採訪德國新民謠Darkwood 靈魂人物 Henryk Vogel

Interview with Henryk Vogel

September 1st 2007 - by D.M.K.

All images by Henryk Vogel, except where noted.

Most people will know German neofolk veteran Henryk Vogel from his project Darkwoodand the HeidenVolk label. He tells us about his latest album, Notwendfeuer,and several other cultural and spiritual subjects.

大多數人通過Darkwood以及廠牌HeidenVolk然後知道了德國新民謠資深音樂人Henryk Vogel。他和我們分享了他的最新唱片《Notwendfeur》以及其他一些文化與精神方面的話題。

D.M.K.: First of all, a few questions about Notwendfeuer,your latest album. Notwendfeuer means something like emergency beacon. Isthis album meant as a warning, and if so, for what?

D.M.K: 首先是一些關於你的最新唱片《Notwendfeur》的提問。『Notwendfeur』可以理解為類似『緊急信號』的意思。這張唱片是想要表達一種警告嗎？如果是這樣的話，那麼是關於什麼的警告？

Literally translated, Notwendfeuer means something like "need changingfire". I dont know whether this makes any sense in English. The term istaken from the poem "Deutsche Sonnwend" where it says"Sonnwendfeuer, Notwendfeuer, Endzeit Du und Zeit der Wende" -"Solstice fire, need changing fire, time of ending and time ofchanges." The winter solstice fire indicates an end and a new beginning atthe same time. So this fire could also predict some great changes for all thosewho are willing to see them or to struggle for them - the end of misery isproclaimed. But there is misery - so emergency beacon could be another meaning,thats true.

就字面上講，『Notwendfeuer』是『需要變化的火焰』。我不知道這是否在英語裡面有任何意義。這個詞出自詩歌《Deutsche Sonnwend》里的詞句『Sonnwendfeuer, Notwendfeuer, Endzeit Du und Zeit der Wende』-（冬夏）至日的火焰，需要變化的火焰，時代的結束與時代的改變。冬至的火焰象徵著結束與新開始的交替。這火焰還預示著巨大的改變，對於那些期待改變或者為其而鬥爭的人們而言，它宣告著痛苦的終結。然而因有痛苦存在，所以『緊急信號』也許還含有其他的意義，這是事實。

Who is the boy on the cover of the album? Can you tell us abit more about this photograph?

唱片封面上的男孩是誰？你能告訴我們這張照片的更多信息嗎？

I bought this photograph at a flea market. I dont know who this boy is butwhen finding this picture, his face seemed so familiar to me as if he was a farrelative of mine. I felt really weird and was totally struck by the impressionof his eyes. He looks so young and innocent but at same time so wise. He looksinto the future so defiantly but seems to have suffered so much pain. Since itis an original from some family album found on any garret, I demonstrated somelate respect to this picture.

我在一個舊貨市場里買到了這張照片。在我發現這張照片的時候我並不知道這個男孩是誰，對我來說他的臉似乎是那麼的熟悉，就好似我遠房的親戚。我感到十分不可思議而且完全被他的眼神所吸引。他看起來那麼的年輕和天真，同時充滿了才智。他藐視著未來卻似乎經歷了許多創傷。介於它是出自某個閣樓裡面發現的家庭相冊，我對這張照片表達了遲來敬意。

The poem Winterm?rchen (by Otto Ernst) is about a Drossel(thrush), who remains in the cold land, while the others migrate to the sunnysouth. How does this poem fit Darkwood, and what does the poem mean to youpersonally?

詩歌《Winterm?rchen》 （譯者：「冬天的童話」。作者為Otto Ernst）是關於一隻畫眉鳥，當其它鳥遷徙去陽光明媚的南方時，這隻畫眉卻依舊停留在這寒冷的地區。這首詩是如何被融進Darkwood的？這首詩對你個人又意味著什麼？

It definitely doesnt mean - never leave your country. I used totravel a lot but I am sure I did it in a reasonable and educating manner. Ieither worked and lived in a foreign country for some time to get to knowpeople and habits or I at least traveled through the countryside carrying abackpack and a tent.

This poem rather says that it is stupid to always long to be somewhere elsewhen coldness captures our homeland. It says, enjoy winter since this is partof our life and facing odds is a challenge and part of our nature. The poem hasbeen written about one hundred years ago but they obviously seemed to have thesame kind of tourism already. It also says, stick to your homeland and try tochange anything rather than going somewhere else where the grass seems to begreener and where you finally might become unhappy since it is against yournature. But everybody has to decide himself, everybody has to find his ownrealm of the sun. I found it inside myself.

