Klas Bergling stood in front of the ironing board in Tim’s childhood room on Linnégatan and fiddled with a crumpled strip of paper he had found in one of his son’s pockets.

Klas Bergling站在Linnégatan的Tim童年房間里的熨衣板前，擺弄著他在兒子口袋里發(fā)現(xiàn)的一張皺巴巴的紙條。

Tim had turned out to be an administrative nightmare. For the most part, he forgot to ask for a receipt at all, and the ones he still collected, he immediately wrinkled and shoved into his pocket. With the iron on low heat, Klas straightened out proofs of purchase for burnable CDs, sound cards and train tickets.

Tim成為了一場行政噩夢。他大多數(shù)時候都忘記了索取收據，而他收集到的那些收據，都被他直接揉皺塞進口袋里。Klas用低溫熨斗把錄音過的CD、聲卡和火車票的購買證明燙平。

Everything had gone so dizzyingly fast in the last year. One day Arash had just been sitting there at the kitchen table and Tim had signed a contract with At Night, Pournouri’s start-up management company. Now Tim had someone who could negotiate and book and highlight him, and it was certainly lucky.

在過去的一年里，一切都發(fā)生得如此迅猛。有一天，Arash只是坐在廚房桌前，而Tim已經與Pournouri的初創(chuàng)管理公司At Night簽訂了合同?，F(xiàn)在，Tim有了一個可以為他談判、預定和宣傳的人，這當然是幸運的。

The old man Bergling was by this point sixty-four years old, had sold his office supplies company and set himself up for a quiet life as a pensioner without too much work, apart from the small side-business he had spent his time on in recent years. From his ex-brother-in-law’s porcelain factory in Alexandria, Klas imported materials for building furniture, including metal tables with ceramic tops.

Bergling老人當時已經64歲了，他賣掉了辦公用品公司，為自己安排了平靜的養(yǎng)老生活，除了他近年來花時間經營的小型副業(yè)，沒有太多工作。Klas從他前姐夫在亞歷山大的瓷器工廠進口建造家具的材料，包括帶有陶瓷桌面的金屬桌子。

But his company, called Egyptian Warehouse, had quickly got a new core business and Klas had become some kind of unpaid accountant. He paid a salary of twenty-five thousand Swedish crowns a month to Avicii – since there was already another Avici on the music site Myspace, Tim had by now added a letter at the end of his artist name.

但是他的公司Egyptian Warehouse很快就找到了新的核心業(yè)務，Klas成為了一種無償會計。他每個月支付給Avicii 25,000瑞典克朗的薪水 - 因為在音樂網站Myspace上已經有了另一個Avici，所以Tim現(xiàn)在在他的藝名末尾加了一個字母。

They had begun to develop a new kind of relationship, Tim and Klas, a small family business in the entertainment industry. In the spring of 2009, Tim sent a summary of the income:

他們開始建立一種新的關系，Tim和Klas，一個在娛樂產業(yè)中的小家族企業(yè)。2009年春天，Tim發(fā)送了一份收入匯總：

1000 dollars for the first single
500 Euros for remix
800 dollars for remix
500 Euros for remix
about 3000 kronor for 2 gigs

第一支單曲1000美元，混音500歐元，混音800美元，混音500歐元，兩場演出約3000瑞典克朗。

Of course, Klas did not recognise a single one of the names his son worked with. Tim had remixed a song for some German named Roman Salzger, another for the Spaniard David Tort. He had made his own song called ‘Sound Of Now’, which apparently did well. ‘Street Dancer’ was another, a somewhat strange concoction of a breakdance song from the mid-80s, digital synths and elated flutes. Tim was represented on a compilation album called?Clubbers Guide to 2009, where Avicii stood next to Sebastian Ingrosso and Laidback Luke, something Tim was clearly proud of.

當然，Klas不認識與他兒子合作的任何一個人。Tim 為一位名為Roman Salzger的德國人混音，為另一位名為David Tort的西班牙人混音。他還創(chuàng)作了自己的歌曲Sound Of Now，顯然很不錯。Street Dancer是另一首歌曲，是80年代中期的霹靂舞歌曲、數(shù)字合成器和歡快的長笛的奇怪混合。Tim的作品被收錄在一張名為《Clubbers Guide to 2009》的合集專輯中，Avicii與Sebastian Ingrosso和Laidback Luke并列，這顯然是Tim引以為豪的。

After the first taste in Miami, more offers had begun to come from promoters outside of Sweden, for example in Zurich and Toulouse.

