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It just so happened that the Godfather himself had at the same time bought an apartment in Stockholm. On L?stmakargatan, around the corner from Stureplan, the world’s greatest DJ now spent his free time, when he was not out spinning around the world.

恰好，教父本人同時也在斯德哥爾摩購買了一套公寓?，F在，全球最偉大的DJ住在L?stmakargatan街上，距離Stureplan只有一個街區(qū)，當他沒有在全球各地巡演時，他在這里度過空閑時間，。

Tijs Verwest, as Ti?sto was actually called, was a little unsure of where his life was going. Without really noticing it, he had become a nearly forty-year-old man, whose friends had started families while he himself still flew around for almost three?hundred days a year. He had planned to marry his girlfriend, but when the wedding was postponed due to his constant travel, the relationship had gone awry.

Tijs Verwest，即Ti?sto，有點不確定他的人生將走向何方。在他還沒有真正注意到時，他已經成為了一個將近40歲的男人，他的朋友們已經組建了家庭，而他自己還在一年中飛行近300天。他原本計劃和女友結婚，但由于他的頻繁出差，婚禮被推遲后，兩人的關系逐漸疏遠。

Ti?sto was also a little tired of Amsterdam and the Dutch dance music that had become so hard and highly strung in recent years. It was an aggressive and screaming style that could become tiresome after a while. On the other hand, he was attracted by the house music that was bubbling in Stockholm, which was more embracing and warmer in its tone.

Ti?sto也有些厭倦了阿姆斯特丹和荷蘭舞曲，這些年來它變得越來越硬、緊張。這是一種充滿攻擊性和尖叫的風格，久而久之會變得令人疲倦。另一方面，他被在斯德哥爾摩涌動的house音樂所吸引，這種音樂更具包容性和溫暖感。

It was a scene with roots.

這是可以追根溯源的。

In the beginning, of course, was ABBA, the quartet that had combined soft Swedish folk music with careful harmonies and tasteful chord progressions in world hits such as ‘Dancing Queen’ and ‘Take A Chance On Me’. In the 70s many had seen the group as quirky, but history had proved their precise compositions right.

當然，在一開始，是ABBA，這個四人組合將柔和的瑞典民謠音樂與細致的和聲和優(yōu)美的和弦進展結合在一起，在全球熱門歌曲中演繹出Dancing Queen和Take A Chance On Me。在七十年代，許多人認為這個組合很古怪，但歷史證明了他們精密的作曲是正確的。

When dance music swept across Europe in the early 90s, the Swemix collective had made club tunes with a similar sense of poppiness – Stonebridge had achieved a world hit with his remix of Robin S’s song ‘Show Me Love’ and Denniz Pop had produced Ace Of Base, whose hit ‘The Sign’ had topped the US chart for weeks.

當舞曲在90年代初席卷歐洲時，Swemix collective制作了一些類似于流行的夜店音樂 - Stonebridge為Robin S歌曲Show Me Love的混音成為了一首全球熱門歌曲，Denniz Pop則制作了Ace Of Base，他的熱門歌曲The Sign在美國排行榜上位居首位長達數周。

Towards the turn of the millennium, Denniz Pop’s adept Max Martin had for a few years defined the entire world’s pop music. From Cheiron, their joint studio, Martin had composed hits for the Backstreet Boys, Britney Spears and NSYNC: methodically chiselled pop tunes with a heavy dose of American R&B and lyrics that followed the songs’ harmony rather than English grammar. ‘Quit Playing Games (With My Heart)’, ‘ . . . Baby One More Time’, ‘I Want It That Way’, ‘It’s Gonna Be Me’ – so many hooks that had travelled the world from the small studio in Stockholm.

千禧年之交，Denniz Pops的得意門生Max Martin在數年間定義了整個流行音樂界。在他們的合作工作室Cheiron中，Martin為Backstreet Boys、Britney Spears和NSYNC創(chuàng)作了一系列熱門單曲：這些歌曲有經過精心雕琢的流行曲調，融入了大量美國R&B元素，并且歌詞遵循歌曲的和諧而非英語語法。Quit Playing Games (With My Heart)，...Baby One More Time，I Want It That Way，It's Gonna Be Me - 這么多給人留下深刻印象的旋律從斯德哥爾摩的小工作室傳遍了全世界。

Now that the 2010s had just begun, the artist Robyn made stylish electropop and Swedish House Mafia emerged with their explosive style, but also their tracks were neatly produced behind all the bombast.

現在，進入了2010年代，藝術家Robyn創(chuàng)作了時尚的電子流行音樂，瑞典混音師組合瑞典浩室黑手黨以震撼人心的風格嶄露頭角，他們華麗的曲目是精心制作出的。

Clearly, they could make hits in Stockholm, a city that Ti?sto experienced as amazingly clean and tidy. The inhabitants walked around smartly dressed in the latest fashion, always smelling good. The same precise efficiency was in the music, and it was a type of order that felt quite necessary for someone who had basically toured his private life to pieces.

顯然，他們可以在斯德哥爾摩創(chuàng)作熱門歌曲，這座城市讓Ti?sto感受到了驚人的清潔和整齊。居民們穿著最時尚的衣服，總是散發(fā)著好聞的氣味。在音樂中也有同樣精確的效率，這種秩序對于那些基本上已經把私人生活和巡回演出混在一起的人來說是非常必要的。

Ti?sto got help finding his way in Stockholm’s nightlife from Sebastian Ingrosso of Swedish House Mafia, and in February 2010 he ran into Arash Pournouri at the club Berns. Arash gave him a USB stick with Avicii’s latest songs. Of course, Tijs already knew about the young Swede, had listened to him with interest, but track five on this stick was something out of the ordinary.