它顯然沒有「永遠不要離開你的故土」的意思。我曾經多次旅行，我確信這樣做是合理且有教育意義的。我在外國工作和生活過一段時間，去了解當地的人文和習俗。至少我曾背著背包和帳篷在鄉間穿行。

確切的講，這首詩表達了當寒冷侵襲故土時，終日萌生去往他鄉的想法是愚蠢至極的。它想說既然嚴寒是我們生活的一部分，我們就要坦然面對和享受這個大自然賦予的挑戰。這首詩創作於大概一百多年前，似乎那時的人們已經有了某種類似的遷移。它也想說，堅守在你的祖國並試著去做出改變。並非去到其它『草似乎更綠』的地方，最終那裡也許只會使你變得不快樂，因為你違背了自己的天性。但每個人要為自己做出決定，每個人都會找到屬於自己的榮耀王國。我已在自己內心尋得了它。

Verlorenes Heer (Lost Army) is about soldiers fighting ina faraway land, but who have been forgotten by everyone. Is this song a tributeto all these soldiers - or perhaps more broadly, a tribute to all people whohave fought for something, but have not been remembered?

『VerlorenesHeer』（『迷失的軍隊』）是關於那些在遙遠地方作戰卻已被每個人所遺忘的士兵們。 這首歌是在向所有這些士兵致敬嗎？或更廣泛地講，是向所有為了某些目標而戰卻沒有被銘記的人們致敬？

Exactly. Since Darkwood is a quite controversial band, everybody just wants tosee fallen soldiers at the Eastern Front. But your interpretation is reallygood and I would even say that it is not just about fighting - also exploringnew territories demands its victims. So its about those who have lost theirlives in a struggle for gaining knowledge.

的確如此，由於Darkwood是一支飽受爭議的樂隊，人們只會想著這首歌是在映射東部戰線失利的士兵。不過你的想法非常出色，我甚至會說它不只是關於戰鬥，它也是在探索著受害者的新領域。因此它是關於那些在獲取知識的鬥爭中而失去生命的人們。

Totenburg (Castle of the Dead) seems a more abstractsong, more like a folktale, is that correct? What is the Totenburg?

『Totenburg』（『死魂城堡』）似乎是一首更加抽象的曲目，更像是民間傳說，對嗎？什麼是『Totenburg』？

This song is more closely related to soldiers since the original idea to writethis song arose when leafing through the pages of an old book. My attention wassupernaturally caught by a picture of the so-called "Totenburg ofBitolj" - this was as if I have been there before. I dont know whetherthis WWII memorial in Yugoslaviastill exists - but maybe somebody reading this interview can tell me! The songis about a spiritual journey to this place ending in the Ehrenraum - therehaunted by the ghosts of the past.

這首歌與士兵更加緊密相關，我在翻閱一本舊書時有了這首歌的原始靈感。我的注意力被一幅名為『Totenburg ofBitolj』的圖片不可思議般地吸引著，似乎我曾經到過那裡。我不清楚這座在南斯拉夫的二戰紀念碑是否依然存在，--也許某些在讀這篇採訪的人可以回答我。這首歌是關於一場前往終點為Ehrenraum的精神旅行， --逝者的靈魂在那裡召喚著。

Can you tell us something about Ostenfeld? In the chorus,you sing about Ostenfeld as being a land "tempered by storms". Whatdo you mean?

你能告訴我們一些關於『Ostenfeld』的事情嗎？在副歌裡面，你唱到 『Ostenfeld』是一個『被風暴所歷練』的土地。你想表達些什麼呢？

Ostenfeld is a little village at the NorthernSea. I have never beenthere before. I first had this title in my mind and then I learned about thisplace - a place at the coast tempered by storms as you say. But of course, Ivery much enjoyed playing with words - and sung in German it sounds like theEast is falling. It can be both the approaching of a terrible thunderstorm orthe approaching of the devastating and all consuming front.

『Ostenfeld』是一個在北海旁的小村莊。我從未去過那裡。最初在我腦海里有了這個歌名，然後我才去了解這個地方， --如你所說的它是一個『被風暴歷練』的海岸旁的地方。但是顯然我很喜歡玩文字遊戲，在用德語演唱時，它聽起來像『東部的隕落』。它可以是即將到來的可怕的雷暴，亦或是即將摧毀和耗盡生命的前線。

Notwendfeuer contains only German tracks, while olderalbums still had songs in English. Why have you chosen to focus on your nativetongue exclusively this time?

