Travis的德州底下音乐厂牌peek-a-boo，在奥斯丁这样混乱的地方，并不见得鼎鼎大名，但他和他的黑色唇膏毕竟成名了。
www.peekaboorecordes.com.
乐队试听链接： http://www.peekaboorecords.com/blacklipstick/
黑色唇膏
black lipstick
On their debut album, Converted Thieves, Black Lipstick tackles the great themes: blowing off work, getting F'd up, getting by, fate, divine intervention, death, determination, stealing girlfriends and keeping them. Thankfully, it's done with the fiery passion, biting wit and fucking blazing rffage these lofty subjects deserve.
在他们的第一张专辑，Converted Thieves里，Black Lipstick倒是关注了一下宏大的主题，比如失业，宗教，死亡，命运，决心，第三者等等。值得庆幸的是，他们确实拥有与之相配的火热的激情，敏锐的智慧和令人炫目的音乐风格。
A little background... Singer/guitarist Phillip Niemeyer grew up eight blocks from Doug Sahm in San Antonio, Texas. After being kicked out of the elementary school choir and twice failing to qualify for the high school talent show, Phillip learned to sing by belting along with the only examples he had -- those "singers who couldn't sing," as David Berman put it. He does more damage with his God-given monotone than the whole cast of American Idol. But do not confuse his vocal limitations with sarcasm. He means every word.
一点背景。。。。。。主唱兼吉他手 Phillip Niemeyer出生在德州圣安东尼奥的繁华街区。在经历过被小学唱诗班踢出来和两次失败的高中文艺表演以后，Phillip学会了像他的偶像们，那些被David Berman称为不会唱歌的摇滚歌星那样唱歌。他的天生的破坏力可并不比别的美国偶像们差。（他是个很有表演欲望的人。舞台动作虽然不像Travis那么木讷，但是也并不出位）。
Elizabeth Nottingham played drums for the first time the very day Black Lipstick started and coaxes her beats out of days spent driving around with her windows down, listening to the hip-hop/R&B station BEAT 104.3.
鼓手Elizabeth Nottinghan在Black Lipstick组建时才第一次打鼓。她的勤学苦练史就是一边开车四处游逛一边跟着HIP-HOP/R&B电台音乐 在方向盘上敲拍子。(这个女孩很柔弱秀气，戴着黑框眼镜，敲起鼓来却大气磅礴，
Travis Higdon steps to the mic on a few songs and is responsible for most of the major riffage. He also adds the occasional (and occasionally convincing) drunk Nicky Hopkins impersonation on piano.
Travis Higdon 参与一些效果处理以及主要部分的。他有时也在钢琴上模仿醉酒的Nicky Hopkins。（我太幸运了，在朋友家遇见Travis本人，还有－真见鬼，他的未婚妻。Travis的表演风格是我最欣赏的一种，木讷型。他几乎没有身体动作，也没有表情，如同英国人。但你可以清楚的看出，如果你在意的话，他真的完全沉浸在音乐里。我在玩游戏的时候，写了一张The English Patient，就是为他而写，我很想看他如何表现English 这个词。毫无疑问很难表现，但他毫不费力的让人一眼看出他就是呆滞古板的英国人。事实上，他完全是极度的内向和敏感，尽管对音乐充满感受力。不过，他与其是把摇滚乐当作一种表现情绪和生活态度的手段，不如说是把摇滚乐当作与生俱来，习以为常的职业。就好像蓝调歌手Bryan Lee说的那样，是Blues选择了他，而不是他选择了Blues。对，我这句话是在讽刺某些人。好了，我已经太不专业了，不过翻译文章原本就不是我的本意。）
Steve Garcia joined the band just two months before they began recording Converted Thieves and proves himself the rightful heir to the Telecaster bass he bought from Mike Watt for $150 (true story). Steve also acquired the bass amp Watt used on Double Nickels but pawned it to pay rent.