Ti?sto在斯德哥爾摩的夜生活中得到了瑞典黑手黨的Sebastian Ingrosso的幫助。2010年2月，他在Berns俱樂部偶遇了Arash Pournouri。Arash給了他一個U盤，里面裝有Avicii最新的歌曲。當然，Tijs已經聽說過這位年輕的瑞典人，對他的音樂也很感興趣，但這個U盤上的第五首歌曲卻是與眾不同的。

Ti?sto himself came from a tradition of making remixes. His breakthrough had come with versions of Delerium’s song ‘Silence’ and Samuel Barber’s ‘Adagio For Strings’. He grew up cutting tapes, looping, putting one sample over another, always with an original to pick from. He could only imitate a chord when he heard it and he had only started to make his own songs when he became a star behind the turntables and needed to broaden his repertoire.

Ti?sto最初遵循制作混音的傳統(tǒng)。他的突破來自于為Delerium的歌曲Silence和Samuel Barber的Adagio For Strings制作的版本。他在成長過程中剪輯磁帶、循環(huán)、將一個樣本重疊在另一個之上，總是有原創(chuàng)作品可供選擇。他只能在聽到和弦時模仿它，只有在成為DJ明星并需要擴展自己的曲目時才開始創(chuàng)作自己的歌曲。

It was quite clear that Tim Bergling came from the opposite direction. Ti?sto was a man of the booth – Avicii was a composer who had become a DJ.

很明顯，Tim Bergling的出發(fā)點與Ti?sto截然不同。Ti?sto是一個舞臺上的男人，而Avicii是一位作曲家，后來成為了DJ。

Enchanted, Ti?sto listened to the song with the vibrating marimba. Avicii apparently had a sense of space, a lightness and a tender nerve that set him apart. It was easy to feel a connection with the man behind the music, as if Tim Bergling’s heart was in direct contact with his fingertips.

Ti?sto聽著那帶有振動馬林巴琴的歌曲，被迷住了。Avicii顯然有一種空間感、輕盈和柔軟的神經，這使他與眾不同。很容易感受到與音樂背后的人產生聯系，好像Tim Bergling的心直接與他的指尖相連。

Ti?sto was so impressed by ‘Bromance’, as the song on the USB stick eventually was called, that he invited Tim to the island that had become the centre of European club culture.

Ti?sto 對于這首最終被命名為Bromance的歌曲印象深刻，他邀請Tim前往那個已經成為歐洲俱樂部文化中心的島嶼。

A few decades earlier, Ibiza had been an obscure island in the Mediterranean, a poor farming community that could only be reached by boat from the Spanish mainland. Here was where beatniks and bohemians, war-refusing Americans and gay Spaniards gathered, the latter finding a refuge from Franco’s military regime among the olive trees. Protected from the outside world, a hedonistic club culture emerged, led not least by the Argentine DJ Alfredo, who held court at the club Amnesia.

幾十年前，伊維薩島還只是地中海上的一個偏遠小島，一個貧瘠的農業(yè)社區(qū)，只能通過從西班牙本土乘船前往。這里是垮掉的文藝青年、反戰(zhàn)美國人和同性戀西班牙人聚集的地方，后者在橄欖樹間尋找從弗朗哥軍政府中逃離的庇護所。在外界的保護下，享樂主義的俱樂部文化崛起，其中最重要的領袖是阿根廷DJ Alfredo，他在Amnesia俱樂部掌權。

By the end of the 80s, a group of British friends had come to the island to celebrate a birthday. With their nervous systems rejoicing in Ecstasy, the English had danced their way through the nights to Alfredo’s magical selection of Italian disco, American house and Nigerian funk. When they came home to London, they started clubs in the same style, which made a new generation of Britons open their eyes to dance music and the parties on the small island.

到了80年代末，一群英國朋友來到伊維薩島慶祝生日。他們在搖頭丸的作用下狂歡，英國人跳著舞，度過了一個個夜晚，聽著Alfredo精選的意大利迪斯科、美國電子音樂和尼日利亞放克。當他們回到倫敦時，開設了同樣風格的俱樂部，讓新一代英國人開始關注舞曲和在這個小島上的派對。

Nowadays, the infrastructure was well oiled. Until six in the morning, special buses carried tourists to the clubs – in the summer of 2010, David Guetta played regularly at Pacha, Laidback Luke was every Thursday at Amnesia and, as usual, the Briton Carl Cox was the sickest with his legendary eight-hour gigs at Space.

如今，基礎設施運轉良好。直到清晨六點，特別的巴士會載著游客前往俱樂部——在2010年的夏天，David Guetta經常在Pacha表演，Laidback Luke每周四在Amnesia表演，而英國人Carl Cox則像往常一樣在Space進行八小時的傳奇演出。

Between three and six every Monday night, Ti?sto performed at the island’s largest club. Calling Privilege a club was in itself an understatement. The old bathhouse was as big as an ice hockey arena and had room for ten thousand people. Behind the worn-out diving platforms was scaffolding, and?the narrow corridors up in the air had been decorated with a couple of sewage-smelling carpets and a sofa.