《Notwendfeur》 裡面所有都是德語作品，而你以前的唱片裡面有英文作品。為什麼這次你特別地選擇只用自己的母語？

I stated that Notwendfeuer is on Youth & Fire and furthermore - as somepeople assumed and which is actually a really good further aspect - on Youthin the Fire.

In fact, I am very fed up with the situation right now, all the advertisementterror, all the emptiness of modern life, all those TV shows people watch, andso on. I guess you know what Im talking about. But I am not really into complainingabout those circumstances anymore - painting black all the time. When I amhaving a look around, I see the youth I see, but when closing my eyes I see adifferent youth and a different life. I tried to make a positive album givingsome perspective just having some relations to the past here and there. Andsinging about an alternative way of living - no English lyrics came into mymind!

我闡明過《Notwendfeur》是關於『Youth & Fire』(青春和火焰)，此外還有些人推測它是關於『Youth in thefire』（火焰中的青春）,也是個不錯的觀點。

事實上，我十分厭倦當今的形勢，充斥著所有宣稱的恐怖主義，所有現代生活的空虛，所有那些人們關注的電視節目，諸如此類。我想你應該知道我在說什麼。但我沒有持續對現狀的抱怨，始終把它深藏在心底。當我環視四周，我看到了年輕的一代。但我閉上眼，我會看見不同的青春與不同的生命。我試著去做一張積極的唱片，給予人們那些與過去相關的零星的看法。並且唱出不同生活方式，--我腦中沒有那個英文的詞。

Also, Notwendfeuer is purely acoustic, and it contains nomore industrial tracks like, for example, Herbstgew?lk and Flammende Welt. Whyhave you chosen this approach? Does this fit this particular album better, oris it a new musical direction?

還有， 《Notwendfeuer》是一張純原聲的唱片，它不再含有像在《Herbstgew?lk》和《Flammende Welt》裡面的工業作品。你為什麼選擇這個手法？這樣做是為了更加契合這張唱片，還是選擇了新的音樂方向？

Its no new direction. I already recorded a lot of purely acoustic tracks onprevious albums whenever it fitted the lyrics and context. For Notwendfeuer Iconsequently dropped all industrial noises or electronic soundscapes since it wouldnthave emphasized the general idea or mood of this album. I had like one or twomore martial industrial tracks which I finally didnt add. People might haveappreciated that but they didnt fit the whole concept and I dont push them injust to have two tracks to please people who prefer this kind of sound. Theyare still quite good though and might be the frame for a next recording.

它不是新的方向。我在之前的唱片里製做過許多純原聲的作品，只要它是契合著歌詞與內容。 對於《Notwendfeuer》,我放棄了所有的工業噪音或電子聲響，因為它並不能凸顯這張唱片的大意或者它想表達的情緒。我曾有一兩個更軍工的曲目，但我最終沒有選擇它們。假如加入那些曲目人們也許會感激我，但它們並不適合整張唱片的概念，而且我也不會單純地因為有人喜歡這種聲響就把它放到這張唱片里。它們依舊很優秀，也許會是下一張唱片的框架。

In your music and interviews, you speak of a Weltenwende.This seems above all to entail a more conscious way of living, but does it alsohave a religious or spiritual aspect for you, and if so, what is it, and how doyou incorporate this spirituality in your life?

在你的音樂和採訪裡面，你講到關於『Weltenwende』 （譯者：這張是以二戰時期雕像為封面的唱片，這張唱片的主題是關於一個自然沉思和精神改變的地方）。這似乎首先是繼承一種更加自覺的生活方式，對你而言它含有某種宗教或者精神層面的意義嗎？如果有，它是什麼，你如何把這種精神靈性融合到你的生活中？

It is right that I speak of a Weltenwende from a more practical point of view -to start living life in a more conscious way. The spiritual or esoteric meaningof a cosmic Weltenwende is, that few people with unspoiled blood in theirvessels who carry the non-quenched sparkle of the past will be able to receivethe Gnosis - a higher knowledge - necessary for the re-birth of a new mankind. Sincethe occident is characterized by a common descent, forced by Christianity,determined by rationalization and demythologization, one has to return toarchaic paganism to "raise blood quality" and give the blood back itsilluminating power of elder days. Regardless if you believe in these kind oftheories or not, it is obvious that a few people need to seek for analternative path to overcome the unacceptable circumstances of present time.And with the album Weltenwende, I tried to give people some help in seeking

