搬運(yùn)自：網(wǎng)易云音樂(lè)專欄【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：Beans_Beans?

It's an amazing thing when pop music expresses beauty through ambiguity. After being pummeled over the head for years and years with I Love Yous and You Are So Beautifuls, the most direct way of expressing images of love and beauty have pretty much lost all impact. Melodic tricks can wear thin just as easily. Hooks are all well and good, but when you've seen a hook enough times, you know not to bite.?

流行音樂(lè)開(kāi)始嘗試通過(guò)模棱兩可的方式來(lái)表達(dá)美，這很是令人驚訝的事情。在已被“我愛(ài)你”和“你是如此動(dòng)人”猛擊腦袋多年后，用最直截了當(dāng)?shù)姆绞奖磉_(dá)愛(ài)和美的意象顯然已幾乎失去了所有的積極影響；旋律技巧也同樣會(huì)因此容易被忽視。這些吸人眼球的亮點(diǎn)當(dāng)然不錯(cuò)，但顯然當(dāng)你已經(jīng)見(jiàn)識(shí)過(guò)足夠多的“鉤子”后，就知道不要再上鉤了。

Perhaps the problem is that most pop music doesn't put enough faith in the listener. Everything must be laid out in the most obvious of terms, and eventually, that obviousness obscures whatever the music originally intended to convey. If you want to invoke the quiet beauty of the ocean, for example, you can write a pop song that says, "Hey, the ocean is really beautiful," or you can try to come up with a sonic approximation of that beauty.

也許問(wèn)題在于，大多數(shù)流行音樂(lè)并未給予聽(tīng)眾足夠的信任——一切都必須以最淺顯的言語(yǔ)來(lái)闡述，最終，這種淺顯性遮蔽了音樂(lè)本能傳達(dá)的更深層的東西。例如，如果你想歌頌海洋的靜謐之美，你當(dāng)然可以寫一首流行歌曲，唱道：“嘿，這海洋真的很美”；亦或你可以試著想出一種相近的聲音來(lái)借以表達(dá)那種美好。

It's a huge undertaking to attempt to capture something so visual in a song. But for Phil Elvrum, it seems to be second nature. The Glow Pt. 2, the follow-up to last year's gorgeous brainmelt It Was Hot, We Stayed In the Water, captures the sea, the sky, and the mountains in a sonic panorama that seems to live without beginning or end. A sprawling, swirling composition that is both as varied and as consistent as the landscape itself, The Glow Pt. 2 exceeds even its predecessor in capturing the simultaneous wrath and fragility of nature. And sounding really, really cool.

在一首歌中捕捉如此栩栩如生的部分是一項(xiàng)艱巨的任務(wù)。但對(duì) Phil Elvrum 來(lái)說(shuō)，這似乎是渾然天成一般。《The Glow Pt.2》，是他去年華麗的、腦洞大開(kāi)的《It Was Hot, We Stayed In the Water》的后續(xù)作品，它以一種“聲音全景”的方式捕捉這世間中海洋、天空和山脈的身影，無(wú)邊無(wú)際?！禩he Glow Pt.2》有著一個(gè)龐大的、漩渦式的構(gòu)圖，它既像風(fēng)景一樣變化多端，又像風(fēng)景一樣和諧統(tǒng)一，在捕捉大自然的憤慨和脆弱的同時(shí)，甚至超過(guò)了它的上一部作品。這聽(tīng)起來(lái)酷極了。

Like It Was Hot's "The Pull" before it, "I Want Wind to Blow" opens with subtle manipulations of acoustic guitars across stereo channels. There's an amazing sense of open space to the track as overtones from a low, rhythmic rumble, and from the stereo acoustic guitars, create a wash of barely audible noise floating through the mid-frequencies. "I Want Wind to Blow," like a good portion of The Glow Pt. 2, uses repetition and understatement to transform itself from a simple song into a landscape.

就像之前《It Was Hot》中的 “The Pull” 一樣，“I Want Wind to Blow” 從對(duì)立體聲通道中原聲吉他的精妙操控作為著手點(diǎn)。從低而極富韻律感的隆隆聲和立體聲吉他的泛音中得以一瞥這首曲子所蘊(yùn)含的一種驚人的開(kāi)放空間感，同時(shí)還創(chuàng)造了一種漂浮在中頻上幾乎不能捕捉到的微噪?！癐 Want Wind to Blow” 很可能作為了《The Glow Pt.2》絕佳的一部分，使用反復(fù)和低調(diào)的表述，將這一首簡(jiǎn)易歌曲繪成了一幅風(fēng)景畫卷。

And as with any landscape, the way the songs on The Glow Pt. 2 are perceived greatly affects the impact of the record. This album simply must be listened to on headphones. Hearing the record on regular speakers is like staring at the Grand Canyon through a Viewmaster. The illusion of depth is weak at best, and easily broken. With headphones, the sounds contained within the record absolutely come to life, bouncing and slithering from ear to ear. The use of stereo panning is as integral a part of the disc as the melodies and instrumentation.

