Drawing Restraint 9 - Gratitude - OPENING亲爱的麦克阿瑟将军

Drawing Restraint 9 - Gratitude - OPENING

亲爱的麦克阿瑟将军

Björk( Bjork )

Gratitude

(Vocals：Will Oldham)

比约克 ( Bjork )

感恩

(主唱：Will Oldham）

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1946年7月13日

亲爱的麦克阿瑟将军

[经您允许]

[我祝愿您身体健康]

[在这炎热的]

[在这酷热中]

[我慢慢拼凑的文字]

（不轻易流淌，只填满我的心房）

最近

你的心

[你取消了捕鲸］

（暂停捕鲸）

[你的举动带来了］

急需的食物

[给我们的社区]

和家庭

我慢慢拼凑的文字

[并不容易流淌，它们只填满了我的心]

（一百万年前的化石）

我送给你

他来自我的家庭

还有古老的海洋

[史前的印象]

现代磷虾

[她喂养着高贵的鲸鱼]

给你长寿

我慢慢拼凑的文字

"不容易流淌" "只能填满我的心

最后，请在酷暑中保重身体。

谨上

静香

July 13, 1946

Dear General MacArthur,

[With your permission]

[I offer wishes of good health]

[During this heat]

That burns anything

[The words I slowly put together]

[Do not flow easily, they only fill my heart]

Recently, [fulfilling]

Your heart

[You removed the whaling]

[Moratorium.]

[Your gesture brings]

A much needed food

[To our community]

And families

The words I slowly put together

[Do not flow easily, they only fill my heart]

[A million year old fossil]

I send to you

his comes from my family

And the ancient sea

[A prehistoric impression]

Of the modern krill

[She feeds the noble whale]

And offers you [longevity]

The words I slowly put together

Do not flow easily, they only fill my heart

Finally, please take good care in the heat.

Sincerely yours,

[Shizuka]

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虽然比约克以前也为电影创作过音乐，但她与马修-巴尼在《Drawing Restraint 9》中的合作则更为深入和自然，考虑到他们是生活中的伴侣（现在也是艺术上的伴侣），这也是合情合理的。

比约克为影片创作的作品反映了当代与古代、有机与技术的融合，这些主题她在自己的作品中也曾涉及，尤其是在后来的专辑《Medúlla》中。

在《Drawing Restraint 9》的视觉和音乐部分，西方与东方相遇的主题也很突出：

影片在长崎湾拍摄，描述了一对西方客人（由巴尼和比约克饰演）造访一艘日本捕鲸船，并在暴风雨来临时进化成鲸鱼以躲避溺水。

影片中的服饰灵感来自神道婚袍、茶道和捕鲸船文化，这些细节也与比约克的音乐相呼应：

 Drawing Restraint 9》以 "Gratitude"（感恩）开头，用威尔-奥尔德姆（Will Oldham）脆弱的歌声、儿童合唱团和齐娜-帕金斯（Zeena Parkins）的竖琴，将一位日本公民 1946 年写给麦克阿瑟将军的信娓娓道来。

信中感谢麦克阿瑟将军解除捕鲸禁令，作者的感激之情来自 "我的家人和古老的海洋"，突出了影片中生命、死亡、牺牲和转变之间的联系。

同时，怀旧的 "Shimenawa "和 "Antarctic Return "融入了 "sho"（由 "sho "演奏家 Mayumi Miyata 在此演奏），这是一种日本自由簧口风琴，能产生微妙而复杂的音群，听起来既有机又空灵。

专辑的高潮曲目 "全息入口点 "受到能剧传统的启发；粗犷与哀怨交替的人声和木块打击乐是简约的精髓，也正因为如此简约，才更显震撼和阴森。

同样，"珍珠"（Pearl）中的 "sho "与沉重、原始、类似梅杜拉（Medúlla）的有节奏的呼吸声和喘息声搭配在一起，有时听起来像刮擦声，这再一次表明比约克愿意将那些可能并不传统的美妙声音融入她的作品中，而不会冲淡它们。

也许，《Drawing Restraint 9》最引人注目的地方在于它如何将美与暴力完美地融合在一起并形成鲜明对比。

"龙涎香进行曲》（Ambergris March）闪烁着梦幻般的愉悦，而《猎人船》（Hunter Vessel）则混合了紧张、刺耳的铜管乐和反思的段落。比约克演唱的几首曲目也体现了这种双重性：

她在《沐浴》中的歌声层层递进，舒缓得恰到好处，而在《风暴》中，她的歌声则增加了曲目的混乱力量。

虽然《Drawing Restraint 9》比《Medúlla》更广阔、更抽象，但同样具有挑战性，同样令人受益匪浅，是比约克/巴尼未来合作的好兆头。

Though Björk has written music for films before, her collaboration with Matthew Barney on Drawing Restraint 9 is a much deeper and more natural pairing, which makes sense, considering that they're partners in life (and now in art). Björk's pieces for the film reflect its fusions of the contemporary with the ancient, and the organic with the technological -- themes that she has dealt with in her own work, especially on later albums like Medúlla. The motif of West meeting East is also prominent in the visual and musical halves of Drawing Restraint 9: shot in Nagasaki Bay, the film depicts a pair of occidental guests (played by Barney and Björk) who visit a Japanese whaling ship and evolve into whales to escape drowning when a storm hits. Details such as costumes inspired by Shinto marriage robes, a tea ceremony, and whaling boat culture are echoed in Björk's music: Drawing Restraint 9 begins with "Gratitude," which uses Will Oldham's vulnerable vocals, a children's choir, and Zeena Parkins' harp to bring to life a 1946 letter written to General MacArthur by a Japanese citizen. Thanking the general for lifting the ban on whaling, the writer's gratitude comes from "my family and the ancient sea," underscoring the film's connections between life, death, sacrifice, and transformation. Meanwhile, the wistful "Shimenawa" and "Antarctic Return" incorporate the sho (played here by sho virtuoso Mayumi Miyata), a Japanese free-reed mouth organ that produces subtle and complex tone clusters that sound organic and ethereal at the same time. The album's climactic track, "Holographic Entrypoint," is inspired by the traditions of Noh theater; the alternately gruff and wailing vocals and wood block percussion are the essence of simplicity, and all the more powerful and eerie because they're so simple. Similarly, "Pearl" pairs the sho with heavy, primal, Medúlla-like rhythmic breathing and gasps that sometimes sound like scraping, once again showing Björk's willingness to integrate sounds that might not be conventionally beautiful into her work without diluting them. Perhaps the most striking thing about Drawing Restraint 9 is how seamlessly it blends and contrasts beauty and violence. "Ambergris March" is all sparkling, dreamy delight, while "Hunter Vessel" mixes tense, stabbing brass with reflective passages. The handful of tracks Björk sings on embody this duality as well: the layers of her vocals on "Bath" are appropriately soothing, but on "Storm," they add to the track's chaotic power. Though Drawing Restraint 9 is more expansive and abstract than Medúlla, it's in a similarly challenging and rewarding vein, and bodes well for future Björk/Barney collaborations.