確實如此，我以一個更實際的觀點來闡述『Weltenwende』：開始以一個更加有意識的方式去生活。關於『Weltenwende』精神的或者深奧的廣義含義是，為數不多血統純正的人們托舉著那遠古不熄的火把，擁有能力去獲得真知(譯者：原文用Gnosis，希臘文，古代宗教信仰者)。獲得一種更高級別的智慧，一種新人類重生的必須。因為西方受迫於基督教，被賦予共同祖先的表徵。依賴於合理化與去神話的過程，人會回歸到古老的異教中去『升華血統的品質』然後會為滋養這昔日啟蒙的力量而輸送血液。不論你相信這些理論與否，很明顯的是少數人需要另闢蹊徑來戰勝這難以容忍的現狀。我試著通過唱片『Weltenwende』來給予人們在尋覓時的些許幫助。

What part, if any, does your music play in thisWeltenwende?

如果有任何的話，你的音樂在『Weltenwende』哪個部分發揮作用？

I would be grateful if my music would play just a little part in thisWeltenwende, but this can only be a modest hope. On the other hand, a smallcontribution is better than doing nothing. And if its just that more and morepeople start to think about the need of a great spiritual change... And thosepeople are getting children and raise them, those people start to make musicand art themselves, those people have professions and are part of the society -not like in the 70ies when they were basically taking drugs and hypocriticallyrevolting against the establishment whilst getting money from their richparents. There are numerous comrades and they will find each other. With theinternet, it is much easier nowadays to get in contact. So hopefully, my musicis one catalyzer of the Weltenwende. The catalyzer shortly sticks to thereaction material, you dont need much of it, and it is not being consumed -but it is necessary - it starts and maintains the reaction until thetransformation has been done.

如果我的音樂能夠在《Weltenwende》起到一點作用，那麼我會很感激，但這隻能是個謙虛的願望而已。另一方面，小的貢獻總強過什麼都不做。如果越來越多的人開始思考必要的偉大的精神改變，然後那些人有了孩子，並教育他們，那些人開始自己創作音樂和藝術，並有了職業成為了社會的一部分。不像70年代那會兒人們基本上在吸毒，揮霍著他們闊綽父母的財富，偽善的叛亂對抗那些權力集團。會有許多的志同道合的人們，他們會找到彼此。當下通過互聯網，建立聯繫已變得更加容易。那麼就希望，我的音樂是《Weltenwende》精神的催化劑。催化劑會迅速地附著在反應原料上，並不需要太多，因其並不會被消耗。但它卻是必不可少的，它能驅使和保持這種反應直至轉變的完成。

In your lyrics, you seem to concentrate mainly on the darksides of war, while other projects with comparable themes often seem to glorifywar in an abstract way. How do you feel about this, and why have you chosenthis approach?

你的歌詞似乎主要關注著戰爭的陰暗面，而其他類似主題的樂隊經常以抽象的方式來歌頌戰爭。 你怎麼看這件事？你為什麼選擇了這樣的方式？

I dont know, are there so many projects which glorify war? I rather have thefeeling that they like the sound of war and like this playing with kniveswhen singing about war. Of course, a lot of people - also in other music scenes- glorify struggle, but more in a spiritual sense. I actually havent metsomebody in the neofolk scene who told me right in the face that he glorifieswar and would like to see himself or his children fighting and dying in a war.So for me, it is obvious dealing with the dark side of war - if there isanother.

我不清楚，有那麼多樂隊在歌頌戰爭嗎？我寧願有這樣的感覺，他們是喜歡『戰爭的聲音』和『耍著刀』演唱著戰爭的題材。還有在其他的音樂類型里，更多是在精神層面來歌頌抗爭。事實上我還沒遇到過新民謠界任何人當著我面說他歌頌戰爭，並且想看著他自己或者他的孩子們在戰爭中戰鬥與頻臨死亡。那麼如果還有別的題材可選，就我而言，很明確就是選擇戰爭的陰暗面。

In Germany(but also in the Netherlands)there still seems to be a taboo on being engaged in your own culture andheritage. Do you think this is a consequence of World War II, which was caused,amongst other factors, by an extreme form of glorifying your own culture? Andthat many people therefore now seem to veer in the opposite direction: neglectof ones own culture and/or global monoculture? What does this conflict mean toyou? Do you find it difficult to find a middle ground?

