乐队成员
主唱：杨海崧
吉他：许波
鼓：Jonathan (瑞典)
贝司：任杰
P.K.14在中国摇滚乐中所占据的位置也许和Talking Heads乐队或者Television乐
队在70年代的纽约浪潮中的地位类似。他们是属于最具有思考深度和本质性的乐队
中的一支，对音乐怀有巨大的进取心，而对时尚毫不关心。在过去四年北京涌现出
的让人惊异的众多年轻乐队之中，他们几乎是被公认为对年轻的北京音乐场景最有
影响的乐队，因为他们的认真态度，因为他们的音乐才华，以及最重要的，他们对
待音乐的方式。但是尽管他们处于北京音乐场景的中心，但是同时他们也是完完全
全的独特并且在他们自己的场景中流动着----这也许是一支唯一的乐队。
P.K.14乐队1997年成立于南京，那一年的12月在那个城市开始了他们的首次舞
台演出。1999年的5月，乐队在上海为来自瑞典的The (International) Noise
Conspiracy乐队暖场演出，并成为中国众多受到称赞和具有影响力的乐队中的一
支。2001年他们在Sub Jam发表了他们的首张专辑，《上楼就往左拐》，这张唱
片很快确立了他们在中国独立音乐场景中的地位。同一年他们搬到了北京，中国的
文化，政治，以及音乐的中心，在这里他们在摩登天空唱片公司发表了他们的第二
张专辑，《谁谁谁和谁谁谁》，以及随后而来的第三张专辑《白皮书》，那张唱片
是2005年在瑞典录制的。
在乐队最初的成员中，只有杨海崧留了下来，他通常被看作是P.K.14对艺术和音
乐的审美的一个缩影。作为中国年轻的诗人之一，他的歌词，特别是关于中国城市
中的叛逆青年的那些歌词，已经成为乐队风格的重要部分并且被他们的听众所称
道。除了主唱杨海崧之外，乐队的其他成员包括吉他手许波，贝司手施旭东，以及
鼓手雷坛坛。除了出版诗歌和评论，杨海崧近几年也为一些北京最重要的乐队担任
制作人，包括Carsick Cars引人注目的首张专辑，以及被寄以厚望的Ourselves
Beside Me乐队的首张专辑。施旭东是北京目前最受欢迎的乐队之一怪力乐队的创
始成员，而雷坛坛是一位著名的平面设计师，并且他也偶尔参与FM3的表演。
P.K.14已经在中国以及海外进行过大量的演出，他们也曾经和许多著名的乐队分享
过同一个舞台，包括The (International) Noise Conspiracy，Ex-Models，
以及The Soundtrack of Our Lives等等。他们出现在众多的专题文章，采访以
及评论中，他们的名字出现在中国，美国，德国，奥地利，法国，瑞典，挪威和澳
大利亚的电视上，以及全世界大量的报纸和杂志里。在2006年的6月，乐队被华语
传媒大奖提名为年度最佳乐队和年度最佳摇滚乐队。2006的7月，MTV China将
乐队的音乐录影”他们”选为”本周之选”。而在最近，TIME magazine把
P.K.14评为亚洲最优秀的5支乐队之一，以及2008年最受期待的乐队之一。
在2008年的1 月和2月，乐队成员出现在瑞典，在那里他们录制了他们的第四张
专辑，《城市天气的航行》。这张唱片是由获得过瑞典格莱美音乐奖最佳制作人的
Henrik Oja和Mats Hammarström共同制作的，他们的合作伙伴包括Isolation
Years, Säkert (Hello Saferide), Mats Gustafsson, The (International)
Noise Conspiracy, The Perishers和David Sandström等等。新专辑的母带是
在纽约由Greg Calbi制作，他制作的母带名单中包括Sonic Youth, Television,
Talking Heads, Bob Dylan, John Lennon, David Bowie, Blonde Redhead,
Patti Smith, Yo La Tengo, Strokes以及Interpol等等这些摇滚乐中传奇名字。
《城市天气的航行》将在2008年的6月由兵马司厂牌发行。
大事记
1997年成立于南京。当时成员为徐锋 (吉他)，孙霞 (贝司)，杨森 (鼓)，杨海崧 (主唱)。
1999年6月在《摩登天空杂志》上发表单曲“蓝色的月亮”。
2001年发表专辑《上楼就往左拐》 (厂牌：Sub Jam中国/Empty Egg加拿大)。
2002年4月签约Badhead唱片。
2002年5月在《摩登天空4》中发表单曲“关于K”(厂牌：Modern Sky中国)。
2004年10月 新专辑《谁谁谁和谁谁谁》正式发行。
2005年9月 第3张专辑《白皮书》上市。
P.K.14 occupies a space in Chinese music that might be analogous to that of Talking Heads or Television in the New York of the 1970s. They are among the most thoughtful and self-referential of bands, with an enormous curiosity about music coupled with a complete inability to care about musical fashion. Among the astonishing group of young musicians that has emerged in Beijing over the last four years, they are almost unanimously cited as the band that has most influenced the young Beijing music scene with their seriousness, their musicianship and foremost, their eclectic approach to music. But although they are at the heart of the Beijing scene, at the same time they are wholly unique and seem to be traveling in their own scene – one which consists of only one band.