和任何其他景色一樣，《The Glow Pt.2》中歌曲被感知的方式極大地影響了這張唱片的影響力。顯然這張專輯只能用耳機(jī)來(lái)聽(tīng)；在普通揚(yáng)聲器上聽(tīng)這張唱片，就像透過(guò)視景儀觀賞大峽谷——沉浸式的視覺(jué)體驗(yàn)極為脆弱，很容易被打破。用耳機(jī)聽(tīng)，唱片中刻錄的聲音絕對(duì)是栩栩如生的存在，在耳道間跳躍和滑翔。立體聲平移這一技巧的運(yùn)用與旋律和樂(lè)器一樣，是這張唱片不可或缺的一部分。

With this stereo enhancement, parts of The Glow Pt. 2 are absolutely breathtaking. And perhaps the single most breathtaking song on the album is its title track, which may or may not be a thematic follow-up to "The Glow," the 11-minute-long centerpiece of It Was Hot, We Stayed In the Water. Opening with blasts of fuzzy guitar and massive drums, "The Glow Pt. 2" segues somewhat abruptly into another segment of stereo acoustic guitars, before giving way to a drop-dead gorgeous wash of multitracked organs. On top of this, Elvrum lets loose what could be the most striking lyrics he's ever penned: "I faced death. I went in with my arms swinging. But I heard my own breath and had to face that I'm still living. I'm still flesh. I hold on to awful feelings. I'm not dead... My chest still draws breath. I hold it. I'm buoyant. There's no end." Elvrum delivers these lyrics in a melodic stream-of-consciousness style that's structured enough to be musically riveting, but loose enough to sound spontaneous and sincere. As the last words of the song fade, the swell of organs segues into a trebly acoustic guitar and hi-hat section highly reminiscent of early Modest Mouse.

在這種立體聲增強(qiáng)下，《The Glow Pt.2》的部分內(nèi)容是絕對(duì)耀眼的。也許這張專輯中最令人驚嘆的歌曲是它的標(biāo)題曲，而它也可能不僅僅是專輯《It Was Hot》中長(zhǎng)達(dá)11分鐘的核心曲目 “The Glow” 的主題后續(xù)。以模糊不清的吉他聲和厚重的鼓聲開(kāi)場(chǎng)，“The Glow Pt.2” 又有點(diǎn)突然轉(zhuǎn)入另一立體原聲吉他得片段，隨后讓位于多聲道風(fēng)琴的華麗旋律洗禮。除此之外，Elvrum 還發(fā)表了一首可能是他所寫過(guò)的最引人注目的歌詞——“I faced death. I went in with my arms swinging. But I heard my own breath and had to face that I'm still living. I'm still flesh. I hold on to awful feelings. I'm not dead... My chest still draws breath. I hold it. I'm buoyant. There's no end”。Elvrum 用一種旋律化的意識(shí)流風(fēng)格來(lái)表達(dá)這些歌詞，結(jié)構(gòu)足夠緊湊，在音樂(lè)上引人入勝；但又足夠松散，聽(tīng)起來(lái)愈加自然而真誠(chéng)。隨著歌曲最后幾句詞漸漸淡出，風(fēng)琴厚重的低吟便過(guò)渡到高音吉他和高擦部分，很容易讓人聯(lián)想到早期的 Modest Mouse。

Nowhere on this album are there short, straightforward pop songs like It Was Hot's cover of Eric's Trip "Sand" or "Karl Blau." Instead, the record ebbs and flows gracefully between fragile acoustic numbers like "Headless Horseman," and overpowering swells of noise, with all points in between represented. The flow between songs on The Glow Pt. 2 is absolutely flawless-- the album functions as one giant piece of music as well as it does a collection of songs. Themes of flesh and blood, water and wood, and life and death permeate the record, connecting well enough to create a sense of something greater without beating you over the head with its concept.

這張專輯中沒(méi)有像《It Was Hot》中翻唱樂(lè)隊(duì) Eric's Trip 的 “Sand” 或 “Karl Blau” 的那樣短小直白的流行歌曲。相反，這張唱片“Headless Horseman” 等精致易碎的不插電曲目和洶涌澎湃的噪音之間優(yōu)雅地起伏著、跳躍著，在這兩者之間的所有節(jié)點(diǎn)都有所體現(xiàn)?！禩he Glow Pt.2》歌曲間的銜接是絕對(duì)完美的——這張專輯作為一個(gè)宏偉的音樂(lè)整體的惡一部分，又同時(shí)能被視作為一個(gè)歌曲集錦。血與肉、水與木、生命與死亡的主題貫穿于整張唱片，入木三分；同時(shí)在不會(huì)讓你頭暈?zāi)垦５那闆r下?tīng)I(yíng)造出一種更加偉大的感覺(jué)。

Ultimately, The Glow Pt. 2 is the sound of one man working through a changing landscape-- a single voice challenging its surroundings while also accepting that it's powerless to alter them. The disc ends with a throbbing heartbeat, the most basic sign of life having braved through the stormy trek that precedes it. The Glow Pt. 2 is unpredictable, volatile, vibrant, terrifying, and comforting. The Glow Pt. 2 is alive.

說(shuō)到底，《The Glow Pt. 2》是一個(gè)人在不斷變化的環(huán)境中工作生活的錄音——一個(gè)挑戰(zhàn)外界大環(huán)境的微弱聲音，也僅能接受它無(wú)力改變環(huán)境的事實(shí)。這張唱片以悸動(dòng)的心跳結(jié)束，這是生命勇敢走過(guò)先前的風(fēng)雨跋涉后的基本印記。《The Glow Pt. 2》的存在不可預(yù)測(cè)、不穩(wěn)定、卻充滿生機(jī)，令人驚懼卻令人欣慰——《The Glow Pt.2》是活生生的。