每周一晚上的三點到六點，Tiesto都會在島上最大的俱樂部表演。將Privilege稱為俱樂部本身就是一種低調的表述。這座舊浴室的面積堪比一個冰球場，可以容納一萬人。在破舊的跳水平臺后面是腳手架，高空的狹窄走廊上鋪著幾張散發(fā)污水味的地毯和一張沙發(fā)。

There sat Tim Bergling waiting to go up on stage.

Tim Bergling坐在那里，等待上臺。

It was incredible really.

真的太不可思議了。

Barely two years after he had sent his first songs to some Swedish blogs, Tim would be the opening act for fucking Ti?sto, in Ibiza, several Mondays in a row.

僅僅兩年前，他把自己的第一批歌曲發(fā)在了一些瑞典博客上，如今他已成為在伊維薩島每個星期一為Tiesto演出開場的表演嘉賓。

Tim laughed and drank as topless girls got ready for their dance numbers out on stage. Next to him on the piss-smelling sofa sat another young Swede who, funnily enough, had also gone to ?stra Real and had the same first name as Philgood.

Tim笑著喝著酒，一旁的舞臺上，赤裸上身的女孩們正在為她們的舞蹈表演做準備。在臭氣熏天的沙發(fā)上，坐著另一個年輕的瑞典人，有趣的是，他也曾就讀于?stra Real學校，并且和Philgood擁有相同的名字。

Filip Holm was a year younger than Tim but already saw himself as a veteran on the club scene. He had grown up with a father who worked for the booking company EMA Telstar and had been running around arenas with laminated VIP tiles around his neck since he was a kid. In the short time since graduating from ?stra Real, Filip Holm had made a name for himself in Stockholm’s nightlife by running house clubs at Laroy as well as F12 and Café Opera. One night he had stumbled upon Ti?sto outside one of the clubs, they had smoked a few cigs and discussed music and the rest was history. Now the twenty-year-old Swede was buddies with Ti?sto, despite the big age difference.

Filip Holm比Tim年輕一歲，但在俱樂部現場已經視自己為老手。他的父親在預定公司EMA Telstar工作，自小就在競技場周圍奔波，脖子上掛著鑲嵌VIP標識的證件。在?stra Real畢業(yè)后的短暫時間里，Filip Holm通過在Laroy、F12和Café Opera經營house俱樂部，在斯德哥爾摩夜生活圈中聲名鵲起。有一天晚上，他在其中一家俱樂部外面偶遇了Ti?sto，他們一起抽了幾支香煙，討論了音樂，剩下的就是歷史?，F在，這位20歲的瑞典人已經和Ti?sto成為了朋友，盡管年齡差距很大。

‘How weird that I never saw you at ?stra,’ Filip said to Tim when they finally got to know each other.

“真奇怪，我在?stra從來沒有見過你，” Filip在他們終于彼此認識時對Tim說道。

‘But I was, like, kind of never in school, so it’s not that strange,’ Tim laughed in response.

”但是我好像從來沒怎么上過學，所以這也不算奇怪，”Tim笑著回答道。

The busloads of people poured into the old bathhouse. The music made the scaffolding shake and the sofa vibrate. Back here the bass sounded muffled and cracked, and even though Tim and Filip shouted at each other, it was almost impossible to hear what the other was saying. They downed J?germeister?instead. Ti?sto loved the thick black German liqueur. Tim Bergling poured another glass.

人們從大巴車上涌進了舊浴室。音樂讓腳手架顫動，沙發(fā)震動。在這里，低音聲音沉悶而破裂，即使Tim和Filip互相喊叫，也幾乎聽不清對方在說什么。他們喝下了J?germeister。Ti?sto喜歡這種濃稠的黑色德國甜酒。Tim Bergling又倒了一杯。

It was serious now, show time, necessary to calm the nerves.

現在情況很要緊，演出時間到了，必須冷靜下來。

Up in the booth, Tim continued to have shots and bubbly. Some evenings he got really drunk, but the fact that he sometimes missed a transition didn’t matter – the tourists had come to the island to party, very few cared about a perfect beat mix.

在DJ臺上，Tim繼續(xù)喝酒和香檳。有些晚上他會喝得很醉，但他偶爾錯過歌曲之間過渡的事實并不重要——游客來到這個島嶼是為了狂歡，很少有人在意完美的節(jié)奏混音。

Afterwards, as the sun rose, they drove along roads flanked by huge hoardings covered with Ti?sto’s face. A gravel road wound up the mountainside at Sant Jordi, a gate was pushed to the side, revealing a salmon-pink stone villa surrounded by red rocks. This was Ti?sto’s house, and this was where the parties that really mattered were held.

隨著太陽的升起，他們沿著路行駛，路兩旁高聳的廣告牌上印著Ti?sto的面孔。一條石子路蜿蜒上山，通到圣喬迪，一扇推開的大門后，露出一座鮭魚粉色的石頭別墅，周圍是紅色的巖石。這就是Ti?sto的家，也是真正重要的派對舉辦地。

Above the pool with tiled dolphins on the bottom was a terrace where they had installed DJ decks. As the morning ferries from Barcelona became visible on the horizon, Tim, Ti?sto and the other guests took turns choosing songs. In front of the stone wall with the waterfall was a bar counter, girls were pole dancing and laser lights coloured the living-room walls in neon.