在邁阿密的第一次演出后，來自瑞士蘇黎世和圖盧茲等瑞典境外的推廣人開始提供更多的演出機會。

It was noticeable that Tim was working himself up as the trips approached. The stress seemed to take hold in his stomach – recently he had complained that he was in pain and wanted to be examined. However, the doctors had found nothing wrong.

值得注意的是，隨著巡演的臨近，Tim正在努力工作。壓力似乎在他的胃中扎根，最近他抱怨自己感到疼痛并想接受檢查。然而，醫(yī)生們沒有發(fā)現(xiàn)任何問題。

The anxiety could also take other forms. When his parents were to drive Tim to the airport in May 2009, Anki found her son lying on the hall floor, smelling of alcohol and with his clothes half-shoved into a broken suitcase. At check-in, Tim discovered that he had left his computer in the car; Klas had to rush off and pick it up.

焦慮也可能表現(xiàn)為其他形式。2009年5月，當他的父母要開車送Tim去機場時，Anki發(fā)現(xiàn)她的兒子躺在走廊地板上，酒氣熏人，衣服半塞進破舊的行李箱里。在辦理登機手續(xù)時，Tim發(fā)現(xiàn)他把電腦落在了車里；Klas不得不匆匆趕去把它取回來。

Part of it was probably about the fear of flying. But Klas also saw his son’s stress as a sign of something more fundamental. Tim seemed to get nervous about simply leaving the safe?neighbourhoods in Stockholm, anxious from being thrown out of his bubble in the messy apartment. He knew he would soon be seen under the bright stage lights and, not least, was worried that the audience would see his spots.

部分原因可能是對飛行的恐懼。但是Klas也把兒子的壓力看作是更根本問題的跡象。Tim似乎對于離開斯德哥爾摩安全的社區(qū)感到緊張，害怕被扔進凌亂的公寓里。他知道自己很快就會站在明亮的舞臺燈光下，而且，他還擔心觀眾會看到他的痘痘。

But on the other hand – once Tim got on stage and got into his groove, he was all right. And afterwards he was always proud, a little boastful in an adorable way.

但另一方面，一旦Tim上臺并進入狀態(tài)，他就沒問題了。之后，他總是感到自豪，以一種可愛的方式夸夸其談。

For Klas, it was clear that Tim had found his calling in the music. Not only did Arash believe in this, so did Tim. Klas wanted to let his son grow, not deny him anything at all.

對于Klas來說，Tim在音樂方面找到了自己的使命。不僅Arash相信這一點，Tim自己也是如此。Klas希望讓他的兒子自由成長，不想剝奪他任何東西。

And Tim’s goal was the top of the mountain, no lower altitude.

Tim的目標是登上山頂，不接受任何低海拔的選擇。

Towards the end of the summer of 2009, Tim Bergling sat alone in front of the computer in his flat on Kammakargatan. In the darkness behind him the blanket protruded from the unmade bed, out in the hall the bathroom door stood ajar. His shirt was wrinkled, he looked newly woken.

2009年夏末，Tim Bergling獨自坐在Kammakargatan街上的公寓電腦前。在他身后的黑暗中，毛毯從沒整理的床上探出來，在走廊里，浴室門敞開著。他的襯衫皺巴巴的，看起來像剛醒過來。

Only a few short sentences were to be read out, but by this time he had done over ten takes.

只有幾句短小的話需要朗讀，但此時他已經進行了十多次嘗試。

‘Hey, this is Avicii. I will be playing at the Techno Parade in Paris, Saturday the nineteenth of September—’

“嘿，這里是Avicii。我將在9月19日星期六在巴黎的Techno Parade上演出——”

He came to a halt, looked down from the camera lens, embarrassed. He reminded himself not to look too happy. He had tried to read from the script a few days earlier, but Arash thought those recordings were completely unusable.

他停了下來，在相機鏡頭里低頭，感到尷尬。他提醒自己不要顯得太開心。幾天前他曾試圖照著劇本讀，但Arash認為那些錄音完全沒法使用。

Tim had made a peace sign with his fingers, something that was apparently never allowed to be repeated. Neither was puckering his lips or winking with one eye. It looked childish, Arash said, as if Tim were fourteen years old.

