流浪地球 - 荷兰Melodic Death/Thrash Metal乐队Insurrection专访

Volcano Magazine
29 minutes ago
13 min read

来自荷兰弗里斯兰的Insurrection，将激流金属的凶狠、旋律死亡的叙事感与前卫氛围融为一体。从早期EP"Catatonic"，到全长"Circles Of Despair"，再到"Exiled To Earth"Bonus磁带版本，走过百余场欧洲现场演出，是一支有着自己独特风格与气息的乐队，今天杂志联系到了Insurrection并进行了一次专访。

（V: 代表笔者 I: 代表Insurrection乐队）

Insurrection hails from Friesland, the Netherlands. The band blends the ferocity of thrash metal, the narrative power of melodic death metal and progressive‑tinged atmospheres. From their early EP Catatonic and full‑length record Circles Of Despair to the bonus MC reissue of Exiled To Earth, they have played more than one hundred live shows across Europe, developing a sound and aura all of their own. Our magazine got in touch with Insurrection for this exclusive interview.

(V: represents the author; I: represents the band Insurrection)

采访对象：Insurrection乐队全体成员

采访时间：2026.09.05

V: 乐队最早前身叫Deathwish，后来改名为Insurrection，为什么选择这个名字，这个名字有什么含义？

The band was originally named Deathwish before changing to Insurrection. Why did you pick the name Insurrection and what meaning does it hold for you?

I: 我们觉得 Deathwish 这个名字有点太消极了，所以我们想找一个更有力量、更有内涵的新名字。最终我们选择了Insurrection，因为这个名字的灵感来源于Eucharist的歌曲"March Of Insurrection"。故事就是这样开始的。

We believed the name Deathwish was a little bit too negative, so we were looking for a new name with power and intent. We settled on Insurrection because of inspiration derived from the Eucharist track ‘March Of Insurrection’. And that’s how the story began.

V: 你们所有人都有其他副业乐队，Douwe在Enraged，Pieter参与工业乐队Polter，Marten也有别的音乐项目。是什么是你们共同聚集组建Insurrection？

All of you are involved in other musical projects: Douwe plays in Enraged, Pieter is part of the industrial act Polter, and Marten also has other side‑bands. What brought you together to form Insurrection as a collective?

I: 乐队目前的阵容形成得相当自然。我和前贝斯手兼主唱Sander在2008年左右十几岁的时候，在各自的卧室里组建了乐队。之后，我们逐渐扩充阵容，首先加入了鼓手Douwe。我们之前就和Douwe有过接触，但当我们第一次联系他时，他还在其他乐队里活跃，无法最终确定乐队阵容，所以我们尝试了其他几位鼓手，但最终都不合适。后来，机缘巧合之下，我们成功地让Douwe从其他工作中抽身，组建了完整的乐队，得以在2010年开始现场演出。不久之后，Armand也加入了我们，成为了我们急需的另一位吉他手。最终，Sander离开了，我们失去了贝斯手和主唱。 2012年，我们进行了试音，很快就招募了Pieter加入。当时他不像现在这样活跃于多个乐队……如今我们以这种形式合作已超过十年，我可以肯定地说，我们会一直走下去。我们每个人都能将各自的音乐才能和从（金属）音乐不同领域汲取的灵感融合在一起，创造出我们自己的独特音乐风格。

The band in its current formation came together quite organically. Former bassist/vocalist Sander and I formed the band in our bedrooms in our teens around 2008. Gradually, we expanded to add first Douwe on drums. We had had contact with Douwe before, but when we first approached him he was still involved in other active bands and was not available to finalize our line up, so we tried out with a few other drummers, which eventually didn't work out. Then, the stars aligned and we managed to snatch Douwe from his other commitments to complete our band to be able to play live shows in 2010. Soon after Armand joined as our much needed other guitarist. Eventually, Sander left and we were stuck without a bassist and vocalist. We held try-outs and quickly recruited Pieter in 2012, whom at the time did not have as many other bands as he does now... Being together in this form for over a decade now, I think I can safely say that we are in it for the long run with one-another. And we are all able to put our musicality and inspiration from different corners of (metal) music to form our own sound.

V: 你们在日常生活中喜欢听什么风格的作品？当乐队的编曲出现审美分歧时，内部如何达成统一？

What styles of music do you personally listen to in your daily lives? When musical disagreements and aesthetic conflicts appear during song‑writing, how does the band reach an agreement internally?