水池底部鋪有海豚瓷磚，在上方，有一個露臺，他們在那里安裝了DJ設備。當來自巴塞羅那的早晨渡輪在地平線上變得可見時，Tim、Ti?sto和其他客人輪流選擇歌曲。在石墻的前面有一個酒吧柜臺，女孩們在跳鋼管舞，激光燈將客廳的墻壁染成了霓虹色。

Surrounded by newfound friends, Tim was finally able to relax, and the more alcohol went in his body, the happier he became. Laughing, he passed around the green bottle with the red deer on it, inciting everyone around to drink right from the bottle. It was as if he wanted to share his experience; he tried to get everyone into that same soft state of mind.

被新結交的朋友們包圍著，Tim終于能夠放松了，在喝下更多的酒后，他變得越來越開心。他笑著遞給大家一個綠色瓶子，瓶子上有一只紅鹿，（譯者注：即野格利口酒，酒精濃度為35%）他鼓勵大家直接從瓶子里喝。仿佛他想要分享他的經歷，他試圖讓每個人都進入同樣柔和的心態(tài)。

Around lunchtime, he usually just leaned against something, still taking sips. Then he stumbled past ferns and fig trees and nodded off in one of the guest rooms under the pool.

在午餐時間，他通常只是靠在某個東西上，仍然在喝酒。然后他踉蹌著穿過蕨類植物和無花果樹，最后在游泳池下的客房里打起了盹。

One of these mornings, however, Tim had to travel on; it was around eight o’clock, the party in full swing. Ti?sto’s tour?manager had made it his task to get the guests going to a gig in Stockholm.

然而，有一天早上，Tim必須離開；當時已經八點左右，派對正在如火如荼地進行著。Ti?sto的巡演經理已經開始策劃如何讓客人們前往斯德哥爾摩的演出。

‘Tim, you have to go!’

“Tim,你必須出發(fā)了！”

‘I don’t want to.’

“我不想去。”

‘You have to.’

“你必須去。”

When Tim laughingly ran away, he stepped straight on a drinking glass. A shard was pushed up into the sole of his foot, blood pumping out over the tiles by the pool.

當Tim大笑著跑開時，他直接踩在一個飲料杯上。碎片刺入了他腳底，鮮血噴涌在泳池旁的瓷磚上。

After half a day in the hospital in Ibiza, Tim met Filip Holm at the airport. His injured foot was wrapped in gauze and a small piece of glass was still inside, a doctor in Stockholm would have to pull it out. Tim was hungover and happy, wonderfully resilient.

在伊維薩島醫(yī)院待了半天后，Tim在機場遇到了Filip Holm。他受傷的腳用紗布包裹著，還有一小塊玻璃殘留在里面，需要在斯德哥爾摩找醫(yī)生取出。Tim有點宿醉，但很開心，完美地適應了現狀。

‘What the hell happened?’ asked Filip.

“我去發(fā)生了什么？”Filip問。

‘Uh, I stepped on some glass.’

“呃，我踩到了玻璃。”

‘We have to find a wheelchair or something.’

“我們得找一把輪椅或者什么東西。”

‘No, jeez, grab one of those luggage carts and I’ll get on that.’

“不，天啊，拿一個行李車，我會上去的。”

That same summer, record company manager Per Sundin sat inside Pacha, a white stone building of several floors in Ibiza’s port area. The club had become an institution of European party life – already in the airport’s arrival hall, Sundin had passed a souvenir shop filled with the place’s famous cherries printed on sweaters and ashtrays.

同年夏天，唱片公司經理Per Sundin坐在伊維薩島港口區(qū)域的白色石建筑Pacha里。這家俱樂部已經成為歐洲派對生活的一個機構——在機場的到達大廳里，Sundin路過了一家紀念品商店，里面擺滿了毛衣和煙灰缸，這里著名的櫻桃標記印在這些東西上。

Dance music was a world that Per Sundin knew very little about in that summer of 2010, northerner and rock guy that he was. But now a friend was turning forty and wanted to celebrate by seeing Swedish House Mafia, a trio from Sweden that was said to offer spectacle and smoke.

在2010年那個夏天，舞曲是Per Sundin所知甚少的世界，因為他是個北方的搖滾樂迷。但現在，他的一個朋友即將迎來40歲生日，他想要慶祝一下，去看來自瑞典的三人組合Swedish House Mafia，因為據說他們能帶來有濃煙效果的視覺盛宴。

Sundin was one of the major figures on the Scandinavian music scene, even though the last few years had not been particularly cheerful ones. Illegal downloading had punctured the?record industry and Sundin had been forced to lay off more than two hundred people. When even the Prime Minister, during a televised debate, had shown understanding for the kids who downloaded illegally, Sundin’s mother had called and begged her son to switch industries.

Sundin是斯堪的納維亞音樂界的重要人物之一，盡管最近幾年并不是特別愉快。非法下載已經刺穿了唱片行業(yè)，Sundin不得不解雇了兩百多人。當連國家首相在電視辯論中都對非法下載的孩子們表示理解時，Sundin的母親打電話求兒子轉行。

Instead, he had advanced to become head of the record label Universal and done his best to escape the crisis. Per Sundin had a career goal, as easy to formulate as it was difficult to achieve: to sign, from the office in Stockholm, a Swedish artist who eventually got a number one on the Billboard charts in the USA. That would be as far as a Swedish record exec could take it.