Tim用手指做出了一個和平的手勢，顯然這是不允許重復的。嘴巴噘起或眨一只眼睛也是不允許的。Arash說，這看起來很幼稚，就像Tim才十四歲一樣。

Things became increasingly serious month by month. ‘Alcoholic’, the song that Tim had made with Filip ?kesson as a model, had just been released by Joia, a Swedish record?label run by Sebastian Ingrosso’s uncle, and it started to spread online. The Australian company Vicious had released the songs ‘Muja’ and ‘Record Breaker’. Tim had remixed ‘We Are’ for Dirty South and worked with the Frenchman Sebastien Drums. He had done one of his first interviews with a French magazine. ‘Not even 20 years old, this young Swede is already stirring up excitement at all his gigs, with or without his partner Philgood,’ wrote?Only For DJs. ‘The summer of 2009 will undoubtedly confirm the potential of this electrohouse talent.’

事情逐月變得越來越受重視。Alcoholic，這首由Tim創(chuàng)作和，F(xiàn)ilip ?kesson為樣本的歌曲剛剛由Sebastian Ingrosso的叔叔經營的瑞典唱片公司Joia發(fā)行，并開始在網上傳播。澳大利亞公司Vicious發(fā)行了歌曲Muja和Record Breaker。Tim為Dirty South的We Are做了混音，并與法國人Sebastien Drums合作。他與一家法國雜志做了他的第一次采訪?！斑@位不到20歲的年輕瑞典人已經在他的所有演出中激起了轟動，無論有沒有他的搭檔Philgood在”，《Only For DJs》寫道，“2009年夏天無疑將證實這位電子浩室音樂才華的潛力?！?/p>

So now Tim was on his way to Paris, where he would play from a truck slowly driving along the avenues, surrounded by people dancing and making out.

現(xiàn)在，Tim正前往巴黎，在那里他將從一輛慢慢行駛在大街上的卡車上演出，周圍有人跳舞和接吻。

For Arash, the situation was clear as day. It was time to start building a brand, and the emerging social media ecosystem was made for it. No longer would an entrepreneur have to wait for a reporter to come out with a photographer and give one’s product half a page in the newspaper.

對于Arash來說，情況非常明確。是時候開始打造品牌了，而新興的社交媒體生態(tài)系統(tǒng)正是為此而生。創(chuàng)業(yè)者不再需要等待記者帶著攝影師前來，給自己的產品在報紙上占據半個版面。

Online, you became your own publisher, and because the readers and viewers who started following you had made an active choice, it was possible to build a particularly strong loyalty.

在網上，你成為了自己的出版商，因為那些開始關注你的讀者和觀眾是有意識地做出了選擇，所以可以建立起特別強的忠誠度。

The crucial thing about Facebook and Twitter was that it was not a mute one-way communication. Avicii would be built up to be a star, but still feel attainable. Behind the idol was a humble guy, one who gladly took the help of his fans – that was the impression that was to be communicated. On social media, there was a unique opportunity to interact with the audience, which was proved a success when Avicii’s followers on Facebook competed to make the official video for ‘Alcoholic’.

Facebook和Twitter的關鍵在于它們不是單向的沉默傳播。Avicii成為了一個明星，但仍然可以被接觸到。在這個偶像背后是一個謙虛的人，他很樂意接受粉絲的幫助 - 這是要傳達的印象。在社交媒體上，有與觀眾互動的獨特機會，當Avicii的Facebook粉絲們競相制作Alcoholic官方視頻時，這種機會得以證明是成功的。

The fans showed both creativity and craftsmanship. A Swiss guy dressed up as a depressed fox and filmed as he drank his way through the streets of St Gallen, but the winner was a fan from Stockholm who documented a drunken night?illuminated by streetlights. The winner was invited as a VIP guest to France, and in the comments section was exactly the discussion that Arash wanted.

粉絲們展現(xiàn)了創(chuàng)意和技術。一位來自瑞士的男子扮成一只沮喪的狐貍，在圣加侖的街頭飲酒并拍攝了整個過程。但最終的獲勝者是一位來自斯德哥爾摩的粉絲，他記錄了一夜的酒醉和街燈下的光影。獲勝者被邀請作為貴賓前往法國，并在評論區(qū)引發(fā)了Arash想要的討論。

Sick video!!!

好炫酷的視頻?。?！

awesome.

酷

great editing.

編輯得很棒。

What’s happening with your prize? Are you getting a song named by you . . . and did you meet Avicii?

你的獎品怎么樣了？你有沒有得到一首以你的名字命名的歌曲？你見過 Avicii 嗎？

Hey man, yes I went on a whole weekend with Avicii to France and 2 gigs! It was awesome man!

