搬運自：微信公眾號【評論搬一堆】（在原文基礎上添加了英語原文與排版調整）?

翻譯：cathylin

校對：Emma.Z

排版：SpencerC

A dreamy, bucolic ambient LP, full of lush textures and birdsong, along with a number of other pleasant surprises.

這是張有著夢幻般田園氛圍的音樂唱片，充滿了郁郁蔥蔥的質感和鳥鳴聲，另外還有一些愉悅的驚喜。

Baskerville Hall, a country hotel built in 1839 in the Welsh village of Clyro, is known for a few things. Sir Arthur Conan Doyle, author of?Hound of the Baskervilles, was a frequent guest at the inn. Paranormal enthusiasts believe the place is?haunted. And every summer, it hosts Freerotation, a beloved, members-only affair where the hippie ethos of the 1990s free-party rave scene meets cutting-edge electronic music.?Resident Advisor’s Will Lynch?called it?“600 friends knocking around a weird old hotel for three days—it feels more like a massive sleepover than a festival.” Leif Knowles has been playing Freerotation for years now, and his?DJ sets?there have become legendary for their range, their risk-taking, and their bucolic scene-setting, providing a fitting counterpart to the rolling green hills and rural idyll. With?Loom Dream, he captures that spirit on vinyl.

巴斯克維爾莊園，1839年建立在克萊羅的威爾士鎮(zhèn)，一座因一些事情而聞名的鄉(xiāng)村酒店?！栋退箍司S爾獵犬》的作者柯南道爾，是這家小旅館的?？汀３匀粣酆谜呱钚胚@個地方鬧鬼。每個夏天小旅館都舉辦Freerotation，這是一個深受熱愛的，只有會員才可以參與的音樂節(jié)。1990年自由趴體般的狂歡場面里，嬉皮士精神和時代前沿的電子音樂在這里碰撞。Resident Advisor（譯者注：某電子音樂網站）的Will Lynch 稱之為“600個朋友在三天內穿梭在古老的酒店里，感覺更像是一次大型的通宵而不是音樂節(jié)”。如今利夫·諾爾斯已經在Freerotation表演了數(shù)年之久，因其音域、冒險精神和田園風光而成為傳奇，并與起伏的青山和田園風光形成了完美的對應。通過《幻夢》，他在黑膠唱片上捕捉到了這種精神。

Leif, as he is known, has been putting out records since the early 2000s, his style gradually evolving from pert minimal house to?freaky, futuristic bass music.?Loom Dream?is his third album, but it is his first ambient full-length—never mind that Whities, the label putting it out, is itself better known for?forward-looking bass mutations. Just 34 minutes long,?Loom Dream?is the kind of mini-LP that is?particularly suited?to a certain, evocative strain of ambient music: not too short, not too long, but a Goldilocks-like, just-right length for catnapping and coming back up for air.

如大眾所知，Leif從21世紀早期就開始發(fā)行專輯。他的音樂風格逐漸從大膽的minimal house演變到怪異而帶有科幻意味的貝斯音樂?！禠oom Dream》（《幻夢》）是他的第三張專輯，但也是他第一張全氛圍音樂專輯-先不理會廠牌發(fā)行的Whities，它更為人所知的是其前瞻性的低音變異。34分鐘的時長，《Loom Dream》像是一張迷你的LP，特別適合于有著特定張力、能喚起周圍的音樂：不太長也不太短，似金鳳花姑娘故事般，憩息或是舒一口長氣，長度恰好。

Loom Dream’s tracklisting comprises six songs, but really the record plays out as a single suite of music, the tracks seamlessly joined by chirping birds, footfalls, and creamy swirls of reverb. Leif’s choice of sounds is faithful to the chill out room aesthetic that artists like Mixmaster Morris and?the Orb?pioneered in the late 1980s: Synthesizers waft through gentle delay chains while field recordings suggest a sense of place and submerged rhythms generate the subtlest forward motion. The record follows a loose botanical theme—its six tracks take their titles from plants and herbs like?yarrow,?borago, and?myrtle—and between the omnipresent birdsong and lush textures, it’s easy to imagine that?Loom Dream?would make a lovely soundtrack to a supine half-hour in a sun-warmed glade.