I: 说来也怪，我觉得我们俩的音乐品味只有在我们自己的音乐上才真正重合，所以在歌曲创作方面总会有很多讨论。如果意见不一致，我们会尝试妥协。如果妥协失败，我们会探索其他能让大家都满意的音乐创作方式。如果实在无法达成一致，无论想法多么酷炫有趣，我们都会把它搁置，可能永远都不会再碰。不过，我们通常都能在音乐的发展方向上达成共识，所以我很高兴地说，我们那堆“酷炫但不可行”的想法并不多，而且我们几乎总能找到解决办法。

Funnily enough, I think our music tastes only really overlap in our own music, so there are plenty of discussions when it comes to song-writing. If we disagree, we try to compromise. If this fails, we try to explore other ways in which the music works for all of us. If we cannot reach an agreement, however cool or interesting the idea is, we shelve it and it may never be picked up again. Generally we tend to agree on the direction the music should take, so I'm happy to say our little graveyard of cool but unviable ideas is not that big and we can almost always find the solution.

V: 大量乐评把你们归类为旋律死亡/激流，也有人直接单纯当成激流金属，你们自己如何描述Insurrection真正的声音内核？

Many critics label your music melodic‑death / thrash, while some simply see you purely as a thrash‑metal band. How would you yourselves describe the true sonic core of Insurrection?

I: 我认为（其他人可能不同意），我们是一支melodic thrash乐队。我觉得death metal的成分不如其他方面那么突出，至少在吉他演奏方面是这样。我会在其他人不注意的时候尝试加入一些前卫摇滚的元素，但绝不会过多地强调它，以至于把它作为我们音乐的核心部分。

I think (and the others may even disagree with this) that we are a melodic thrash band. I think the death-part is less pronounced than the other aspects, at least in the guitar-work. I try to add little proggy elements here and there when the others are not looking, but never so much that I would emphasise that as a core part of our sound.

V: "Circles Of Despair"专辑封面的视觉效果与专辑音乐主题高度统一，给我留下深刻印象，可以讲讲这张专辑封面的来源吗？

The artwork for Circles Of Despair fits the record’s musical themes perfectly and left me a deep impression. Could you talk about the origin and creative process behind this album cover?

I: 我们为专辑封面聘请的艺术家收到了早期版本的歌曲（或者说是小样，我想当时应该是），以及专辑的歌词主题。之后，我们给了他足够的时间和创作自由，让他找到他认为最符合专辑风格的色彩和设计。当我们收到第一稿时，我们很快就一致认为非常合适。我们自己也是艺术家，深知创作过程的价值，也相信给予人们尽可能多的自由，才能让他们的才能得以充分发挥。……之后，我们又花了几个月的时间敲定最终的细节。

The artist we recruited for the artwork was sent an early copy of the songs (or demo’s, I think at that point), along with the lyrical themes on the record. We then gave him time and freedom for his creative process, to find the right style and coloring which he believed to fit the record. And when we got the first draft I think we quickly agreed that it was a great fit. We know the value of the creative process, being artists ourselves, and believe that people's abilities blossom when given as much freedom as possible. ... And then we nagged about the final details for a few months.

V: "Exiled To Earth"封面是末日流放的兜帽人物站在赤红焦土之上，这个视觉概念是谁最先提出来的？封面画面如何和专辑“Exiled To Earth”的核心主题互相呼应？

The cover of Exiled To Earth features a hooded figure standing alone on red, apocalyptic scorched earth. Who first came up with this visual concept? How does this artwork reflect and correspond to the core theme “Exiled To Earth”?

I: 身披斗篷的身影是预示不祥之兆的象征；它既引发好奇，也带来一丝不安。这个人为何披着斗篷？他究竟在隐藏什么？环顾四周，不禁会想：“这一切都是他干的吗？” 这就是他被放逐的地球吗？他究竟是从哪里被放逐的？因此，我认为这种联系并非源于歌词概念的字面意义，而是源于音乐和艺术作品带给听众的感受。

The hooded figure is a known symbol of ominous expectancy; it invokes curiosity but also a certain unease. Why is this guy cloaked? What is he hiding? Then, when taking in the surroundings: "Did he do this"? Is this the Earth he was exiled to? Where was he exiled from? So I think the connection is not in the literal sense of the lyrical concepts, but more the feelings that the music and the artwork invoke on the listener.

