CD2是2014年发行的15周年豪华版 关于Mogwai的这张专辑，《非音乐》的彭洪武曾这样写道：“年轻人你快点死吧——每个人的内心都是有魔鬼的，权势、容貌、名利、荣辱上太多太多的杂念让心魔在无止的滋长，它们合力抹杀了爱，以龌龊为乐，退化到像动物一样撕杀。” Come On Die Young，没听它之前，便被它的名字吸引住了。 对于大多数中国人来说，70岁死可能是圆满，17岁死则是悲剧。但时间真的存在吗？青春为什么那么迷人？死于青春的人去了哪里？鬼知道答案，17岁的死鬼知道答案。 真的没想到这张名为“Come On Die Young”的专辑会如此压抑，听它的时候有中喘不过气的感觉。但同时又能带来一种很奇妙的惬意和沉醉，就像是一场漫长而虚无的跋涉，在一片一望无际的墓地里跋涉，寻找一块不存在的墓碑，一块涂抹着灰蓝色青春的墓碑，那上面写着一个我熟悉的名字。他是一个黑暗中的手淫犯，一个在星空下在等待飞船的星水手，他被老师训斥，被父亲打，吸烟，吐烟圈，喝啤酒，打群架，读《红与黑》，写情书，看毛片，玩台球，玩街霸，不停地做梦，只是做梦，没完没了的做梦，那么胆怯，那么狂热，那么单纯，那么虚伪，那么快乐，那么寂寞…… 为什么我还那么迷恋他？为什么我那么渴望重新变成他？为什么他那么陌生？他是死了还是活着？他去了哪里？他看到现在的我会不会呕吐？ 不敢再想了，再想我就会哭了，猫泪已经在我眼里打转，我不会让它流出来，因为那很傻逼，那会让我觉得我这些年的生活是一出又一出闹剧。 继续听《Cody》，继续跋涉，继续沉醉：“如果我试图让你停下脚步，你是否也会想让我停留，古老的歌一直萦绕，直到最后的时刻，悲伤的歌让我回忆起儿时的旧友，如果这就是命运，我想我只能离开……” 也许青春就是用来胡闹的，就是用来忧伤的，就是用来浪费的，它是那么美丽的操蛋乐园，只可惜我们都回不去了。 (By 丁小云) "Too much, too soon" is a tattered rock & roll cliché, but it continues to tell the tale of many young bands, such as Glasgow's acclaimed post-rock collective Mogwai. Usually, the phrase is hauled out to describe an intoxicated downward spiral by bands that had too much success all at once, but Mogwai suffered too much praise -- too many accolades from critics, too much reverence from underground hipsters. The singles compilation Ten Rapid and the debut Young Team deserved all the acclaim they earned, but a funny thing happened while Mogwai was recording their much-anticipated second album, ironically titled Come on Die Young -- the band went stale, producing a lethargic trawl through post-Slint and Sonic Youth territory. Where their free-form noise improvisations were utterly enthralling on their earlier records, the ebb and flow is entirely too familiar throughout Come on Die Young, largely because they follow the same pattern on each song. And each cut blends into the next, creating the impression of one endless track that teeters between deliberately dreamy crawls and random bursts of noise. Granted, that was the blueprint for Young Team, but there is little dynamism anywhere on Come on Die Young. Mogwai repeat the same riffs with the same inflection, never pushing themselves toward new sonic territory, yet never hitting a mesmerizing trance. It feels like a degraded photocopy of their earlier records -- it's possible to discern the initial spark that made them fascinating, but this current incarnation is too smudged and muddy to hold attention on its own terms. Perhaps Come on Die Young wouldn't have seemed as disappointing if it hadn't arrived on the wave of hype and expectation, but the truth is, it pales in comparison to their own work.