吴卓玲的⾳乐犹如⼀只变⾊⻰，舒适地在斑斓的⾊彩和栖息地间转换。作为⼀名歌⼿和作曲家，她常在烟雾弥漫的咖啡馆和酒吧演出。作为星期三旅⾏的主唱，她习惯把合成器和电⼦舞曲带到任何地⽅，如⾳乐节、livehouse、甚⾄保利中⼼的俱乐部。“⽐如我最初的梦想只是在⼀个摇滚乐队⾥做⿎⼿或者⻉斯⼿，”说到关于她⻓达15年的⾳乐⽣涯“结果被迫做了主唱。”在幕后， 她坚持⾃学直到27岁成为了成功的制作⼈和混⾳师，她制作的作品包括独⽴摇滚乐队荷尔蒙⼩姐的《象》和说唱歌⼿Kafe Hu的《27, The Code of Lucifer》。她现在也将和KUN以及视觉设计师⺩果⼀起组建⼀个“⼩计划”（Tiny Project），准备尝试⼀些跨界⾳乐和视觉⼀体的新艺术形式。卓玲将新的思路与之前较传统的⼈性化表达⽅式融合起来 ，她跨越电⼦和声学世界的创新能⼒源⾃多年的努⼒。
Wu Zhuoling is somewhat of a musical chameleon, comfortably shifting between a range of colours and habitats. As a singer-songwriter, she’s often found in smoky cafés and bars, performing original folk tunes on an acoustic guitar. As leader of trip-hop band Wednesday’s Trip, she’s used to storming festival stages, livehouses and even clubs in the Poly Centre with synthesizers and electric grooves.
“My initial dream was just to be in a rock band, as a drummer or bassist,” she says of her career that has spanned over 15 years, “then I ended up being kind of forced to the front.”
Behind the scenes, she is a self-taught producer with a staunch work ethnic and collaborations on local productions such as 27, The Code of Lucifer by rapper Kafe Hu, Elephant EP by indie-rockers The Hormones and ‘Tiny Project’ a live sound art group with violinist Kun and artist Wang Guo.
吴卓玲，7岁的时候，彭州附近的河边
Photo courtesy of Wu Zhuoling
吴卓玲是化学教授和基建工程师的女儿,她出生和成⻓都在成都⻄北的彭州。作为一个喜欢绘画极有创造性的孩子,她父母认为她会成为一个艺术家,但音乐在她心中扎了根。 “我最早的关于音乐的记忆应该是在80年代中期,上小学的时候听到哥哥带回家的音乐卡带,其中有刚刚流传到中国的“威猛”乐队(Wham!)的Disco歌曲,当时我就觉得非常新鲜好听,比在收音机或电视上听到的中国国内的音乐都更有活力，旋律过耳不忘。那应该是我第一次听到⻄方流行音乐。”
Daughter of a chemistry professor and an infrastructure engineer, Wu Zhuoling, also known as Julie, was born and raised in Pengzhou, north-west Chengdu. As a creative child who loved to draw, her parents thought she would grow up to be an artist, but music soon found it’s way to her heart.
“My earliest musical memories were around the mid-80s when I was in primary school. My brother brought home a Wham! cassette tape that had just come to China at the time. I remember feeling that disco music was so refreshing, so much more alive than the Chinese music on radio or TV. I’ll never forget first hearing those melodies, it was the first time I heard Western pop music.”