《Loom Dream》包含了6首歌，但它更是一整套音樂，每首歌都將鳥鳴聲、踢足球的聲還有似奶油漩渦的混響無縫對接。Leif對聲效的選擇遵從了最原始氛圍音樂起源的休息室美學，就像Mixmaster Morris和the Orb這樣上世紀80年代晚期的藝術先驅一樣：合成器樂在溫柔的延遲鏈里漂浮穿梭，田園音樂表明了空間感，沉浸式節(jié)奏帶動的前移在微妙地發(fā)生著。整張專輯追尋著一個寬泛的植物學主題:六首歌的命名都是從植物名和藥草名里而來，比如yarrow（蓍草）、borago（?玻璃苣）還有myrtle（香桃木）;?還有沉浸與無處不在的鳥鳴聲和茂盛的的紋理之中，很容易讓人期待《Loom Dream》會有這么一首可愛的歌，在暖陽照射的林間空地上慵懶地吟唱半個小時。

But?Loom Dream?can also be surprisingly (and impressively) intense. Leif’s pastel atmospheres frequently give way to deep, chest-quaking drums: layer upon layer of thrumming hand percussion, sub-bass rumble, and sampled kit. “Myrtus” is driven by quick, trilling marimba melodies, and in “Rosa,” faintly distorted thumb piano takes the lead. In “Borago,” pummeling floor toms accompany echoing blasts of choral voices, creating a mood that’s both stormy and majestic.

但是《Loom Dream》有時也驚喜地（同樣深刻地）營造著緊張的氛圍。Leif柔和的氛圍頻繁地讓位給沉重且震撼心靈的鼓點：一層疊著一層的手動擊打樂嗡嗡作響，超低頻的隆隆聲，還有成套的工具。“Myrtus（香桃木）”被馬林巴琴快速的顫音旋律所驅使；在“Rosa（薔薇）”里，被微弱扭曲了的拇指琴占領著主導地位。而“Borago（玻璃苣）”中，拍打著地板的桶鼓聲伴隨著回響的合唱聲，營造出一種暴風驟雨般宏偉的氣勢。

Leif’s rhythmic instincts don’t just keep the music moving, they keep the vibe in constant flux, as time signatures shift and tempos vary. This dynamism helps set?Loom Dream?apart from its ambient contemporaries. Much like?Brian Eno?envisioned of ambient music, it is an emotional blank slate—the mood he evokes may be blissful, wistful, or simply serene, depending upon the listener’s headspace—but the constantly shifting grooves keep the record’s limited palette from getting stale. At the record’s end, he switches things up one more time: Over gossamer new-age chords, a steady drumbeat kicks up little clouds of dust that gradually swell into piercing dub-delay feedback; by the end, the sound is a strobing shriek, almost like a car alarm. It’s a suggestion, maybe, that rural idyll can’t last forever. Or maybe it’s just an appearance from one of Baskerville Hall’s ghosts.

Leif的音樂節(jié)奏底下的本質不只是保持著歌曲的前進。隨著時間印記的變換和拍子變化，他們使基調保持在持續(xù)的流動中。這股活力使整張專輯和其他的氛圍音樂不同，《Loom Dream》是一塊情緒化的空白石板。Leif喚起的可能是幸福的、渴望的或者是極簡的寧靜，這取決于聽眾的腦部活動，但是不斷變化的凹槽使唱片有限的色調不會變得陳舊。在專輯的末尾，他再一次將一切都調動了起來：在輕盈的新時代和弦之上，一個穩(wěn)定的鼓點激起了一小團灰塵，逐漸膨脹成刺耳的配音延遲反饋；直到最后，閃過的尖銳聲效像汽車警報器。這是一個暗示，或許田園時光無法永存；又或許這只是巴斯克維爾莊園里某個幽魂的顯現(xiàn)。