Meat Beat Manifesto

由Jack Danger 領(lǐng)軍的Meat Beat Manifesto 自'88年成軍起，便持續(xù)地在Break Beat，Trip hop，Drum n' Bass等電子舞曲方面嘗試各類實(shí)驗(yàn)，并一再突破工業(yè)舞曲 / 電音的范疇。MBM獨(dú)特的Electro Funk包含大量生動(dòng)靈活Bass節(jié)拍，其影響甚至可及現(xiàn)下極為出名的Chemical Brothers，F(xiàn)uture Sound of London或是Prodigy等。雖并未受到如上述各團(tuán)般的重視， 但MBM仍在各處熱烈擁護(hù)者的支持下不停的在地下埋首於各類獨(dú)特的音樂(lè)實(shí)驗(yàn)。
MBM的音樂(lè)是 HIP HOP與INDUSTRIAL DANCE的合成物，其標(biāo)志是JACK DANGERS一手貝司演奏絕活 噪音之間空靈氛圍的鋪陳?？傮w來(lái)說(shuō)，MBM的作品不太吵鬧，但與大多數(shù)優(yōu)秀的INDUSTRIAL 樂(lè)一樣，在并不多的歌詞中充斥著失意和自毀，并且時(shí)不時(shí)引發(fā)DANGERS輕微的憤怒。MBM的專輯《ARMED AUDIO WARFARE》和《STORM THE STUDIO》直接促 成產(chǎn)生了現(xiàn)今電子樂(lè)界的兩大重要派別：BIG BEAT和DRUM &BASS，并且影響了許多 后來(lái)人，這其中便有PRODIGY和CHEMICAL BROTHERS，當(dāng)然就與SONIC YOUTH沒(méi)有NIRVANA 那么流行一樣，MBM的知名度遠(yuǎn)不及PRODIGY等樂(lè)隊(duì)，甚至MBM今年為PRODIGY在美國(guó)的巡演做了幾場(chǎng)暖場(chǎng)演出，DANGERS對(duì)此一點(diǎn)不作計(jì)較。隨著隊(duì)齡的增大， MBM 的音樂(lè)開(kāi)始多樣化，藝術(shù)性也得到了升華。其新專輯《ACTUAL SOUNDS AND VOICES》雖保留了MBM許多標(biāo)志性的東西，但又新加入了JAZZ、JUNGLE、迷幻等元素，使許多歐美樂(lè)評(píng)家對(duì)它一致叫好。
Beginning in 1987 as an experimental/industrial duo inspired by the cut-and-paste attitudes of hip-hop and dub, Meat Beat Manifesto increasingly became a vehicle for its frontman, Jack Dangers, to explore the emerging electronics of techno, trip-hop, and jungle. Though the group was initially pegged as an industrial act (simply appearing on Wax Trax! was enough to do the trick), its approach to studio recordings influenced many in the new electronica community during the 1990s, even while Dangers remained a superb producer working in much the same way. Born John Corrigan in 1967 in Swindon, England, Dangers played with Jonny Stephens in the pop band Perennial Divide in the mid-'80s. The two formed Meat Beat Manifesto in 1987 initially as a side project, and released the singles "I Got the Fear" and "Strap Down" that year. The dense, danceable material surprised many critics used to the duo's previous work, and the singles received good reviews. Dangers and Stephens left Perennial Divide by 1988 and recorded an album that same year -- using a touring group of up to 13 members for occasional live shows. The tapes were damaged in a fire, so the two recorded Storm the Studio a year later. Just as dense and sample-heavy as the first singles, Storm the Studio included four songs but added three remixes of each -- no need to explain the title -- encompassing high-energy dub, hip-hop, and noise rock. With an American deal through Wax Trax!, Meat Beat Manifesto became known in the U.S. as an industrial band, though Dangers and Stephens felt themselves pigeonholed. The duo moved to the San Francisco area soon after, and formed a rough political collective with the members of Consolidated and the Disposable Heroes of Hiphoprisy. (Jack Dangers and Consolidated's Mark Pistel co-produced early Disposable Heroes material.) Meat Beat Manifesto, meanwhile, continued their audio terrorism with 99%, a 1990 album that added some jazzy rhythms to the collage of noise. That same year, Wax Trax! recycled the remaining tapes from the aborted first album and released them as Armed Audio Warfare. When Dangers and Stephens signed away from Wax Trax! to the major label Elektra in 1992, the duo finally shook the industrial tag that had stuck with them previously. Instead, the media christened the follow-up, Satyricon, a techno album, due to both the duo's tour of the U.S. with Orbital and Ultramarine and the album's groove-heavy update of old synth groups such as Depeche Mode. Dangers' early material began to be name-checked as at least a partial motivation for the trip-hop and drum'n'bass movement, due to the studio mechanics inherent in the music. The late-'90s full-lengths Subliminal Sandwich and Actual Sounds + Voices increased Dangers' devotion to the experimental side of electronica, though his first Meat Beat Manifesto LP of the new millennium (RUOK?) was a more Spartan affair. Dangers moved Meat Beat Manifesto to the Thirsty Ear label in 2005. His first release on the label, At the Center, became part of Thirsty Ear's Blue Series, a series of recordings that explored new avenues of jazz. Keyboardist Craig Taborn, Bad Plus drummer Dave King, and flutist Peter Gordon joined Dangers on the album, which was followed three years later by Autoimmune on Metropolis Records. Dangers has also contributed to the Tino's Breaks series of records released on the Tino Corp. label he co-owns with Ben Stokes (aka DHS), and he has released several solo albums, including 2001's Hello Friends!, 2002's Variaciones Espectrales, and 2004's Forbidden Planet Explored. ~ John Bush, All Music Guide