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

翻譯：Joonly-EC

校對：Ryan-Chopin

排版：Ryan-Chopin

The internet can be a lonely place, but?Katie Dey?treats it like a one-way transmitter to other people feeling trapped in their homes, heads, or bodies. On her debut?asdfasdf, the Melbourne songwriter shot her fragmented voice out of her isolated world and right into your own. Her heavily pitch-shifted coo on songs like “don’t be scared” and “fear o the dark” made the words difficult to understand, but the ineffability of the feelings was clear. If her vocals sometimes sounded more electrical than human, they also reminded you that, hey, brains run on electricity. On the new?solipsisters,?Dey moves closer to the mic than ever before, revealing the powerful lyricist hidden in plain sight.

互聯(lián)網(wǎng)可以是一個孤獨的地方，但Katie Dey卻把它視為一個單程發(fā)射器，把信息傳播給那些受家庭、思想和軀體束縛的人們。在她的首張專輯《asdfasdf》中，這個來自墨爾本的作曲家把她碎片般的獨字獨句吟唱出來，交給你來定義。她在“don't be scared(別被姐嚇到哦)”和“fear to the dark(老娘怕黑)”中不乏咕咕聲和精湛地音高轉(zhuǎn)換，除了能讓人體會到無法言喻的感情，就不能做更多的理解了。在《solipsisters(獨唱姐妹花)》中，Dey比之前唱的都要多，并展示了她強大的作詞能力。

For all the scrambled sonics running through her music, Dey has proven a knack for careful pacing.?Asdfasdf?kicked in like a generator, building to an energetic peak on “Unkillable,” while 2016’s?Flood Network?staggered its songs with short interludes running from “(f1)” to “(f8).”?solipsisters?pushes off gently with “waves,” pairing crashing water and crumbling, distorted pulses that flow seamlessly into the title track. “solipsisting” builds with warm drums that swoop and crack in the air, and rather than ending after its ascendent climax, it simply floats in the immaculate atmosphere. Dey’s voice slides into textural fog, where acoustic guitars and synths tie loose knots that recall?Feels-era?Animal Collective, whose songs seemed to curiously wander past their logical conclusions. Dey’s attention to how her songs start, end, and connect has never been keener or better controlled.

對于她所有歌曲中的呲呲的合成器聲，Dey已經(jīng)證明了自己對節(jié)奏把握的訣竅?！禔sdfasdf》像一個發(fā)電機一樣進場，慢慢建立起電力十足的樂章，然后在“Unkillable(殺不死老娘)”中達到了頂峰，然而2016年的專輯《Flood Network(發(fā)大水的網(wǎng)絡(luò))》把里面的歌用“(f1)”到“(f8)”八首短暫的曲目分開了?！秙olipsisters》則是先用“waves(搖/波浪)”溫柔開場，搭配著擊打水花的聲音，失真的脈搏聲在這首歌中若隱若現(xiàn)。《solipsisters》用溫暖的鼓點構(gòu)架樂章，節(jié)奏在空中猛撲并破裂，而不是在上升到高潮之后結(jié)束，它只是漂浮在完美的氛圍中。Dey的聲音漸入佳境，不插電的吉他和合成器把松散的樂符牢牢系在一起，讓我想起了《Feels(感受，專輯名)》時期的Animal Collective(動物共同體，樂隊名)，他們的歌貌似是在好奇地漫步而到達樂曲終點。Dey的關(guān)注點在如何開始、如何結(jié)束和銜接她的音樂，并且這一點越發(fā)地嫻熟。

As seamlessly as “solipsisting” sneaks into view, “stuck” snaps to attention with crisp piano lines and pristine drums. “I was born inside this body and I’m stuck there/I’m a storm inside a rotting false construction,” Dey sings with surprising clarity. Her words, shared in a lyric sheet for the first time, nestle their sharp edges inside candy-coated sounds and unexpected details. “stuck” amplifies her strengths without losing the homespun intimacy that made her work so special, like when she punctuates a soaring chorus with a soft, throat-clearing cough.

就像《solipsisters》展示的那樣無縫連接，“stuck(卡住)”用清脆的鋼琴曲和古樸的鼓聲抓住了我們的注意力?！拔乙蜻@具血肉而生卻又被它羈絆/我是一座腐敗的錯誤的建筑中的風暴，”Dey第一次這么清楚地唱歌，著實令人驚訝。她的話第一次在歌詞中有了一席之地，這首歌聽著就像被糖衣包裹著的鋒利邊緣，充滿了意想不到的細節(jié)。“stuck”在增強她力量的同時，又使她的作品不失格外樸實的親切感，就像她用輕柔的、清嗓子的咳嗽打斷了一段高亢的合唱。

solipsisters’?suite-like uniformity and more balanced mix are a departure from the chaotic highs and lows of Dey’s early work, allowing the songs to support and play off one another. Repeated references to shells and waves ripple from the stunning centerpiece, “shell,” where Dey opens a reflection on her own voice with the line, “My soul sings in higher octaves than my larynx will allow.” In a recent?interview, she explained that her virtuosic pitch-shifting was not only an artistic decision, but “a way of relieving dysphoria and making my own music more palatable for me to listen to so that it didn't upset me—like putting an Instagram filter on your face.” Over flourishes of drums and glowing synths, she finds melody and poetry in knotty phrases like, “Morphing esophageal practices hardening the lumps up in my throat/My heart throbs in impossible rhythms my head could never erode.” It’s transcendent enough to illuminate even the album’s darkest passages.

《solipsisters》因為它的正裝般的正式和更為平衡的混音脫離了Dey早期作品中混亂的高低音，使得歌曲能夠前呼后應(yīng)。在“waves”和主題曲“shells(殼)”中反復(fù)運用的漣漪聲，是Dey把歌詞和聲音相互照應(yīng)的試驗田?！拔业撵`魂比我的喉嚨唱得高了八度?！?strong>Dey在近期一個采訪中解釋道，她精湛的音高轉(zhuǎn)換不僅是一個藝術(shù)體現(xiàn)，也是“一種緩解焦慮的方式，讓我自己的音樂聽起來更順耳，這樣我就不會心煩意亂——就像在你臉上放一個Instagram濾鏡?！?/strong>在鼓聲和悅耳的合成器聲的增多時，她發(fā)現(xiàn)，就像“變形食道練習(xí)著如何使我喉嚨里的腫塊變硬，我的心臟以不可能的節(jié)奏搏動著，我的頭永遠不會被腐蝕，”這些旋律和詩歌中夾雜著復(fù)雜的表達方式，它們的超越性足以照亮專輯中最黑暗的段落。

In that same interview, Dey explained of?solipsisters: “There’s a lot of ‘you’ and ‘me’ and ‘we,’ but it’s really all just about me, because I was so totally alone while I was writing these songs. You end up talking to yourself a lot if you’re isolated.” The album’s depictions of disconnection and depression are not easy to hear, even when surrounded by sounds that are, but in writing so passionately and honestly, Dey has initiated a powerful act of communion. If she’s reached you, she’s already made you feel less alone.

在同一場采訪中，Dey詮釋了《solipsisters》:“專輯中有很多‘你’、‘我’和‘我們’，但這些人稱其實都是在代表我自己，因為當我在寫這些歌的時候，我完全是獨自一個人。如果你很孤獨，你就會自言自語地說很多?！?strong>這張專輯對分離和沮喪的描寫不容易聽出來，盡管被這種聲音圍繞著，通過熱情而真誠的填詞，Dey已經(jīng)開始了一次強有力的對話。如果她讓你產(chǎn)生了共鳴，她已經(jīng)讓你不那么孤獨了。