V: 专辑里能听到不少前卫、氛围段落，你们是刻意在写歌阶段就提前规划这些氛围片段，还是录音室里即兴叠加打磨出来的？

There are quite a few progressive and atmospheric passages on the record. Do you plan these atmospheric sections deliberately during the songwriting phase, or are they improvised and refined inside the recording studio?

I: 我觉得两者都有。有时候你会觉得一首歌或者某个段落需要一些喘息的空间，我们创作的音乐有时会显得比较紧凑有力。所以我们会尝试用一些安静的内省时刻来平衡这种节奏。有时候，当歌曲基本完成，但我们正在将它们编排成专辑发行时，新的灵感会涌现，我们会寻找方法来改善专辑的整体流畅性。

Both, I would say. Sometimes you feel like a song or a section can use a bit of breathing room, the music we write can be quite unrelenting at times. So we try to balance these out with some moments of more quiet introspection. Sometimes new ideas will emerge when the songs are basically done but we are arranging them into a release and are looking for ways to improve the flow of a record.

V: Bonus磁带版本里面包含7首8‑bit芯片改编曲目，由Armand和Douwe完成改编。是什么契机想要把你们的Riff改成复古芯片游戏音色？

The bonus MC tape includes seven 8‑bit chiptune rearrangements done by Armand and Douwe. What inspired you to rework your original riffs into retro video‑game chip‑tune sounds?

I: 我们深受青春的影响，其中就包括经典游戏机所能产生的令人惊叹的8位音乐，所以这些影响一直伴随着我们。后来，当我们交流想法和歌曲构思时（至少我和Douwe会用到经典的GuitarPro 5软件），它在关闭RSE功能后也拥有类似的音色库。因此，我们也能以这种形式聆听这些想法，并意识到如果能合理地编排音乐，它其实可以非常出色地呈现出来。

We are a product of our youth, which very much included the incredible 8-bit music that classic consoles could produce, so this is something we carry with us. And then, when we exchange ideas and song-concepts we (or Douwe and I at least) use the classic GuitarPro 5 software, which also has a similar sound bank when RSE is turned off. So we hear the ideas in that form also, and realised that this could actually work quite nicely if we arranged the music for it properly.

V: 新专辑大量充斥疏离、被困、放逐的情绪，很多歌词指向精神层面的割裂。这种“被流放”，是隐喻人被放逐于现实世界，还是自我被囚禁在内心当中？歌词大量书写精神困境，你们希望听众从里面得到什么样的情绪体验？

The new record is filled with feelings of alienation, entrapment and exile, and many lyrics point to mental and inner fragmentation. Is this idea of “exile” a metaphor for being cast out into the outer real world, or rather the self being imprisoned inside one’s own mind? Your lyrics frequently explore mental‑state struggles. What kind of emotional experience do you hope listeners will take away from your music?

I: 我坚信，听众可以从音乐中获得他们想要的一切，他们对音乐和歌词的体验与我的体验同样有效。当然，歌词往往反映了音乐中更为忧郁的氛围。就我个人而言，我认为“流放”指的是内心的自我封闭，是逐渐从外部世界抽离的过程。这是一种内省，而非实际的脱离。

I firmly believe that listeners can take away from the music what they will, their experience of the music and the lyrics is every bit as valid as mine. Ofcourse the lyrics tend to reflect the more brooding atmosphere of the music. Personally, I think the "exile" is within oneself, as withdrawing from the outer world piece by piece. It's introspective, not physical.

V: Fredrik Nordström、Mendel bij de Leij两位制作人，一位哥德堡传奇，一位荷兰本土极端金属好手。除了混音技术层面，两位制作人分别给你们的编曲思路带来哪些不一样启发？

You have worked with two producers: the Gothenburg‑scene legend Fredrik Nordström and respected Dutch extreme‑metal producer Mendel bij de Leij. Beyond mixing techniques, what different inspirations did each of them bring to your song‑writing and arranging ideas?

I: 恐怕我们还没有充分发挥这两位才华横溢的制作人的潜力。我们往往会把想要的音乐细节敲定得非常清楚，所以当作品最终送到制作人手中时，我们能对歌曲创作和编曲进行干预的空间就非常有限了。更广泛地说，Frederik Nordström 在旋律金属领域的成就堪称传奇，显然，他的作品对我们创作的riff类型产生了深远的影响，因为他总能让riff熠熠生辉。而Mendel的作品则是我个人的灵感来源，他将精湛的吉他技艺与流畅的歌曲创作以及一些“新古典主义的胡扯”元素完美融合，令人叹为观止。比如，我觉得我可以完全信任他，让他把那段小小的拨弦古钢琴融入到"The End of Honesty"这首歌中。

I'm afraid we have not used both of these talented producers to their full potential. We tend to finalize to quite a detail the music that we want, so there is not much room to influence song-writing and arranging by the time it lands on a producers desk. On a more general level, the work that Frederik Nordström has done in the melodic-metal scene is legendary and obviously an inspiration when it comes to the type of riffs we write, because he manages to make them shine. And the work of Mendel is a personal inspiration of mine, his blend of virtuoso guitar work with flowing songwriting and added touches of "neoclassical bullshit" is fantastic. I felt like I could really trust him to integrate the small harpischord section in "The End of Honesty" for example.

