝中的艺术家，用创作进行自救的生动案例。 它延续了非裔离散艺术家（Adebimpe是尼日利亚移民后代）将苦难转化为超验艺术的深厚传统，但滤去了直接的抗议姿态，转向更内省、更抽象的情感炼金术。他将宏大的时代不安与私密的丧亲之痛，共同淬炼成那些名为“黑色霹雳”的、既黑暗又闪耀的声响瞬间。 这也是一次关于艺术家身份的宣言。在TV On The Radio的光环下隐匿多年后，Adebimpe用这张专辑证明了，他那些曾分散在动画、绘画、表演中的创造力，最终可以在音乐中找到一个最纯粹、最个人化的汇合点。他证明了，即使不精通乐器，凭借“朋克精神”——“有想法，就把它做出来，不必完美”——和深沉的情感，同样能建造出坚固而动人的声音建筑。 最终，《Thee Black Boltz》是一张关于如何在绝望中继续创造的专辑。它不提供廉价的安慰，而是展示那个痛苦的过程本身——如何在情绪的积雨云中，等待、积聚，直到被那一道属于自己的、撕裂黑暗的闪光所照亮。哪怕只有一秒，也足够写下这首歌。 请在雨夜或风暴将至前聆听 《Thee Black Boltz》这张专辑献给所有在黑暗中等待闪光的人，献给所有用创造对抗湮灭的灵魂，也献给Adebimpe突然离去的妹妹——那份失去，永远地改变了这片声音的云图，也让我们听到的每一道“霹雳”，都带着爱与痛永恒交织的回响。
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发表于 2026-3-2 09:05:54
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微信公众号：xlebbs
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