在德國（還有在荷蘭），似乎對你從事的文化和傳承依然有所禁忌。你認為這是由於第二次世界大戰，以及諸多其他原因，以一種極端形式對你們自己文化的歌頌所導致的結果嗎？現在許多人似乎轉向了相反的方向：忽略個人的自身文化並且（或）全球一元化？這種衝突對你來說意味著什麼？你會否會覺得找尋中間立場是困難的？

You are absolutely right, and this has been the main subject of Flammende Welt.This album deals with the American role after WWII, especially mentioning theinfluence on the German and European self-confidence. I was not onlydesignating the circumstances and analyzing the causes but also tried to giverise to some hope by expressing strength and optimism. The CD shall invoke aproud feeling for our cultural and historical heritage regardless of anyanti-German propaganda. And in my opinion, I am far away from extremeglorification - although I have often been accused for that.

你是完全正確的，這正是唱片《FlammendeWelt》的主題。這張唱片涉及了二戰中美國所扮演的角色，特別是提到了對德國以及歐洲自信心的影響。我不只是表明了情形和分析其原因，而且也試著通過強烈的表述和樂觀的精神來給予希望。無論任何反對德國的宣傳，這張CD依然會使我們對自己的文化和歷史傳承感到自豪。依我看，我已經超越了極端的歌頌，儘管我經常被這樣的控告著。

The Jewish philosopher Aaron DavidGordon (1856-1922) thought that man connects himself with the land byworking it. In his work, he sketches a spirituality and creativity gained fromconnecting yourself to nature, and in a certain way to return to nature:"On that day, O Man, deep in your heart you will know that you had beenwandering until you returned to Nature. For you did not know life. A differentlife, a life not ready-made, a life to be experienced in preperation andcreation - that life you did not know." (Excerpt from: Logic for theFuture) What do you think of this idea? In what way do you connect with yoursurroundings?

猶太哲學家Aaron DavidGordon （1856-1922）認為人是可以通過努力去達到與大地相通的。在他的作品裡，他描繪了通過把自身與自然連接從而獲得一種靈性和創造力，並通過某種方法回歸到自然之中：『在那一天，哦人類，在你內心深處，你將會知道你曾一直在彷徨，直到你回歸到自然之中。 回到你不了解的生活中，一個不同的生活，一個非模式化的生活，一個在準備和創造中體會的生活，這種你還不知道的生活。』（節取自Logic forthe Future）你怎樣看待這個想法?你是通過何種方法與你的周圍建立連接的呢？

I must admit that I have not heard of this philosopher, yet. Obviously, it isnot just a typical Germanic belief. But for the old Germanic belief, this wasthe most important spiritual perception. Firstly, you have to live in harmonywith nature accepting it and struggling with its odds. And secondly, yourealize that you arise from it, are part of it, and finally return to it. Icite from a German song that came in my mind right now: Earth creates, earthtakes away, German holy earth preserves us, has born us, we belong to it,faithfulness, eternal faithfulness announces the banner...

我必須要承認我尚未聽說過這位哲學家。顯然，它並非只是一個典型的日耳曼的信念。但對於舊時的日耳曼信念，這是最重要的精神感知。首先，你需要通過接受自然和與其抗爭來達到和諧共存。其次，你意識到你是出身於此，是它的一部分，最終回歸到它。我引用一首現在出現在我腦海里的德語歌：大地創造，大地帶走，德國神聖的土地保衛著我們，生育我們，我們屬於它，忠誠的，永恆忠誠的，在這面旗幟下宣誓。。。

If I understand correctly, you lived in Belgium and the USA for a time. How has thisexperience influenced your view on your own living environment?

如果我理解正確的話，你曾經在比利時和美國生活過一段時間。這段經歷是如何影響你對於自身生活環境的看法呢？

My "travel" through Belgiumand the US inspired thealbum Heimat & Jugend which is a reflection of this stay and my experiences- always related to the history of Germany. The album has beenpublished after I returned and I placed a quote by Hermann Hesse in thedigipack which says: "The one who returned back home is a different person compared to theone who always stayed at home."It would really go too far to mention all the little things which changed andwhich did not. A general achievement is, that this travel provided a differentinsight to the world, and that I fell in love with Germany again. Not the insane anddesperate love of someone who loves the one and only thing he owns - but theself-confident love of someone who has chosen this one thing amongst thousandsand who would still love it if he leaves it back behind.

