Atari Teenage Riot

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风格: #电子舞曲　#科技舞曲　#硬核科技舞曲　#极端科技舞曲
地区: Germany 德国

艺人介绍

Alec Empire，Hanin Elias和来自斯威士兰的Carl Crack都有着对泛滥的rave运动的厌恶和对Public Enemy，Huggy Bear的喜爱，三个人在成立Atari Teenage Riot最初只是想改变Techno的现状，但随着techno逐渐蜕化成主流泡泡曲，Atari Teenage Riot也改变总体方向，在breakbeat基础上融入Hardcore和Punk成分，加上愤怒的人声和尖锐的抗议性歌词。

1992年Atari Teenage Riot发表第一首单曲&HUNT DOWN THE NAZI&(捕捉纳粹)，这首激进的歌曲自然招到各家唱片店的联合抵制，尤其是那些Techno“专卖店”。然而更多的危险来自于乐队的现场演出中法西斯主义者的攻击，对此Atari Teenage Riot只用一首歌来反击：“Hunt Down and Kill the Nazis&(捕杀纳粹)”。显然这并非绝对理智的口号只会招致纳粹分子更疯狂的反扑，但Hanin Elias认为正式这种毫不妥协的反纳粹理念贯穿了Atari Teenage Riot的整个音乐实践。另一方面，Alec Empire则从Mark Spoon等音乐人的种族主义言论(白人玩techno黑鬼玩hip-hop)中意识到发展Breakbeat以削弱音乐中种族主义的迫切性。

第二年，A.T.R与一家英国主流唱片公司Phonogram签约，花了近半年时间去制作发行两张ep(&Atari Teenage Riot& 和&Kids R United&)。然后把下半年时间花在了与Dinosaur Jr.等乐队的欧洲巡演上。8月，他们的限量单曲&Raverbashing&的发行标志着A.T.R与任何形式的Techno的彻底决裂，与此同时，Phonogram公司却对&Techno-punk&的商业前景极为看好，并极力使A.T.R看起来更像是标准的德国Prodigy。这是A.T.R的三个无政府主义分子绝对无法忍受的，在逃离Phonogram后，Alec Empire在伦敦和柏林创建了自己的厂牌&D.H.R&(Digital Hardcore Recordings，这理所当然成为A.T.R一众的避难所。

1995年三月，在自家厂牌D.H.R下发行双张ep&Speed/Midijunkies& 之后，A.T.R推出了他们的处女大碟《DELETE YOURSELF》。专集吸引了John Peel，A.T.R因而被邀请去BBC参与节目录音。1996年是A.T.R的丰收年，在发行了EP &Sick To Death&和第二张专集《The Future Of War》的同时，A.T.R首次在美国开始了巡演，尽管Hanin Elias因为身孕没有参加演出，巡演还是获得成功，乐队也得到西海岸音乐怪才Beck的邀请，作为其97年春美国巡演的嘉宾。

1999年，&60 Second Wipe Out&的发行将A.T.R的影响进一步扩大，在这张专集里，A.T.R同样用狂暴的碎拍，尖锐的撕裂般的人声，融合Techno, punk, hardcore, grindcore, metal, jungle用以摧毁被流行舞曲霸占的主流电子乐，继续发泄对种族主义的仇恨。

如同美国朋克乐队&Rage Againest The Machine一样，A.T.R的成员既是行动主义者，又是乐观主义者。Carl crack说:&不管我们什么时候发表什么专辑，与音乐相关的东西都在我们的完全控制之下，那里绝对没有妥协。当初每个人都以为我们又是搞跳舞音乐的蠢货，但是现在，连每个蠢货都明白了我们跟他们不是一路货色。因为我们不要什么party，我们只要骚乱，那就是‘持续的噪音——对系统的破坏’”，Alec Empire则更激进的宣称“法西斯必须被毁灭，资本主义必须死亡，体制必须被破坏。。。”

归根结底，A.T.R注重从音乐效果和现场听众情绪上调动起反抗的情绪和能量(他们至今已举行了300多场演出)，对于A.T.R来说，革命的音乐家不需要有深厚的政治理论背景，在音乐中能自然蕴涵着革命的能量和激情，就像Public Enemy(人民公敌)的第一张专集所作的那样。难怪他们对老左派们不屑一顾，对于他们来说，巴枯宁式的激进无政府主义取代了马克思主义，成为行动的准则及目的。Alec Empire就一向自称是左倾激进分子和无可救药的Anarchist(无政府主义者)，“对于(资本主义)体制，我们不打算改变什么，我们只想破坏它，以暴乱之声制造暴乱。”用无政府主义先驱巴枯宁的话来概括A.T.R的音乐，那就是&破坏欲即是创造欲&。没有退让，拒绝和谐，噪音，暴力，混乱和无政府主义，A.T.R启示着年轻时的唯一想象力。

Berlin hardcore dissenters Atari Teenage Riot were among a new generation of German techno artists (also including ATRs Alec Empire, EC80R, Speed Freak, DJ Bleed, etc.) who sought to reconnect music with political radicalism through ever more challenging, experimental hybrids, engaging everything from speed metal and acid to jungle and hardcore punk. Formed in 1992 by Empire, Hanin Elias, and Carl Crack, ATRs controversial first single, Hunting for Nazis, was released by German techno stronghold Force Inc. that same year (Force Inc. owner Achim Szepanski is also known for his commitment to political radicalism). Subsequently the group released a string of singles and full-lengths, all of them instantly recognizable for their brash, noisy fusions of brittle, 200+ bpm breaks, massive guitar riffs, and a good deal of shouting. Similar in motivation to Detroits Underground Resistance or industrial dance group Consolidated, ATR professed a concern with a general conservative shift in the Western political climate (particularly in Germany after the collapse of communism in Russia and Eastern Europe) and for the development of new, overtly political forms of youth culture by way of response.

Somewhat surprisingly, the groups early singles landed them a recording deal with U.K. major Phonogram in 1993, through whom they released a number of singles before skipping out on their contract (the label reportedly wanted more straight-ahead, commercial techno from the group). Using their Phonogram advance for the full-length album they never delivered, ATR formed Digital Hardcore Recordings (DHR) in 1994, the imprint under which they released most of their subsequent material, including the full-lengths Delete Yourself and The Future of War, plus a number of singles and EPs. DHR also expanded to include a number of up-and-coming German artists — including EC8OR and Shizuo — with similar political leanings, and signed a domestic licensing deal with Beastie Boys label Grand Royal in 1996. Partly as a result of that deal and partly through the increasing popularity of ATR member Alec Empire (who released a number of solo full-lengths and singles through Force Inc., Chrome, Mille Plateaux, and Riot Beats, as well as DHR), ATR became one of the first new-school European techno artists to achieve success in America, with alternative radio and MTV picking up on the group in late 1996 and the release early the following year of an American compilation collecting tracks from the first two albums. Their third album 60 Second Wipe Out appeared in 1999 on Elektra. After that record, the band went on hiatus to allow Crack to seek psychiatric treatment and deal with declining health caused by long-simmering addictions. Unfortunately the break was not enough and Crack was found dead in his Berlin apartment on September 6, 2001. The band dissolved soon after, with a live album appearing in 2002 along with a pair of posthumous compilations, Burn, Berlin, Burn and the rarities set Redefine the Enemy.

Atari Teenage Riot　ATR

艺人介绍

最新简评（共30条）

Atari Teenage Riot ATR

艺人介绍

最新简评（共30条）

Atari Teenage Riot　ATR