相反，他已經晉升為唱片公司環(huán)球音樂的負責人，并盡力逃避危機。Per Sundin有一個職業(yè)目標，很容易表述，但很難實現：從斯德哥爾摩的辦公室簽下一位瑞典藝術家，最終在美國的公告牌排行榜上獲得冠軍。這就是一個瑞典唱片公司高管所能達到的最高水平。

But tonight was hardly the night when this dream would come true. The birthday celebrators had been drinking wine since lunchtime and were now sitting on one of Pacha’s terraces, waiting for a show that never seemed to start. The day was obviously turned upside down on this island – breakfast for dinner, lunch at midnight, the clubs full of people who swallowed pills and did lines right off the backs of their hands. Per Sundin had to fight to stay awake before pop queen Kylie Minogue finally took to the stage around half past two in the morning.

但是今晚并不是這個夢想實現的夜晚。生日慶祝者們從午餐時開始就一直在喝酒，現在他們坐在Pacha的露臺上，等待一場似乎永遠不會開始的表演。這個島上的日夜顯然被顛倒了——晚餐變成了早餐，午夜時分才吃午餐，俱樂部里擠滿了吞藥物、從手背上吸毒的人。Per Sundin不得不努力保持清醒，直到流行天后Kylie Minogue終于在凌晨兩點半登臺。

It was a great show with plumes and glitter. The record company manager wondered how three Swedes at some computer screens would top this.

這是一場盛大的演出，有煙花和閃光。唱片公司經理不知道三個瑞典人在電腦屏幕前如何完成這一切。

When Swedish House Mafia finally thundered up into the booth, it was like a blow to the stomach. From the roof, a cloud of dry ice shot out as the audience pumped their hands in the air to ‘One’, a hard electro track that was the group’s latest single.

當瑞典浩室黑手黨最終登上DJ臺時，就像被一記重拳擊中了肚子。從頂部，一團干冰云噴射而出，觀眾們揮舞著手臂，跟隨著他們的最新單曲One的強勁電音節(jié)奏。

Bloody hell, this was some heavy shit.

該死，這是一些很不一般的東西。

Per Sundin went down to the dance floor to study the?audience. Contrary to what he had expected, people were not here to dance. They were here to worship a band. This situation was familiar – it was just like a gig with Coldplay or Metallica, or Sundin’s own favourite Bruce Springsteen. Artists who had all sold quite a few records, to put it mildly.

Per Sundin下到舞池觀察觀眾。與他預期的相反，人們來這里不是為了跳舞，而是為了崇拜一個樂隊。這種情況很熟悉——就像與Coldplay或Metallica 或Sundin自己最喜歡的Bruce Springsteen一起演出一樣。這些藝術家都賣出了相當多的唱片，這只是委婉的說法。

Sundin stumbled out into the dawn light with goosebumps on his arms and a revelation in his skull.

Sundin走出門外，被清晨的陽光照得起了雞皮疙瘩，同時他的腦海中也閃現出一個頗有啟示性的想法。

He would find a new Swedish artist who resembled Swedish House Mafia.

他會發(fā)現一個新的瑞典藝術家，他就像瑞典浩室黑手黨。

When Per Sundin came home and asked around the record company, he was tipped off about the song ‘Bromance’, by an artist who called himself Tim Berg.

當Per Sundin回到家并詢問唱片公司時，他得知了一位名為Tim Berg的藝術家創(chuàng)作的歌曲Bromance。

Tim Berg also performed under the name Avicii, and Avicii sometimes called himself Tom Hangs, it seemed to depend a little on the mood of the songs. Sundin did not really understand the difference but when he reached out to Arash Pournouri he was immediately impressed by the manager’s cocksure confidence. Arash seemed genuinely convinced that this quiet and spotty Swede would take over the world, and that any record company that was invited to take that journey with them should be grateful.

Tim Berg也以藝名Avicii表演，有時候 Avicii會自稱為Tom Hangs，這似乎取決于歌曲的情緒。Sundin并沒有真正理解其中的區(qū)別，但當他聯系Arash Pournouri時，他立刻被這位經理人的自信所打動。Arash似乎真誠地相信這個文靜的，臉上長痘的瑞典人會征服世界，而任何被邀請與他們一起踏上這段旅程的唱片公司都應該感到慶幸。

Now Sundin cycled the short distance from Universal’s office to Styrmansgatan, a street that sloped down towards the bay, with the lush island of Djurg?rden glistening on the other side of the blue. This was where Arash Pournouri had set up an office for his management company, which he had named At Night. It was from here in ?stermalm that Avicii was to be catapulted out towards the stars.

Sundin現在從環(huán)球公司騎車短途穿過Styrmansgatan街，這條街坡度向下通往海灣，藍色灣水另一邊是翠綠的Djurg?rden島。這里是Arash Pournouri為他的管理公司設立辦公室的地方，他將這家公司命名為At Night。從?stermalm的這里，Avicii將被發(fā)射向星際。

The address sure sounded lavish, but to get to At Night’s location, Sundin had to walk through a long stone corridor, before a white-painted space opened in front of him.

這個地址聽起來很豪華，但是為了到達At Night的地點，Sundin必須穿過一條長長的石頭走廊，然后才能走進一個白色的空間。

He looked around the basement. The bright red carpet and?the equally red leather armchairs were probably meant to give the place the air of a luxurious lounge at warmer latitudes, but together with the light walls made the room look more like a cheap beauty salon.

他環(huán)顧了一下地下室。明亮的紅色地毯和同樣鮮紅的皮革扶手椅可能是為了給這個地方營造出溫暖緯度的豪華休息室的氛圍，但是在淺色的墻壁的襯托下，這個房間更像是一家廉價的美容院。

‘Take off your shoes!’

