专访 The Horrors | 不妥协，做我们想做的音乐
2026-7-29
成立二十年，The Horrors 持续以风格独特的声音和不被框定的创作收获听众喜爱，在成员更迭后带来了新作《Night Life》，也将首度开启中国巡演。UPEE 有幸邀请 The Horrors 展开专访，分享关于他们对创作与音乐的感受以及对本次中国之行的期待。乐队成员 Rhys Webb 回答了我们的提问。
UPEE：在不同阶段的 The Horrors 都在声音上有不同的特征，也让作品序列在转型上循序渐进。在已经形成自己的 fanbase 与社群的情况下，在尝试新的声音的时候会不会让你们产生犹豫，乐队自己的标识以及听众的反馈会影响你们的创作吗？
Rhys：The Horrors的声音一直在持续演变，我们热衷于尝试各种乐器、演奏技法与制作技术。对我们而言，这只是顺势而生的发展，不是刻意在曲风上转型。
这些年我们也做出了属于自己的声音。尽管每张专辑都在开拓不同的类型，但一听就能认出这是 The Horrors。我得到最重要的一个感悟就是，永远不要去迎合你臆想中听众或是行业市场想要的东西。一旦这么做，创作就会无聊。The Horrors一贯的准则，就是不受任何妥协，纯粹做出我们真正想做的音乐。
The Horrors sound is constantly evolving, we love to experiment with different instruments, techniques and technology. For us it has been a natural progression rather than a considered change in style. I think we have developed our own sound over the years too.
Although albums explore different landscapes, it always sounds like The Horrors. One of the biggest lessons I have learnt is to never to cater for what you think the audience/ industry want. That is when music becomes boring. The Horrors ethos is to make exactly the music we want to make with no compromise.
UPEE：The Horrors 作为一支在作品水准上十分稳健的乐队，与此同时你们已经是一支成立了二十年的乐队了，你们有遇到过灵感枯竭的时刻吗，如果有你们会怎么对待它？
Rhys：我想这些年来我们有过各种起落。但现在我认为我们正在创作职业生涯中最棒的一些音乐。对我来说，灵感的涌现是自发且难以预料的。如果好的想法没有出现，我认为最好的解决方法就是暂时抽离，等感到放松和受到启发时再回来。
I think we’ve had high points and low points over the years. Right now I think we are making some of the best music of our career. For me writing is spontaneous and unexpected. If good idea aren’t happening I think the best solution is to take a step away and come back when you are feeling relaxed and inspired.
UPEE：《Night Life》也是 The Horrors 成员变动之后的首张作品，你们觉得这个阶段、这个形态的 The Horrors 最为显著的不同是什么，无论是声音、创作或者现场演奏？
Rhys：制作《Night Life》期间最大的改变，是Faris和我在搭档合作上更紧密了。整张专辑大部分词曲创作阶段，乐队核心就只有我们两个人。这段经历其实很特别，它拉近了我们二人的距离，也催生出一种真诚、细腻内敛的写歌的风格。
乐队新加入的三位成员，为我们的舞台演出注入了很多我们需要的活力。能和三位各具特色的音乐人同台演奏非常棒，他们每个人都把独属于自己的风格与音乐养分融入乐队的编曲和现场表演。
我们目前正在筹备第七张专辑，这次乐队五个人都会全程参与创作，成品的效果看起来会非常出色。
One big change in the creation of Night Life was that it pushed Faris and I to work closely together. We were a two person band for the majority of the writing purpose. It was actually quite a special experience as it brought us closer together and inspired an honest and intimate style of songwriting.
Having three new members in the band has brought some much needed excitement to the stage.It’s been great to play with three new musicians who all bring their own style and influence to the sound and performance.
We are currently working on album number Seven and all five of us will be involved in the creation, it’s shaping up to be a great one.