我在比利時和美國的『遊歷』激發了唱片《Heimat &Jugend》的靈感，它是這段停留和經歷的反思，這總是會關聯到德國的歷史。在我回來後便發表了這張唱片。在這唱片裡面我引用了HermannHesse的名言：『相比那個一直留在故土的人，遠行而歸的人會發生質的變化』。如果要描述所有的事物是否有細微的改變，這樣就會離題太遠。籠統的成就便是，旅行為我提供了一個不同的視角去看這個世界，並且使我再次深愛上了德國。它不是瘋狂和不顧一切那般對情人的愛慕，並非視其為擁有的唯一，但它是自信的愛，它是萬里挑一併且忠貞不渝的愛。

What can we expect from Darkwood in the future? Are youalready working on new material, and do you have a tour planned?

關於未來我們對於Darkwood該有怎樣的期待？你已經決定開始創作新的素材了嗎？你有巡演的安排嗎？

After the really hard and exhausting work on Notwendfeuer, I guess I will havea creative break for this year not to proceed in the same manner and style.This is actually what I always did. In those breaks, I am of course not lazy.Besides traveling and re-activating friendships after being locked in thestudio for half a year, I will answer interviews and try to focus on label workwhich basically means collaborating with people or contributing to otheralbums.

在艱難和費神地創作《Notwendfeuer》之後，我想今年將有一個創作的間歇，不會以同樣的方式繼續。其實這也是我經常的做法。在這些間歇期間，我當然不會懶散著。當我結束了這半年的錄音室閉關，我將會旅行和重拾友誼。我將會應答所有的採訪並且試著集中精力在廠牌的工作中，這意味著我將與其他人合作或者助陣於其他的唱片。

I did quite a few guitar parts for the new Voxus Imp. LP "Myrikvidi"which is out already on Eis & Licht. Apart from that, I am working on thesecond collaborative release after the "Secret Lords" compilationwhich will be published on Heidenvolk as HV11. This will be the new studioalbum of the brilliant American neofolk project In Ruin - a name one shouldremember. Their album will be entitled "A Ghost to be Forgotten" andbrings very personal and darkly emotional neofolk music with guest appearancesof Kim Larsen (Of the Wand & the Moon), Isaac Aubrey (The Arid Sea),Catonium, and Darkwood.

我在Voxus Imp的新LP 《Myrikvidi》裡面演奏了不少吉他部分，Eis &Licht已經發表了該唱片。除了這個，我也在做《Secret Lords》之後的第二個合作唱片，它將在Heidenvolk發表，其編號為HV11。這將是美國傑出的新民謠樂隊In Ruin的新錄音室唱片，他們也是一個值得銘記的樂隊。這張唱片名為『一個將被遺忘的魂靈』，客座樂手的陣容包括Kim Larsen(Of the Wand & the Moon), Isaac Aubrey (The Arid Sea), Catonium 和 Darkwood，它將會是非常個人化和有著陰鬱情結的新民謠音樂。

There is no particular tour planned for now. We have been talking about givingsome concerts in Europe together with anotherband but nothing is settled, yet. I actually prefer to play at festivals and Ihave a couple of requests but I cannot name any at the moment which are forsure. The reason is that I dont really have a live line-up. The classical musicians I record the albums with are friendsof mine who I see like once or twice a year. They have too many commitments tofind the time to play Darkwood concerts. Usually, I collaborate with musiciansof other neofolk bands and with people I know from times when I used to playelectric guitar in several strange bands. But I will announce everything on ourwebsite as soon as anything is settled.

目前還沒有特別的巡演安排。我們曾討論過和其他樂隊一起在歐洲做些演出，但任何事情尚未談妥。其實我喜歡在音樂節上演出而且我也收到了一些邀請，但我現在還不能確定。原因是我沒有現場演出的陣容。錄音時的樂手都是我的朋友，一年我們只會見一兩次面。他們太忙以至於很難抽身來出席Darkwood的演出。通常我會和一些其他的新民謠樂隊的樂手合作演出，也會和那些我曾參與演奏過電吉他的外行樂隊的成員合作演出。當這些事情確定下來後，我會在我們的官網發布信息。

Thank you very much for answering our questions! Do youhave anything to add to the interview?

十分感謝你回答我們的問題！你還有什麼其他想說的嗎？

Well, at this point I want to take the opportunity to thank you for yourquestions - and your patience to wait so long for my answers. I also want tothank all readers for their interest in our work and our path. Hope to meet youat a concert one day.

我想藉此機會感謝下你的提問以及你長時間等待回復的耐心。我也想感謝所有讀者對於我們作品以及我們的前途的關注。希望某日能夠在演出上能見到你們。

原文作者： D.M.K @eveningoflight

原文地址：Evening of Light :: Interview :: Henryk Vogel (Darkwood)

翻譯：靈魂前線

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