“脫下你的鞋子！”

Arash’s nasal voice echoed in the small room. He was sitting behind his desk in the far corner, in an armchair that dwarfed him. Sundin had to kick off his boots before he was shown around.

Arash的鼻音在小房間里回響。他坐在遠角的桌子后面，一把扶手椅讓他顯得非常矮小。Sundin必須踢掉鞋子才能被帶著參觀。

It was all a bit unusual that the country’s most powerful record company executive would visit the artist and not the other way around. But that seemed to be part of Arash Pournouri’s whole attitude: he wanted to point out that Universal could come to him if they were so interested.

這有點不尋常，因為國內最有權勢的唱片公司高管要拜訪藝術家，而不是相反。但這似乎是Arash Pournouri的整體態(tài)度的一部分：他想指出，如果他們感興趣，環(huán)球唱片公司可以來找他。

Sundin was enticed by the cockiness.

Sundin被他的傲慢自大所吸引。

‘Do you wanna have a listen?’ asked Arash.

“你想聽聽看嗎？”Arash問。

Per Sundin sat down in one of the red leather armchairs, Arash turned up the volume and played him song after song.

Per Sundin坐在紅色皮革扶手椅上，Arash調高音量，一首又一首地給他播放歌曲。

The first single that Sundin wanted to release was a given. Avicii should do what Swedish House Mafia had done with ‘One’ – the trio had invited the star Pharrell Williams to sing over the beat and released the song again under the name ‘One (Your Name)’. If ‘Bromance’ got some nice vocals added, it would even be able to reach outside house music circles.

Sundin想要發(fā)布的第一首單曲是顯而易見的。Avicii應該像瑞典浩室黑手黨制作One一樣，他們邀請了明星Pharrell Williams跟著節(jié)奏演唱，并將歌曲以One (Your Name)的名義重新發(fā)布。如果在Bromance中加入一些不錯的人聲，它甚至可以走出浩室音樂圈子。

The preparatory work for an updated version had actually already been done. The French duo Alviin & Da Frenchy had mixed Tim’s beat with the singing on Samuele Sartini’s track ‘Love U Seek’. Tim had played the version with vocals during the summer and it had worked out well, so it was easy to build on the same idea. Singer Amanda Wilson was simply asked to record her vocals once more, so that they would sit nice and tight over Tim’s production.

升級版的前期工作實際上已經完成了。法國二人組Alviin＆Da Frenchy已經將Tim的節(jié)拍與Samuele Sartinis的歌曲Love U Seek混合。Tim在夏季演奏了帶有人聲的版本，并且效果很好，因此很容易沿用同樣的想法。歌手Amanda Wilson只需再次錄制她的人聲，以便它們可以緊密地配合Tims制作。

The new version was presented as if Avicii had remixed a song by Tim Berg and thus got the rather elaborate title ‘Seek Bromance (Avicii Vocal Edit)’. Per Sundin signed an initial contract with Arash and Tim to have Universal release the song in Sweden, Norway and Finland.

新版本的呈現方式就像是Avicii重新混音了Tim Berg的一首歌曲，因此得到了相當復雜的標題Seek Bromance (Avicii Vocal Edit)。Per Sundin與Arash和Tim簽訂了一份最初的合同，讓環(huán)球唱片在瑞典、挪威和芬蘭發(fā)行這首歌曲。

‘Seek Bromance’ gained momentum very quickly, climbing up the charts in Norway, Denmark, Hungary, Poland, England and even the United States in the autumn of 2010. The tempo, which had already been high, was cranked up even more. In the Avicii Twitter feed, fans could follow as Tim burned CDs in hotel rooms, slept three hours in as many days and, after the accident with the glass, hopped around on his crutches in a frenzy of gigs back and forth across the continents.

Seek Bromance很快就獲得了勢頭，在2010年秋季攀升至挪威、丹麥、匈牙利、波蘭、英格蘭甚至美國的排行榜上。勢頭接著攀升。在 Avicii的Twitter賬戶上，粉絲們可以關注Tim在旅館房間里刻錄CD，幾天只睡了三個小時，在玻璃事故之后，他拄著拐杖跳著在各大洲之間的演出中瘋狂穿梭。

It was exactly how it should be in this world. The old rock guys may have had a predictable routine where they made a record one year, toured the next, before they went into the studio again. Neatly organised tours and a somewhat loose schedule. For a DJ, the culture was completely different. House music was based on a constant stream of new singles, very few fans cared about albums, and if you got big enough, there was always a party somewhere in the world that needed some great music. Carl Cox had become an industry hero when he first performed at a party in Australia on New Year’s Eve, then threw himself on a plane, flew across time zones and arrived at a new party in Hawaii, playing alongside the fireworks there as well.

這就是世界應有的樣子。老派搖滾音樂人可能有一個固定的流程，一年制作一張唱片，下一年巡演，然后再進入錄音室。整齊有序的巡演和相對寬松的時間表。對于DJ來說，文化完全不同。浩室音樂基于不斷涌現的新單曲，很少有粉絲關注專輯，如果你足夠出色，世界上總會有一個需要好音樂的派對。當Carl Cox在澳大利亞的一個新年派對上首次表演，然后跳上飛機，飛越時區(qū)，到達夏威夷的一個新派對場地，與那里的煙花一起演出時，他已經成為業(yè)界英雄了。

Two New Year’s Eve celebrations in one night: that’s how a real DJ worked.