嘿，伙計，是的，我和Avicii一起去了法國，度過了一整周，參加了兩場演出！太棒了！

Tim felt that they were lucky that Arash knew how to work that brand, because he himself was not really made for it.

Tim覺得他們很幸運，Arash知道如何運作那個品牌，因為他自己并不是真的適合這個。

Musically, however, he continued to develop at a furious pace. At the end of January 2010, he sat in front of the chord blocks in FL Studio and sensed that he had something very special going on. It was an arrangement that took its time. Thick, sweeping chords that climbed up into the sky. He built and embroidered, had found digital marimbas, a West African xylophone-like instrument, which gave the music a pleasant and light Caribbean tone.

然而，在音樂方面，他繼續(xù)以驚人的速度發(fā)展。在2010年1月底，他坐在FL Studio的和弦方塊前，感覺自己正在創(chuàng)作一些非常特別的東西。這是一個需要時間的編排。濃密、橫掃天際的和弦。他建立并加工，找到了數(shù)字馬林巴琴、一種類似西非木琴的樂器，使音樂具有令人愉悅和輕松的加勒比風格。

This song had the potential to be the sickest super banger, Tim felt it. He emailed Arash for help moving forward.

這首歌有成為最棒的超級熱門單曲的潛力，Tim感受到了。他給Arash發(fā)了電子郵件，請求幫助推進。

So as it looks now, it’s first marimbas during the break, very calm and kinda like an orgasm of sound, then what I want, or what I’m thinking in my head, is what it already does now, that it quickly changes to those fast stabbing strings etc and creates the sickest build up etc, so like that the song’s gimmick should be a bit in that it changes so quickly in some way.

現(xiàn)在看來，在歌曲休息期間首先出現(xiàn)了馬林巴琴的聲音，非常平靜，有點像聲音的高潮，然后我想要的，或者說我在腦海中想象的，就是現(xiàn)在已經實現(xiàn)的那樣，它迅速轉變成快速，有穿刺感的弦樂，創(chuàng)造出最強烈的高潮等等，所以說這首歌的噱頭應該是在某種程度上快速地轉變。

The tranquillity was torn by some really fat synth riffs – Tim thought they were reminiscent of the ones Axwell used in?his remix of TV Rock’s song ‘In The Air’. It was the collision between the soft and the hard that made the song, the clash that made the music feel enchanting. The composition went under the working name ‘Bro’, as in brother. ‘Fuck, I believe in this melody,’ Tim wrote. ‘You should see how people react to it already now when I play it and no one has like even heard it before!’

寧靜被一些非常厚實的合成器旋律撕裂 - Tim認為它們讓人想起Axwell在他混音的TV Rocks歌曲In The Air中使用的旋律。正是軟和硬的碰撞成就了這首歌，沖突使音樂更加迷人。這首曲子的工作名稱為Bro，即兄弟。“我相信這個旋律，”Tim寫道，“你應該看看在我播放這首歌時人們的反應，即使沒有人聽過它！”

Overall a lot was starting to fall into place now, at the beginning of 2010. It was noticeable in how Tim let the bass lines interact with the melodies, in how he built layer upon layer without any element feeling out of place. The musical lack of direction that Arash Pournouri had talked about two years earlier, at the beginning of their collaboration, was gone. Now there was a clear musical identity. It was audible in Tim’s remix of the Frenchman Bob Sinclar’s ‘New New New’ or in ‘Blessed’, a collaboration with the Dutch sibling duo Shermanology.

2010年初，很多事情開始變得清晰明朗。在音樂方面，人們可以注意到Tim是如何讓低音線與旋律互動，如何逐層構建，而沒有任何元素感覺不協(xié)調。兩年前，與Arash Pournouri合作開始時，他所談到的音樂缺乏方向感已經不復存在?，F(xiàn)在Avicii有了明確的音樂風格。這可以在Tim為法國人Bob Sinclar的New New New的混音或與荷蘭兄弟組合Shermanology合作的Blessed中聽到。

The satisfaction that Tim felt while working in front of the screen was reflected in his elated melodies. The euphoria that washed through him as all the parts acted with each other was transferred to his playful drops, which in somersaults and turns jumped towards the sky.

Tim在屏幕前工作時感到的滿足感體現(xiàn)在他高興的旋律中。當所有部分相互作用時，他感到的欣喜洋溢轉化為俏皮的音符，翻滾著跳向天空。

Avicii had started to sound like Avicii.

Avicii開始聽起來像Avicii了。