Founded in Nanjing in 1997, P.K.14 made their big-stage performance debut in their hometown in December of that year. In May 1999, the band opened for Sweden’s The (International) Noise Conspiracy in Shanghai, and since then have become one of the most admired and influential bands in China. In 2001 they released on Sub Jam their debut album, Shang Lou Jiu Wang Zuo Guai (Upstairs, Turn Left), which quickly established them as one of the major bands in the Chinese independent scene. The same year they moved to Beijing, China’s musical epicenter, from where they released their consequential Shei Shei he Shei Shei Shei (Whoever, Whoever & Whoever) on Modern Sky, followed by the eagerly-awaited Bai Pi Shu (White Paper), which was recorded in Sweden in 2005 and released later that year by the same label.
Only frontman Yang Haisong remains from the band’s original line-up, he is generally considered to be the epitome of P.K.14’s aesthetic approach to art and music. As one of China’s better-known younger poets, his lyrics, predominantly about China’s disaffected urban youth, have been important for the band’s style and for the regard with which they are held by their audience. In addition to vocalist Yang Haisong, the band includes Xu Bo on guitar, Shi Xudong on bass and Tan Tan on drums. Besides publishing poetry and criticism, Yang Haisong has produced some of the most important Beijing bands of recent years, including Carsick Cars’ notable debut as well as the much-anticipated first album of Ourselves Beside Me. Shi Xudong is a founding member of Guai Li, one of Beijing’s hottest new bands, while Tan Tan is an established graphic artist and occasionally plays with FM3.
P.K.14 have performed extensively in China and abroad, both headlining and sharing the stage with many notable bands, including The (International) Noise Conspiracy, Ex-Models, and The Soundtrack of Our Lives. The subject of numerous articles, interviews and critical pieces on Chinese, US, German, Austrian, French, Swedish, Norwegian and Australian television, as well as dozens of newspapers and magazines from around the world. In June 2006, the band was nominated for “Best Band” and “Best Rock Band” at the 6th annual Chinese Music Media Awards (the Chinese Grammy Awards). In July 2006, MTV China featured their video Ta Men (They) as their “Pick of the Week”. Most recently, TIME Magazine chose P.K.14 as one of Asia’s five “Best bands” and one to watch in 2008.
In January and February of 2008 the members of the band decamped to Sweden, where they recorded their fourth album, titled Chengshi Tianqi De Hangxing (City Weather Sailing). Produced by Swedish Grammy winning producer-duo Henrik Oja and Mats Hammarström who have worked with known for their work with Isolation Years, Säkert (Hello Saferide), Mats Gustafsson, The (International) Noise Conspiracy, The Perishers and David Sandström. The new album was mastered in New York by Greg Calbi, whose credits include Sonic Youth, Television, Talking Heads, Bob Dylan, John Lennon, David Bowie, Blonde Redhead, Patti Smith, Yo La Tengo, Strokes and Interpol.
Bing Ma Si / Maybe Mars will release the album in late June, 2008.