一晚上舉辦兩個跨年慶?；顒樱哼@就是一個真正的DJ的工作方式。

Tim had also started doing several shows a day – at the end of August 2010 he did a festival in the Netherlands at the beginning of the evening and a club in Germany that same?night. In each place there was vodka and Red Bull, champagne and Red Bull, and Tim’s eternal doubt about whether his songs were good enough.

Tim開始每天做好幾場表演——2010年8月底，他在荷蘭參加了一個音樂節(jié)，晚上在德國的一個俱樂部表演。每個地方都有伏特加和紅牛、香檳和紅牛，以及Tim永恒的懷疑，他的歌曲是否足夠好。

‘Did it work or not?’ he asked Filip Holm.

“這起作用了嗎？”他問Filip Holm。

They were on their way to the backstage area at the Dutch festival Lief.

他們正前往荷蘭音樂節(jié)Lief的后臺區(qū)域。

Filip Holm had now started working for Arash and At Night, the old school friend from ?stra Real travelling with Tim as tour manager. Holm was the link between artist, booker and promoter, and during the gigs he crouched under the booth to keep Tim company.

Filip Holm現在開始為Arash和At Night工作了，他是Tim的巡演經理，也是Tim在?stra Real的老校友。Holm是藝人、預訂者和推廣人之間的紐帶，在演出期間，他蹲在展臺下陪伴著Tim。

On stage in Utrecht, Tim had just played his rendition of Eurythmics’ classic ‘Sweet Dreams’, and was unsure of the audience’s reaction.

在Utrecht的舞臺上，Tim剛剛演奏完他版本的Eurythmic的經典歌曲Sweet Dreams，他不確定觀眾的反應。

‘Ooh, are you joking?’ said Filip Holm. ‘People died for it!’

“哦。你在開玩笑嗎？”Filip Holm說，“人們愿意為這首歌獻身！”

‘Meh, I didn’t get that at all.’

“嗯，我完全沒聽懂。”

‘What are you going on about? They went bananas, man!’

“你在說什么？他們瘋了，伙計！”

Filip showed a video he had filmed from his spot under the DJ booth. Over by one of the speakers was the Italian producer Benny Benassi and he was surely digging it.

Filip展示了他從DJ舞臺下拍攝的視頻。在音箱旁邊，意大利制作人Benny Benassi正在享受音樂。

‘Look, even he loved it! It was awesome, Tim!’

“看，連他都喜歡它！太棒了，Tim！”

‘Yes. Fuck, it looks pretty good when you film it like that.’

“是的。該死，從那個角度拍看起來很不錯?！?/p>

This was a recurring discussion. Tim was so incredibly self-critical, nothing mattered but that the audience liked what he was doing.

這是個一再出現的討論。Tim總是自我批評，唯一重要的事情就是觀眾是否喜歡他所做的。

That’s why he was always working.

這就是他一直在工作的原因。

Tim prepped for his gigs up until the last minute, often longer than that. To organise his sets he used Rekordbox, software that Pioneer had recently launched. There he arranged his songs in groups of three or four that he had already mixed together into a composite block. That way, he had ready-made transitions that were safe and sounded good. But he still?wanted to mix it up, so that there was no risk of anyone hearing the same gig twice – each performance was filmed with hundreds of mobile cameras and ended up on YouTube, each setlist dissected by the fans.

Tim經常在演出前一直準備，有時甚至更長時間。他使用Pioneer最近推出的軟件Rekordbox來組織他的演出曲目。他將已經混音成組合塊的三到四首歌曲分組排列。這樣，他就有了安全、好聽的即興過渡。但他仍然想要混搭，以免有人聽到同樣的演出 - 每場演出都會用數百個移動相機拍攝，并最終上傳至YouTube，每場演出曲目都會被粉絲們剖析。

He played by ear night after night, constantly putting new vocals over the instrumentals in so-called bootlegs, and had begun to be known for bold combinations. Some versions were a reflection of the music he grew up with on Linnégatan, such as the rendition of ‘The Tracks Of My Tears’, Smokey Robinson & The Miracles’ soul ballad from 1965, or the slamming electro version of The Temptations’ ‘Papa Was A Rollin’ Stone’. But Tim also made his own house bootlegs of the hip-hop group Beastie Boys and the classic rock band The Doors, played around with indie pop and mixed his fierce instrumental ‘Abow’ with Kings of Leon’s howling pop vocals.

他每晚都靠聽覺演奏，不斷在所謂的bootleg中加入新的人聲，開始因大膽的組合而出名。有些版本反映了他在Linnégatan長大時所接觸的音樂，比如1965年Smokey Robinson & The Miracles的靈魂抒情歌曲The Tracks Of My Tears的演繹，或是The Temptations的Papa Was A Rollin' Stone的電子搖滾版本。但Tim也制作了自己的嘻哈組合Beastie Boys和經典搖滾樂隊The Doors的bootleg，嘗試了獨立流行音樂并將他兇猛的器樂Abow與Kings of Leon的嘶吼流行歌曲混合。

Photographer Marcus Lindgren let his camera film in the darkness of the hotel room, where Tim was leaning over the desk, preoccupied with a small drum sound that no one in the audience would notice anyway.

攝影師Marcus Lindgren用他的相機在酒店房間的黑暗中拍攝，Tim俯身在桌子上，專注于一個小鼓聲，而觀眾們根本不會注意到。

‘When were you going to start playing then?’ Marcus asked.