Steve Garcia 在录制Converted Thieves之前两个月刚刚加入乐队。不过他很快就证明了自己是Mike Watt的贝斯的最佳继承者。此事并非传闻，事实上他以150美元从Mike Watt 手里买来了贝斯。此外他还从Mike Watt那儿买了在Double Nickels里用的电吉他，不过很快就把它送到当铺里换房租了。
Critics from The Village Voice to Seattle Weekly placed the band on par with its vaunted influences, a short list of rock's great trash-poets (VU, TV, Modern Lovers, the Fall). Time Out New York named their debut EP, The Four Kingdoms of Black Lipstick, one of the ten best releases of 2001. Still, praise does not pay the bills, and the band was (is) broke. During the recording of Converted Thieves, Travis was on the dole, Beth made below minimum wage, Steve couldn't even afford a phone and Phillip was the only attorney in town commuting by bus & bicycle.
从“乡村之声”到“西雅图周刊”，乐评界纷纷把这只乐队和他们自认为受到影响的乐队们相提并论。在这个影响BL的乐队单子上，有一系列的摇滚垃圾诗人，包括VU, TV, Modern Lovers, the Fall等等。Time Out New York 把他们的第一张专辑，The Four Kingdoms of Black Lipstick，评为2001年最佳唱片之一。然而，赞誉并不能付房租，乐队成员一度破产。在录制Converted Thieves时，Travis 在领失业救济金，Beth 领的是最低工资，Steve甚至装不起电话，Phililip则是城里唯一一个不得使用公交车和自行车的律师。
Yet, determined, they took their money troubles ("Ease Back"), shame ("Hot Sinners") and doubts ("Dirges Are Downers") as ingredients, seasoning them with small victories ("Serpents," "The Memorial Day Miracle") and eternal weekends ("Corporate Happy Hour," "Yesterday's Horoscope Was Right"). The result is a serious record that seriously wails. Converted Thieves is a voice from the present urging one to live in the now, and it rocks like a labor of love on its day off.
然而，他们把这些遭遇，金钱上的捉襟见肘 （Ease Back）, 羞耻感 （Hot Sinners）和疑惑 （Dirges Are Downers）都变成了音乐的一部分，以小小的胜利 （Serpents, The Memorial Day Miracle）以及永恒的周末 （Corporate Happy Hour, Yesterday’s Horoscope Was Right）做调味剂，做出了一张真实表现着人生百味的严肃的音乐唱片。Converted Thieves是来自现实世界的声音，如同一个陷入爱河的蓝领工人在享受度假，敦促着人们活在当下。
Musically, the album swaggers from dark choogle to incandescent shimmer to soaring guitorchestra -- a dynamic only achieved with instruments motored by human movement -- with rhythms that heartbeats envy and guitar licks that feel like steady sips from a cold beer. Solos simultaneously hit wrong notes and carve symphonies. Lyrically, low puns mesh with high motives to craft a tone that is serious for its refusal to take itself seriously.
从音乐上说，这张专辑在黑暗choogle，白炽微光和声效如盘旋上升的吉他管弦乐之间摇摆不定， 旋律似心跳和琴弦轻弹，如同吸吮一杯冰冷的啤酒。时不时solos杂音响起，切开和谐的旋律。歌词是粗俗的双关语和宏大主题的混合体，不严肃的调调是很明显的，但却显然在以严肃的方式拒绝严肃。
The depth of Converted Thieves sets it apart from the band's "garage rock" contemporaries, and the group's unpretentious, all-too-Texan, party spirit distinguishes them from dour practitioners of "art rock." This is "Rock Rock," made to matter by people who care -- deeply, passionately and truly. As promised in "Voodoo Economics," Black Lipstick will uplift you higher. So roll the windows down and turn the AC on. This is one for the Jeeps, for the walkmans and for summers that last 20 years.
Converted Thieves的深邃把这支乐队的作品和当下的Garage rock区别开来，同时，它的毫不张扬，纯厚的德州味也它从阴沉的art rock里区分出来。这是真正的摇滚，为真正在乎摇滚乐的人而作，那些深深的，真诚的，充满激情的热爱着摇滚乐的人而作。Black Lipstick在Voodoo Ecomonics里保证过，他们将把你的热情挑动的更高。把车窗摇下吧，打开AC。这是一张从每一个吉普车窗呼啸而过的，在每一只Walkman的耳机里传来的，以及将流行20个夏季的酷碟。 |
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