她同许多爱音乐人一样,吴卓玲最早的音乐入口来自90年代后期的“打口带”。 打口带通常在经过中国海关时就被切口处理了。“我会随便挑一些没听过的乐队,或者仅仅是被封面设计所吸引,胡乱买一些来听。后来逐渐发现了一些自己喜欢的乐队,比如爱尔兰的TheCranberries、 美国的REM等等。” 她开始听大量的录音带,并痴迷于那些MTV。还在成都电子科技大学读书的吴卓玲组建一支学生乐队叫“向日葵,” 开始在小酒馆玉林⻄路的老店演出,在当时成都的“地下音乐”圈中认识很多朋友也小有名气。
她开始感到北京在呼唤她：“2000年初期,全国的文化中心都在北京,每个做独立音乐的人都想去到北京。因为在那边能碰到更多同类,看到更多现场演出,也有更大的机会签约音乐厂牌。”
Like many music lovers of her generation, Wu Zhuoling’s gateway to musical discovery began in the late 90s with dakou cassette tapes, imported tapes that were cut to get through Chinese customs. “I’d randomly buy tapes by artists I’d never heard of or liked the album art of and gradually discovered bands I really liked – The Cranberries from Ireland, REM from the States…”
Between listening to tapes, obsessing over MTV and studying at Chengdu University of Electronic Science and Technology, Wu Zhuoling started her first rock band “Sunflower” and played occasionally at the old Little Bar on Yulin West Road, meeting other musicians in the circle and making a bit of a name for herself.
But Beijing was calling. “In early 2000s, the cultural centre of the whole country was in Beijing. All the indie artists wanted to go there to meet more people, see more gigs and have a better shot at a record deal.”
1999年，向日葵乐队，小酒馆
Photo courtesy of Wu Zhuoling
这个故事听起来更像是摇滚回忆录的一部分：“当时我的男友也是玩独立音乐的，恰好他的乐队已经签约了摩登天空，我便辞掉了我在成都优越的工作，义无反顾地投奔了他所在的树村。在那个被称作“摇滚乌托邦”的郊外村庄，和一大群来自五湖四海的摇滚⻘年们住在一起，跟随他们进城看演出，看他们排练，和他们一起赊账喝酒。”
千禧年初的北京，trip-hop这种音乐⻛格在那里的音乐环境中是非常有活力的，“身边很多在北京玩独立音乐的朋友都向我推荐Portishead，还有Massive Attack, Tricky那些乐队，或许是因为他们都觉得我适合玩这一类的音乐吧。” 不久后，星期三旅行便开始了。
“The rest of the story sounds like something out of a rock and roll memoir: “My boyfriend at the time was also doing music. His band got signed to Modern Sky, I quit my amazing job and defected to his ‘forest commune’ without hesitation. It was known as the “rock utopia,” a huge group of rock-and-roll youths from all corners of the country living together, following the band to their shows, watching rehearsals and getting drunk on their bar tabs.”
Amidst this nest of music at the start of the millennium, Zhuoling was introduced to trip-hop. “Friends recommended bands like Portishead, Massive Attack and Tricky, perhaps because they thought I’d suit playing that style.” Wednesday’s Trip formed soon after.
2001年，星期三旅行
Photo courtesy of Wu Zhuoling
但在2003年，非典爆发了，许多人逃离北京，城市的感觉也变的兵荒⻢乱。星期三旅行的首张专辑《秘密任务》拖延了很久才发行，因为2003年还在录音的过程中非典就爆发了。乐队成员四散离京,工 作停滞等状况不断。所以等到2005年它再发行时我已经是一种终于交差了的状态，它能不能火 我也丝毫不关心了。” 尽管专辑备受评论家们的欢迎，但卓玲已对北京感到失望，随即搬到了 ⻄藏去 。“我当时觉得不管怎样我都要去体验一下我想要的生活,以免以后老了会后悔。”
But in 2003 with the outbreak of SARS, many people fled Beijing for good and the city entered a health lockdown and disarray. Wednesday’s Trip’s debut record Secret Mission was delayed for years as a result. “The SARS outbreak came as we were recording – some of the band left Beijing and the whole process stagnated. So when it came out in 2005 it was this sense of final accomplishment, if it did well or not, I didn’t care.” Despite a warm reception from critics, Zhuoling felt at a loss with her purpose in Beijing and left for Tibet. “I felt I had to experience the life I wanted, so I could live without regrets.”