“那你打算什么時候開始播放呢？”Marcus問道。

‘Midnight,’ Tim replied happily.

“午夜”，Tim開心地回答。

Lindgren filmed the clock’s green digits.

Lindgren拍下了時鐘的綠色數字。

It showed 00:26.

鐘顯示00:26

These images would be perfect on YouTube.

這些圖片在YouTube上非常完美。

Marcus Lindgren was another of the additions to At Night, a twenty-four-year-old who with his agile Canon was able to film in high quality.

Marcus Lindgren是At Night的另一位新成員，他是一名24歲的年輕人，憑借其敏捷的佳能相機能夠拍攝高質量的視頻。

Arash Pournouri understood the value of posting clips to the fans on Facebook, and Marcus quickly learned the tricks. By framing the audience closely, he was able to give off a feeling that the club was packed even when there were some thin spots on the dance floor. Intense editing created the feeling of?an ever-growing success. The optimal angle was in the middle of the dancefloor: there Marcus caught Tim’s movements up on stage, and at the same time he could capture the feeling of a crowd that adored Avicii. With waving hands in the foreground, a focused DJ who looked out over his congregation.

Arash Pournouri意識到在Facebook上向歌迷發(fā)布片段的價值，Marcus很快學會了這些技巧。通過近距離拍攝觀眾，即使舞池上有些空蕩，他也能營造出俱樂部已經擠滿了人的感覺。強烈的編輯創(chuàng)造了一種不斷增長的成功感。最佳的拍攝角度是在舞池的中央: 在那里，Marcus能夠捕捉到Tim在舞臺上的動作，同時也能夠捕捉到一群崇拜Avicii的人群的感覺。在前景中揮舞的雙手，一位專注的DJ俯視著他的信眾。

As 2010 drew to a close, Tim had done over three hundred gigs during the year, a schedule that even Carl Cox could hardly match.

隨著2010年接近尾聲，Tim在這一年里已經完成了超過300場演出，即使是Carl Cox也難以匹敵的日程安排。

He kept the fear of flying in check by ploughing through books. On one trip, he was deeply immersed in?The Dirt, Neil Strauss’s biography of the heavy metal band M?tley Crüe. The quartet had survived fatal car crashes, overdoses and internal strife, but after ten years they fired their manager, one of the few people who could handle all the idiotic quarrels. There had been fights over money, meetings with greedy lawyers and their seventh album had ended up as a confused concoction that none of them could stand.

他通過閱讀大量書籍來克服自己的飛行恐懼。有一次旅行，他深深地沉浸在Neil Strauss的傳記《The Dirt》中，這本書關于重金屬樂隊M?tley Crüe。這個四人組經歷了致命的車禍、過量用藥和內部紛爭，但是十年后，他們解雇了經紀人，這是少數幾個能夠處理所有愚蠢爭吵的人之一。他們之間曾經因為錢而爭吵，與貪婪的律師會面，他們的第七張專輯最終變成了一個混亂的東西，他們中沒有一個人能夠忍受。

Tim looked up from the book.

Tim從書本上抬起頭。

‘I’ll never fucking change my manager!’

“我絕對不會換經紀人！”

It went without saying that Arash Pournouri delivered. Leading up to Christmas 2010, ‘Seek Bromance’ had sixteen million views on YouTube and was on heavy rotation on the BBC. Tim had performed at the festival Sensation and had remixed a Daft Punk song. The Frenchman Bob Sinclar had bowed to him in respect, Chuckie called him this year’s breakthrough in?DJ Mag. He had bought a used Rolex, in sapphire crystal and gold with eight diamonds on the dial, and there was still over twenty thousand euros in the company account.

毫無疑問，Arash Pournouri做到了。2010年圣誕節(jié)前，Seek Bromance在YouTube上的觀看次數已達1600萬次，并在BBC頻道上熱播。Tim已經在Sensation音樂節(jié)上演出，并重新混音了一首Daft Punk的歌曲。法國人Bob Sinclar向他表示敬意，Chuckie在《DJ Mag》雜志上稱他為今年的突破人物。他買了一只二手勞力士藍寶石水晶金表盤，上面鑲有八顆鉆石，公司賬戶上仍有超過二萬歐元的余額。

The most important thing for Tim himself, however, was that he had finally started to get a treatment for his spots that actually worked.

然而，對于Tim本人來說，最重要的是他終于開始接受了一種真正有效的治療來治療他的痘痘。

The medicine was called Tetralysal and consisted of red-yellow capsules that contained an antibiotic that inhibited the growth of bacteria in the pores of the skin. Of course, there were some potential side effects: the medicine could upset the body’s bacterial flora and should not be taken on an empty stomach, the patient could get headaches or feel nauseous. In rare cases, the treatment could lead to inflammation of the pancreas. But after just a few weeks, Tim had started to see results.

這種藥叫做Tetralysal，是一種紅黃色膠囊藥物，含有一種抗生素，可以抑制皮膚毛孔內細菌的生長。當然，這種藥也有一些潛在的副作用：可能會擾亂身體的細菌菌群，不能空腹服用，患者可能會頭痛或者惡心。在極少數情況下，治療可能會導致胰腺炎。但是僅僅幾周后，Tim就開始看到了治療效果。

The intruders had retreated, the assault to his face had ceased.

入侵者已經撤退，對他臉部的攻擊也停止了。

It was starting to go really well, indeed.

事情確實開始進展得很順利。