UPEE：我们似乎观察到一个现象——摇滚乐队们开始分成两种类型，一种加入到更新一代的音乐运动之中，尝试与他们融入；另一种开始着手于更在类型和音乐语言上深刻的创作…… 面对新一代的创作者，你们会有什么感觉？他们和他们的作品有影响到你们的创作，或者促成什么改变吗？
Rhys：我们所有人都是狂热的乐迷，聆听优秀的新生代音乐自然总有启发。
新生代音乐里的诸多想法，无疑会影响到我们的创作与思考方式，但 The Horrors 从来不属于任何一类圈层或者场景。
我们的音乐一直都活在专属于自己的世界里。
We are all big music fans so of course listening to exciting new music is always inspiring.
Without a doubt elements of inspiration would infiltrate our work and way of thinking but The Horrors have never been a part of anyone elses scene.
We have always existed in our own world.
UPEE：在《Night Life》你们与制作人 Yves Rothman 合作，此前在《V》你们与制作人 Paul Epworth 合作，这两位制作人在 20 年代都有很多新的产出，可以视作是活跃于当代的音乐场景里的音乐人；而更早之前你们也跟 Geoff Barrow (Portishead) 这样非常有地位的音乐人合作过。在两代的制作人之间，跟他们合作有什么不同的感觉吗？
Rhys：每张专辑的创作过程都是独一无二的，每位制作人的工作风格也天差地别。但本质上大家的目标完全一致——打造出专辑最好的状态，创作初心没有区别。我认为两代制作人之间的差异不在于年龄，更多是性格使然。
这次和 Yves 合作的体验特别好，当时录音室里只有 Faris 和我，他完全融入成了乐队的一份子。我们所有人都会主动交流、碰撞音乐想法，专辑里的曲目也一直在打磨、迭代。
举个例子，当初和 Geoff Barrow 合作时，所有歌曲我们都已经全部写完，他的工作方式是捕捉我们演绎出的最佳版本。
Rhys - Each album has been a different creative experience. Each producer has a very different style. Essentially they are all working towards the same goal, which is to create the best album possible. So the motivation is the same. I don’t think the generation makes the producers different it is more often personality. Most recently working with Yves was great because as it was just Faris and I in the studio he became one of the band. We would all be quite hands on with sharing musical ideas. The songs were constantly evolving. When we worked with Geoff Barrow for example, we had already written the songs and his method was to capture our best versions of them.
UPEE：因为 The Horrors 乐队成员的腿都很细长，你们在中国乐迷之间收获了“腿团”这个称呼，你们对这个外号有什么感受？除此之外，大家对你们在现场表演时的着装以及视觉呈现都印象深刻。我们好奇，作为以及表演者，你们认为着装和视觉在一场表演中的作用是什么？
Rhys：这是个很好的外号，我们很喜欢。
现场演出对我们而言意义重大，我们希望观众收获的视觉体验，能和听觉一样精彩。我们的现场演出的节奏很紧凑、情绪也浓烈，氛围是厚重的。我们十分看重美学设计，对我们来说，舞台视觉也是乐队音乐内核的延伸表达。
That’s a good nick name. We like it.
Live performance is important to us. We think the visual experience should be as exciting as the music. Our shows are often fast paced, intense and heavy. We do believe in the importance of aesthetic, for us it is a further reflection of our music.
UPEE：此次中国巡演是 The Horrors 第一次来到中国进行巡演，你们对此中国行有什么期待？
Rhys：我们也很激动能有机会和中国的乐迷见面交流。
现场演出是 The Horrors 最重要的事之一，所以我们非常期待第一次把完整现场带给中国观众。这也是我们第一次到访中国，我们十分期待感受这里独有的文化，体验这片土地带来的各种新鲜事物。
We are super excited to have the opportunity to connect with our fans in china.
Playing live is one of the most important things for The Horrors so we look forward to bringing our show to our Chinese audience for the first time.
It will be our first time in the country as guests so we look forward to experiencing the culture and experiences china has to offer.
