?翻譯：Jaychen-_2022

搬運自：https://music.163.com/#/topic?id=53215645

Pan Daijing’s first two releases—the 2015 tape?Sex & Disease?and this year’s?A Satin Sight?EP—for the most part fell squarely into the realms of noise and techno, respectively. Meanwhile, “Zhao Hua,” her standout collaboration with?HVAD?from Pan’s?MONO NO AWARE?compilation, was a cloudy and dreamlike ambient track. Useful as these genres have been as guideposts, the Chinese-born, Berlin-based artist’s practice is more expansive than any one of them, incorporating movement, improvisation, and installation—and also taking an interest in the potential of sound beyond music.?Lack, Daijing’s ambitious debut full-length, incorporates all of this as it draws from the past two years of her live performances, accommodating a deeply felt theatrics.

潘岱靜的前兩部作品分別是2015年的《***&DISEASE》（磁帶 only）和今年的一部《A satin sight》的EP，它們在很大程度上都屬于噪音和工業(yè)音樂。同時，“zhaohua”，她與HVAD的杰出合作，來自PAN的MONO NO-AWARE合集，是一首朦朧而夢幻的環(huán)境音樂。盡管這些流派幾乎成了她的標簽，這位出生在柏林的華人藝術家的實踐活動比任何一種流派都要廣泛，包括舞蹈、即興創(chuàng)作等，而且她對音樂之外的潛在聲音也很感興趣?！禠ack》是潘岱靜雄心勃勃的處女作，從她過去兩年的現(xiàn)場演出中汲取了這一切，融入了一種令人印象深刻的戲劇感。

Though Lack collects pieces from different contexts, it follows a well-structured dramatic arc, building from eerie, ominous atmospheres into pulsating industrial fuzz. Daijing has noted that the record is her take on an opera, and this emerges literally on the piercing opener, “Phenomenon,” in which a soprano oscillates between two tones over struck strings and dissonant drones. Moving forward, she turns to a wilder sonic palette: a muted atonal chorus of synthesizers on “A Loving Tongue,” and on “Practice of Hygiene,” the claustrophobic sound of a groaning voice, either ecstatic or tortured—it’s unclear which, and maybe?irrelevant.

盡管《Lack》收錄的是不同背景下的作品，但它們有一種共性——從陰森、不祥的氣氛中營造出令人悸動的工業(yè)模糊場景。潘黛靜說過，這張唱片是她對一部歌劇的演繹，而這張專輯的開場就是“Phenomenon”，即女高音在敲擊的琴弦和刺耳的噪聲之間擺動。下一首，她改用了更為狂野的音色：在“A Loving Tongue”和“Practice of Hygiene”中，合成器的無調性聲音，一個幽閉恐怖的呻吟聲，要么狂喜，要么被折磨——不清楚到底是哪種狀況，這也許并不重要。

? ? ? ? ? ?(圖為潘岱靜為PAN做的mix)?

But amid such explosive aesthetics, there remains a formality to her delivery, a sense of control and even elegance. In “Plate of Order,” for example, Daijing portions out snarls of distortion that act as blistering punctuation underneath her own sustained vocals. Not merely aggressive, her application of crashing percussion or squalls of noise develops a near-meditative quality as Lack progresses. Certain songs may at first have an anxiety-inducing effect on the listener, but this is not anxious music; rather, it transmits an intense sense of presence.

?但在這種爆炸式的美學中，她的表達方式仍然是一種形式，一種控制感，甚至是一種優(yōu)雅。例如，在《Plate of Order》中，戴靜把扭曲的高音部分劃分出來，在她自己持續(xù)不斷的嗓音下，這些扭曲的聲音幾乎是多余的。不僅僅是咄咄逼人，她運用撞擊打擊或狂暴的噪音達到了一種近乎冥想的境界。某些歌曲一開始可能會讓聽者產(chǎn)生焦慮感甚至難以聽下去，但這并不是令人焦慮的音樂--相反，它有著一種強烈的存在感。

（譯者：就這3段，沒了（我也覺得很短），mix可以在soundcloud上聽（我也會上傳電臺，見網(wǎng)易云音樂：）