搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

原文鏈接：https://pitchfork.com/features/laists-and-guides/the-200-best-albums-of-the-2010s/?

翻譯：Ming Kwok

校對(duì)：Tyler Smith

推送：Lynn Liu

Few documents of global music this decade were as interesting as the producer Fatima Al Qadiri’s?Genre-Specific Xperience, an icy, minimal exercise in translating and flattening microgenres—juke, dubstep, digital tropicália—into a cohesive statement that tied to her international upbringing and youth as a gamer. Just five songs long, the record was high-minded—its videos, helmed by highly regarded artists like Ryan Trecartin and Sophia al-Maria, debuted in New York’s New Museum—but it also provided a template for what a cerebral dancefloor could look like. –Julianne Escobedo Shepherd

這十年以來，在全球音樂圈當(dāng)中很少有像制作人Fatima Al Qadiri的“Genre-Specific Xperience”這般有趣的專輯了。這張專輯最低限度地詮釋以及扁平化各種微流派（juke, dubstep, digital tropicália）--這完美和諧地貼合了她國際化的人生經(jīng)歷并體現(xiàn)了她作為一個(gè)年輕的電腦游戲玩家的技術(shù)。即使僅僅包含五首歌曲，這張專輯已經(jīng)得到了高度關(guān)注----其中的音樂視頻由一些頗負(fù)盛名的藝術(shù)家Ryan Trecartin和Sophia al-Maria掌舵，在紐約新當(dāng)代藝術(shù)博物館進(jìn)行了首演，這也為cerebral dancefloor流派提供了一種模板。