她从北京神秘消失了，隐遁⻄藏，一直在旅行和做零碎的工作。比如在酒吧看全英文小说，修电脑。 两年后，音乐创作再次进入她的生活。
Zhuoling stayed in Lhasa living a ‘reclusive life,’ working odd jobs like bar work, computer repairs and novel translation, only occasionally playing guitar with friends that came to her small courtyard. Two and a half years passed before doing music properly re-entered her life.
2006年，西藏
Photo courtesy of Wu Zhuoling
“有个朋友在我的电脑上安装了一款Fruity Loops软件，我出于好奇，将它打开玩了玩。”她说到关于电子音乐的开始，“呆在西藏的最后一年，我开始学习用电脑制作音乐。那时其实我非常穷，就买了一个便宜实用的MIDI键盘，ESI的keycontrol 25。”
电子制作是星期三旅行音乐的很大一部分，而卓玲对软件和硬件的使用非常客观。“我觉得新的技术对于我的音乐创作有着很大的影响,” 她说 “我在制作音乐和演出的时候主要还是会用到电脑软件,比如Logic Pro和Ableton Live,加上各种MIDI控制器、TC的VoiceLiveTouch人声效果器、Micro Korg合成器、Roland SP-404 SX采样器和一个小的混音台。”
“Early on a friend installed Fruity Loops on my computer and I started playing with it out of curiosity,” she says “then around 2007, I wanted to make computer music but was too poor, so bought a cheap MIDI keyboard and an ESI Key Control 25.” Lured back into the music, Zhuoling moved back to Chengdu in the late 00s and Wednesday’s Trip was revived in 2011.
Electronic production is a key part of Wednesday’s Trip’s spacious, groovy sound and Zhuoling is hugely optimistic about it’s potential to create previously unimaginable sounds. “I think new technology has a huge influence on my music,” she says, “I use Logic Pro and Ableton Live, MIDI controllers, TC’s VoiceLive Touch, Micro Korg synthesizers, a Roland SP-404 SX sampler and a small mixer.”
2015年，小酒馆
Photo courtesy of Wu Zhuoling
“自从今年年初我们更换了成员后，也做了一些比较大的角色和职能上的调整。”目前的星期三客场的阵容配备包括吉他手龚鹤龄和VJ吴騰琳。星期三旅行的声音保留了卓玲自从00年代初一直创造的黑暗的喜怒无常的groove 和Massive Attack的填充低音。 今年他们参加了腾龙洞迷笛音乐节和NUART艺术节，但并不急于在今年录制新的唱片。“希望最终能不辜负歌迷们的期待，推出一张令人满意的新专辑。”
“We made some big changes within the band this year,” she says of current Wednesday’s Trip line-up featuring guitarist Gong Heling a.k.a. Mao Mao and VJ Guo. Their sound retains the dark, moody grooves that Zhuoling has been crafting since the early 00s, eerie vocal harmonies, scratchy synthesizers and entrancing dub-filled bass lines reminiscent of Massive Attack. The band have made several festival appearances this year already, including Tenglong Midi Festival with Dizzy Trip and last month’s NUART Festival at Mintown but are not in a hurry to record a new album this year. “We hope we can live up to our patient fans’ expectations.”
虽然已经有了超过十五年的音乐生涯，但卓玲并不想要被当作榜样。“每个都有的路要走，我的式可能只能作为种参考。”她说，关于她的独乐的旅程，从唱公司到树村到录室再到俱乐部，“或许也是因为我不愿意依赖别，较勤学，耐得住寂寞，才会付出有所得。”因此卓玲更倾向于的式，做的事情，她觉得好的伙伴是创造乐的最重要的元素。
对于那些想要开始个乐队的建议？
“简单地说，就是要找乐上投缘的。这个要求不是很容易就能实现，所以要多耐尝试才可能碰到。”
“Everyone has their own path,” she says of her journey through the music industry, from record labels and boozy rock and roll communes to studios and dance clubs, “hard work and the loneliness that comes with it can eventually pay off.” With a tendency to do things by herself, Zhuoling is still adamant that good partners are the most essential elements of making music.
Any advice for those wanting to start a band?
Find people who love music.
