搬運(yùn)自：網(wǎng)易云音樂(lè)專(zhuān)欄【Music Online Zine Courier】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：豆目豆科

The digitally manipulated, spoken-word outro is something entirely new in the Bejarverse.

經(jīng)過(guò)數(shù)字處理的口語(yǔ)化結(jié)尾，Bejar塑造出自身宇宙中的全新產(chǎn)物。

Dan Bejar has spent so long refining the recipe for his Destroyer persona —three parts acerbic to two parts rueful, a dash of bitters and shake—that it can be easy to overlook just how much experimentation he’s managed without breaking his dry-old-buzzard pose for even a second. Depending on his wayward interests, you might hear his dry baritone wafting over Mick Ronson power chords, Nelson Riddle strings, or Roxy Music fretless bass and saxophone. On “June,” the third single from his upcoming Labyrinthitis, we once again discover something entirely new in the Bejarverse. After four minutes of louche, silky pop in the Kaputt mode, the bass begins vamping on a single note and we get a two-minute spoken-word performance.

Dan Bejar花了如此長(zhǎng)的時(shí)間來(lái)完善他“Destroyer”的角色配方——三分尖刻、兩分沮喪，再加點(diǎn)苦水和搖擺不定——以至于很容易忽視他在不打破他那干巴巴的老者姿態(tài)的同時(shí)所參雜的或多或少的實(shí)驗(yàn)元素。出于他獨(dú)特的風(fēng)趣，你可能會(huì)聽(tīng)到他的干式男中音在Mick Ronson的力量和弦、Nelson Riddle的弦樂(lè)以及Roxy Music的無(wú)板貝司和薩克斯上飄蕩。在“June”，即他即將發(fā)行的專(zhuān)輯《Labyrinthitis》中的第三支單曲中，我們得以再次窺探到“Bejar宇宙”中的一些全新存在。在原先《Kaputt》模范化的四分鐘喧鬧而絲滑的流行樂(lè)之后，低音選擇開(kāi)始在一個(gè)單一的音符上跳動(dòng)，最終我們得到了一個(gè)時(shí)長(zhǎng)兩分鐘的口語(yǔ)表演。

It’s a big risk—he could’ve very easily looked like an idiot. But rangy spoken-word, it turns out, perfectly fits this born rambler. The verse is an embarrassment of riches: “You come out swinging, but you go down swinging, too/You pay good money for a million-dollar view.” Near the end, his voice begins to warp and distend, another first for a Destroyer song, but the character meeting our eye is instantly recognizable. “The rude empiricism of every troubled loser, quote-unquote-unquote,” he mutters, and the promise embedded in the song is the same as always: If you could just pinpoint where the quote begins and the unquote ends, you might decipher, finally, what Bejar has been trying to tell you all along.

這無(wú)疑冒了很大的風(fēng)險(xiǎn)，他很可能會(huì)被視為一個(gè)白癡。但事實(shí)證明，奔放的口語(yǔ)與這個(gè)生來(lái)漫游、無(wú)拘無(wú)束之人完美契合。主歌部分的詞無(wú)疑是在給富人難堪：“You come out swinging, but you go down swinging, too/You pay good money for a million-dollar view.”在接近尾聲的部分，他的聲音開(kāi)始扭曲和變形，這在“Destroyer”的歌曲中還是第一次出現(xiàn)，但即便如此我們腦海中浮現(xiàn)出的形象依舊極具辨識(shí)度?！癟he rude empiricism of every troubled loser, quote-unquote-unquote”，他雖在喃喃自語(yǔ)，但其中蘊(yùn)含的諾言同以往并無(wú)不同：如果你能真正指出敘事的開(kāi)始和被抹去的結(jié)束標(biāo)識(shí)，你最終就有可能破譯出Bejar一直以來(lái)試圖在歌曲中告訴你的東西。