V: 你们认为哪些乐队对你们的作品创作影响最大？你们最喜欢哪支乐队？

Which bands have had the biggest influence on your compositions overall? And is there one personal favourite band for the group?

I: 其实不然，正如我之前提到的，我觉得我们各自的歌单截然不同。Armand喜欢melodic metal，尤其偏爱氛围感很强的那种。Douwe则比较老派，至今还在听八九十年代的death metal和thrash metal 。Pieter的音乐口味非常广泛，从极端金属到另类电子乐都涉猎。我喜欢听progressive metal，也很喜欢一些metalcore元素。而且我真的很喜欢ABBA。

Not really, as I alluded earlier to I think our personal playlists are quite different from one-another. Armand loves melodic metal, but most when it is wrapped in a very atmospheric package. Douwe is old school cool and still listens to the death- and thrash-metal of the 80’s and 90’s. Pieter has a very broad palette which ranges from extreme metal to freaky electronics. I like to listen to progressive metal, and can certainly enjoy some more metalcore elements. And I really like ABBA.

V: 你们跑过大量德国地下小场地，之前采访聊到德国一些很奇特的偏僻地下场地，印象最荒诞、最有意思的是哪一场演出，可以简单讲讲当时的经历吗？

You have played countless underground gigs across Germany, including some very remote and peculiar venues you mentioned in older interviews. Could you share your most absurd or memorable live show story from those days?

I: 那大概是我们最早在德国演出的几场之一。演出场地设在一个地下室，还有两支德国乐队同台。布景和音响调试的时候，场地显得格外偏僻安静，我们甚至担心会不会没有观众。但门一开，场地就瞬间爆满。最终，演出精彩纷呈，气氛热烈，Pieter 甚至爬上桌子边演奏边表演，让观众更加疯狂。真是令人难忘的精彩瞬间！

That would probably be one of the first shows we ever played in Germany. A venue in a cellar with two german bands to complete the line-up. During set-up and soundcheck it awfully seem to be so remote and quiet that we we’re afraid no audience would show up. But as soon doors opened the venue was packed in no time. Eventually turning out into a great and sweaty show, with Pieter climbing on a table while playing to get the audience even more berserk. Brings back good action memories!

13.下一步乐队的计划是什么？会有新的作品出现吗？

What plans does Insurrection have moving forward? Can we expect new material in the future?

I: 不便透露太多细节，但新作品确实正在制作中。大部分已经写好，我们正在录音，但目前还没有确切的发行日期。敬请期待！

Without spilling too much information, new material is certainly in the works. It is mostly written and we are in the recording stage, but there's no definite release date of when it will be presented to the world. So stay tuned!

V: Insurrection的作品给我留下深刻印象，我会持续关注你们！希望依靠本次采访，能为你们积累更多粉丝与人气！最后有什么想对读者说的吗？

Insurrection’s music has really impressed me and I will keep following your work closely. Through this interview, I hope to help you reach more new fans. Is there anything you would like to say to our readers？

I: 感谢大家的关注！我们感谢每一位抽出时间聆听我们音乐的朋友。音乐是我们的热情所在，我们非常感激你们愿意分享这份热情，也由衷地喜欢你们的喜爱。欢迎在Bandcamp、Facebook、YouTube和Spotify上关注Insurrection。请点赞、关注和分享！敬请期待我们的新作品，也许比你想象的更近！同时，也请多多支持你们当地的乐队，他们一定会百倍地回报你们的支持！

Thank you for having us! We appreciate every single person who takes the time to listen to the music we put together. It is our passion and we are grateful you want to share in it and we love when you enjoy it. Check Insurrection on Bandcamp, Facebook, Youtube and Spotify Like/follow/share! And keep an ear out for new material, it may be closer than you think! Also, give some love to your local bands as well and they will return the favor 100 fold!