搬運(yùn)自：微信公眾號(hào)【評(píng)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：Lucia C

校對(duì)：TylerSmith

排版：Lynn Liu

The Dutch quartet undercut their perky, grunge-lite melodies with just the right amount of pop-fuzz aggression.

來自荷蘭的四人樂隊(duì)用恰到好處的流行曲風(fēng)削弱了他們歡快的grunge旋律。

Since the dawn of the internet, multitasking has become a way of life. In her namesake four-piece band, 23-year-old Amsterdam native Pip Blom cleverly weaponizes lapses in concentration to craft perky, grunge-lite melodies. “I’ll watch a documentary while playing guitar,” she?explained?earlier this year. “When I play something on my guitar that stands out more than the documentary does, then that becomes something I should use.” While she’s immersed in stories about interesting people or mental illness (her?preferred choice?of docs), a hypnotic melody or peculiar chord progression pushes to the front. These become the quartet’s thumping heart: moody riffs, steady post-punk percussion, and ebullient hooks that sink deep.

自從互聯(lián)網(wǎng)蓬勃興起，同時(shí)做多件事便成為了一種生活方式。在以本人的名字命名的四人樂隊(duì)中，來自阿姆斯特丹的23歲女孩Pip Blom聰明地運(yùn)用著專注時(shí)的走神來創(chuàng)作歡快的grunge旋律。“我會(huì)一邊看紀(jì)錄片一邊彈吉他，”她在不久前解釋道?！爱?dāng)我在吉他上彈出了比紀(jì)錄片更吸引人的東西時(shí)，那就是我應(yīng)該選用的旋律?！痹谒两谟嘘P(guān)有趣的人物以及精神疾病（她最愛的紀(jì)錄片主題）的故事中時(shí)，一段美妙的旋律或者特別的和弦吸引了她的注意。這些曲調(diào)接著就會(huì)變成樂隊(duì)的靈魂：情感多變的吉他樂段、沉穩(wěn)的后朋鼓點(diǎn)，以及歡快又深入人心的hook部分。

The catchiness and ease of the songs on the band’s debut album?Boat?overshadow the self-aware lyrics. Blom’s vocals, although clear, are undercut by just the right amount of pop-fuzz aggression.?Boat?is an enjoyable and uncomplicated listen, but it’s hindered by the sense that the production and vocals are built on top of each other, instead of building space for each other. Some songs feel rambling, while others have clear conviction. On standout “Bedhead,” lethargic strums and tempered drums build around Blom’s vocals in perfect symbiosis. “I woke up, felt like I never slept/No one knew what was wrong,” she sings, describing a mental exhaustion that goes well past everyday grogginess into a dark, depressive hole. Her voice comes closer during the chorus, strengthening the band’s scruffy pop with emotional intimacy.

樂隊(duì)的首張專輯《Boat（船）》中歌曲的抓耳和放松感奪走了自我意識(shí)鮮明的歌詞的風(fēng)頭。Blom的歌聲，雖然很清晰，卻被恰到好處的流行風(fēng)伴奏削弱了。《Boat》聽起來有種簡單的快樂，但是編曲和歌聲互相重疊，而非合理搭配，影響了聽感。有些歌曲聽起來有些雜亂，而其它的則比較明晰。在比較優(yōu)秀的歌“Bedhead”中，懶洋洋的撥弦聲以及溫和的鼓聲與Blom的歌聲有著完美的共生。“我醒來，感覺自己從未入睡 / 無人知道哪里出了錯(cuò)，”她唱著，描述著日復(fù)一日的昏昏沉沉帶來的精神疲憊感，發(fā)展為一個(gè)黑暗的、壓抑的大洞。她的聲音在副歌聲變得更加靠近，用情感上的親密感補(bǔ)充了樂隊(duì)的邋遢流行樂風(fēng)。

In the rustling urgency of “Daddy Issues” and the zig-zagging laxity of “Sorry,”?Boat?offers many crisp, cozy moments. Throughout, the band teeters between themes of distraction, isolation, and victory over apathy. On “Ruby,” Blom sings about the dilemma of finally recovering: “The worst days are all over/But now that I feel fine, I don’t know what to do with all that time.” Whatever scenarios surround these new feelings are mysterious, sometimes sinister. Elsewhere, Blom seeks to numb her emotions as she prepares to act on an unnamed mistake—seemingly one of passion. A grimy bassline lurks like a devil on her shoulder, urging her to follow through. “Caught off guard by feelings/I felt happy,” she sings, with eerie perplexity during “Tinfoil.”

從“Daddy Issues”中瑟瑟作響的緊迫感到“Sorry”中曲折的舒緩感，《Boat》有著許多新鮮而舒適的時(shí)刻。整張專輯中，樂隊(duì)平衡著分心、孤立、勝利，以及冷漠的主題。在“Ruby”中，Blom唱著最終痊愈的困境：“最壞的日子已經(jīng)過去了 / 但是如今我感覺很好，卻不知怎樣度過這些時(shí)光?！眹@著這些新的感覺的場景很神秘，有時(shí)甚至邪惡。在另一處，Blom準(zhǔn)備作出某個(gè)未知的錯(cuò)誤決定---看起來是感情所致，并試圖麻木她的情感。污穢感的貝斯曲調(diào)像惡魔般附在她的肩上，迫使她堅(jiān)持到底?！案星樽屛曳潘闪司?/ 我感到快樂，”她在“Tinfoil”中唱道，帶有些怪異恐怖的復(fù)雜感。

Blom has said that it’s fine if listeners don’t hear all her words; she “finds the melody more personal.” By focusing on melody, their greatest strength, the band also emphasize their struggle to fully captivate. The songs on?Boat?are comfortable but far from the irreverent edge of the earlier singles like “School.” Some tracks have the excitement and magnetism of an encounter with a fascinating stranger, while others are merely pleasant. There’s solace in distraction; it can be satisfying just to let the noise wash over you, whether it’s an obscure documentary or a pacifying wave of distortion. There is no grand thesis or groundbreaking concept on?Boat, but Pip Blom provide a welcoming nook for spacing out.

Blom說，聽眾們聽不到所有的歌詞也沒關(guān)系；她“認(rèn)為曲調(diào)更凸顯她自己。”通過專注于曲調(diào)（他們的最大優(yōu)勢），樂隊(duì)卻同時(shí)顯示出了他們無法完全吸引到聽眾的事實(shí)。《Boat》中的歌的確很舒適，卻沒有了一些例如“School”的早期單曲特殊的優(yōu)勢。有些歌曲有著興奮感及吸引力，仿佛遇見一個(gè)有趣的陌生人一般，而有些歌曲卻僅僅只是令人愜意。分心有時(shí)也是有益的；僅僅讓聲音將你帶走有時(shí)也能令人滿足，無論是模糊不清的紀(jì)錄片或是令人舒適的失真聲波。《Boat》中沒有什么宏大的主題或者開創(chuàng)性的概念，但是Blom提供了一個(gè)讓人走神的小角落。