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Loh Tsui Kweh Commune
(abbreviated as L.T.K.), arguably the most influential rock band
ever existed in the history of Taiwan’s independent music scene,
has consistently created its inimitable sound during the past
one and half decades.
Unlike most of its contemporary peers, who aimlessly duplicate
what Western rock’n’roll music sounds like, L.T.K. rebuilds the
linkage between the zeitgeist and its innovative spirit. Born in
the early 90’s, the most politically chaotic period of modern
Taiwan, L.T.K. carried a huge amount of political consciousness
with itself, which contained the poignant ideas of anarchy,
proletariat and radical left-wing ideology.
Among these intensive stances, L.T.K. has been best known as a
stubborn supporter of Taiwan Independence Movement. For
eulogizing this movement, L.T.K. even composed a paean to it.
Though sometimes too aggressive, and always contentious, L.T.K.
demarcates itself apart from other pale, faceless and soulless
pop rock groups by taking this kind of progressive political
approach.
In its early years, music was just a tool for L.T.K. to put
itself on the stage. The members of L.T.K. disguised themselves
as musicians, but in fact, they were the mixed aggregation of
activist, thinker, subversive, thief and mob. Their on-stage
performances are always staggering, clamorous, violent and out
of control. Usually there was a theme for every different gig.
It could be an issue, concern or just a manifesto. Before going
on stage, instead of practicing its studio songs, L.T.K. spent
much of time on compiling the script of that specific theme.
However, things never went the way it supposedly to be. The
interactions came from the audience always led those gigs to
unpredictable results. Sometimes people got hurt, sometimes the
stage was set on fire, but usually, it was just the other
classic night. That’s what made L.T.K. the only must-see act
amid its counterparts. The highly energized, organic and
impromptu performing style made it a sensational experience to
the audience. Most of those infamously legendary performances
have already become the unforgettable moments, which defined the
band itself, and defined the era as well.
Though L.T.K. intentionally puts its attitude above its music,
ironically, its music has extraordinary catchy melodies. It
perfectly combines the traditional Taiwanese instruments and the
Western three-piece arrangement; the result is its
one-of-the-kind signature sound. L.T.K. absorbs punk, post-punk,
industrial, folk and even a little bit electronic, creating its
unique and intriguing repertoires.
Albeit L.T.K. never truly makes the commercial success, and
hardly been accepted by the mainstream society, the combination
of those provocative thoughts, the stupendous performing style
and the marvelous songs, still makes it a cult phenomenal from
the past to the present. It has brought myriad inspirations to
the slacker generation, and been the salvation for lots of
fucked-up kids.
For comparing its political awareness with Western giant, L.T.K.
would be Taiwan’s Clash; for its uproarious live performances,
L.T.K. would be Taiwan’s Sex Pistols; for its originality and
creativity, L.T.K. would be Taiwan’s Velvet Underground.
Unquestionably.
台灣唯一享有行動與言論免責權的搖滾樂隊！
濁水溪公社，或許是台灣獨立搖滾史上最具影響力的樂隊，於過去十五年來持續製造著別人難以複製的聲響。
不似其他同時代的樂隊，一味複製著西洋搖滾樂聽起來該有的樣子；濁水溪公社將音樂的生命力與時代精神之間重新築起了連結。成立於近代台灣政治上最動盪的九零年代初期，濁水溪公社懷抱著無政府主義、無產階級專政，與激進的左翼思潮這些深刻的政治意識。
於濁水溪公社堅持的理念中，最廣為人知的當屬堅決的台獨立場，樂隊甚至譜了一曲【台灣獨立軍】頌揚這個運動。雖然有時太過激躁，且總是引起爭論。藉由獨到的政治見解，濁水溪公社卻將自身與其他面目模糊的、蒼白貧血的流行樂隊清楚劃分了界限。
在創團初期，音樂對他們來說只是爭取上台的工具。濁水溪公社的團員將自己偽裝成樂手，但事實上，這卻是一群結合了運動家、思想家、顛覆份子、竊賊與暴徒的組合。他們的舞台表演總是令人瞠目結舌地喧囂暴動，且屢次以失控收場。每場表演通常皆有不同的主題，可以是一則議題、一道關切，或只是一句標語。樂隊上台前花了大量時間彩排這些劇碼，練團反而成了次要的事。
然而即使演練多時，現場狀況卻與寫好的劇本南轅北轍。來自觀眾的互動總將表演帶向無法預期的結果；有時人員受傷，有時舞台起火。但通常來說，這又是一個濁水溪式的經典夜晚。這也是為何濁水溪公社成了同儕間唯一得由現場感受的樂隊。他們充滿了能量與張力、有機又即興的表演風格，帶給觀眾的是難以忘懷的觀團震撼。在樂隊惡名昭彰的表演資歷表上，許多事件早已成了僅有一次的絕唱。這些傳奇時刻不但定義了濁水溪公社自己，也定義了那個年代。
縱使濁水溪公社刻意將態度放在音樂上頭，但諷刺的是，他們的音樂卻又動聽順口。樂隊完美結合了台灣傳統樂器與西方三件式的搖滾編制，融合了龐克、後龐克、工業、民謠，甚至是電子元素，帶來的是台灣樂史上不會再有的時代之音。
雖從未獲得商業上的成功，且始終難被主流社會接納。濁水溪公社提供的前進思想、激進表演與動人曲調，卻讓樂隊一路走來始終獲得一群忠實樂迷的支持。他帶給後進樂隊難以估計的啟發，也成為過去十幾年來台灣苦悶青年的救贖與情緒發洩的出口。
如將濁水溪公社與西方的經典樂隊相較，論政治自覺，他是台灣的Clash；論現場演出的不可思議，他是台灣的Sex
Pistols；論原創精神，他是台灣的Velvet Underground。毋庸置疑。 |
演出形式