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IN THE AUTUMN OF 2006 Tim had other things to think about, anyway. There was a song that had dominated the radio the whole summer. Irritating, but still somehow irresistible. The bouncing synth bass, clattering drums, and lyrics that no adult in all of Stockholm seemed to understand. Those who didn’t know anything about computers thought the song was about a boat. In fact, ‘Boten Anna’ (‘Now You’re Gone’) was a digital love story about a moderator in a chat room; it was sung by a guy who called himself Basshunter. Only a few months earlier he had been a bullied computer nerd who posted his gimmicky song online as a joke for his mates. Within a few months the single had become the most downloaded song ever in Scandinavia.

2006年秋天，Tim有其他的事情需要考慮。整個夏天，一首歌曲在電臺上獨霸鰲頭。這首歌曲既令人惱火，又不知為何無法抗拒。彈跳的合成貝斯、嘈雜的鼓聲以及眾多斯德哥爾摩成年人無法理解的歌詞。那些對電腦一無所知的人認為這首歌是關(guān)于一艘船的。實際上，‘Boten Anna’ (‘Now You ’re Gone’)）是一個關(guān)于聊天室主持人的數(shù)字愛情故事，由一個自稱為Basshunter的家伙演唱。僅僅幾個月之前，他還是一個被欺負的電腦癡，將自己的俏皮歌曲發(fā)布在網(wǎng)上供他的朋友開心。幾個月之內(nèi)，這首單曲成為了斯堪的納維亞地區(qū)下載量最高的歌曲。

It was a lame song in every way, Tim knew as much. It might have worked for the tweens in middle school, but hardly for someone who had begun second year in high school. But there was something about that melody. Once it got in your head it wouldn’t disappear.

這是一首無聊的歌曲，Tim非常清楚。這或許適用于中學的小孩，但對于已經(jīng)上高二的他來說幾乎沒有吸引力。但是這首歌的旋律卻有一種神奇的力量，一旦進入腦海就無法消失。

One evening at the beginning of the autumn term in 2006 Tim got an MSN message from Jakob, who had found a video on YouTube, a newly launched site where anyone could upload film clips.

2006年秋季學期開始的一個晚上，Tim收到了Jakob發(fā)來的MSN消息。Jakob在YouTube上找到了一個視頻，這是一個新推出的網(wǎng)站，任何人都可以上傳影片。

Tim pressed play and saw a grey computer screen covered in chequered patterns. Furthest to the left ran a black-and-white keyboard, digital keys laid out just like on a real piano. The voice that spoke belonged to Basshunter himself, who was showing how he created his hits. With the help of the mouse, he dragged mint-green bricks across the screen – within seven minutes he had the skeleton of the song.

Tim按下了播放鍵，屏幕上出現(xiàn)了一個被方格圖案覆蓋的灰色電腦屏幕。最左邊是一臺黑白鍵盤，數(shù)字按鍵就像真正的鋼琴一樣排列著。說話的聲音來自Basshunter本人，他展示了他是如何創(chuàng)作他的熱門歌曲的。通過鼠標，他將薄荷綠色的方塊拖動到屏幕上——僅用七分鐘，他就完成了歌曲的骨架。

It looked simple, and fun. Tim immediately downloaded a pirated version of FL Studio, the program that Basshunter used. This Belgian software had previously been called Fruity Loops and was one of the programs that had revolutionised the way music was created. Only ten years earlier, a musician would have had to rent a studio or spend tens of thousands of dollars on machines and instruments. Now you could do it all from your bedroom.

看起來很簡單、很有趣。Tim立即下載了一份盜版的FL Studio，這是 Basshunter所使用的程序。這個比利時軟件以前被稱為Fruity Loops，是一款徹底改變音樂創(chuàng)作方式的程序之一。僅在十年前，音樂家還必須租用錄音室或花費數(shù)萬美元購買機器和樂器。現(xiàn)在你可以在自己的臥室里完成所有這些。

Tim tried to get a grasp of the software bricks; he’d plucked the guitar strings enough to understand the basics. If the green bricks were placed in the upper part of the grid, the notes got higher, further down were the lower octaves. What the program allowed Tim to do was to devise chords. He moved one block up, another down, then listened again. When he broadened the brick, the tone sounded longer.

Tim試圖掌握軟件里的方塊；他彈了足夠多的吉他弦，以了解基礎(chǔ)知識。如果將綠色方塊放置在網(wǎng)格的上部，音符就會變高，放在下面就會變低。該程序允許Tim設(shè)計和弦。他上移一個方塊，下移另一個方塊，然后再次聆聽。當他延長方塊時，音調(diào)聽起來更長。

To the left was a column of pre-recorded sounds: synthetic guitars, cymbals and violins. Some sounded like shy raindrops on a windowpane, some sizzled like bacon in a pan. The tones could scream like a gunfight between spaceships or be eerie like an unpleasant horror movie. An entire orchestra – no, hundreds of them – conveniently packaged in digital form.

左邊是一列預先錄制的聲音：合成吉他、鈸和小提琴。它們中有些聽起來像窗戶上的羞怯的雨滴，有些則像平底鍋里煎培根的嘶嘶聲。這些音色可以尖叫，像宇宙飛船之間的槍戰(zhàn)，也可以像不愉快的恐怖電影一樣令人毛骨悚然。整個管弦樂團——不，數(shù)百個管弦樂團——都被方便地打包成數(shù)字形式。

Impatiently, Tim tried everything out, staying up all night, mixing and matching and moving. Failing and trying again.

迫不及待的，Tim 嘗試了所有的東西，整夜不眠，不斷嘗試混合和調(diào)整。失敗了又再次嘗試。

Soon he understood that the same chords could have a completely different feel to them depending on what sound he chose from the column on the left. Something that pulsed calmly in one digital synth could become a sharp cry in another. He had discovered a synth that was called Z3ta+, where he could choose between sounds with names like Trance Delivery, Foreign Attack, Space Bell and Fusion Poly. Now he found a whiny tone that made the melody almost stressfully nasal.

很快，他明白了同樣的和弦，根據(jù)從左側(cè)列中選擇的聲音，可以有完全不同的感覺。在一個數(shù)字合成器中平靜地搏動的聲音，在另一個數(shù)字合成器中可能會變成尖銳的呼喊聲。他發(fā)現(xiàn)了一個名為Z3ta+的合成器，他可以在其中選擇名為Trance Delivery、Foreign Attack、Space Bell和Fusion Poly等聲音。現(xiàn)在，他找到了一個尖銳的音調(diào)，使旋律幾乎有充滿壓力的鼻音。

It was perfect. He knew that Jakob and Fricko and the others would think it was cool if he made a song that was as irritating as possible. In the sound library Vengeance Essential Clubsounds Volume 2 there was a fervently whipping hi-hat which he sprinkled in quick succession. There was also a recorded voice that screamed: The beat, the bass and the party – let’s go!

這簡直是完美的。他知道Jakob、Fricko和其他人會覺得如果他做出一首盡可能刺耳的歌曲是非?？岬?。在聲音庫Vengeance Essential Clubsounds Volume 2中，有一個狂熱敲打的踩镲，他加了一些快速的連續(xù)。還有一個錄制的聲音尖叫著：節(jié)拍、低音和派對——出發(fā)！

Now it started to resemble something. To really emphasise that this was a parody, he added yet another voice that, without interruption, said, BASS! BASS! BASS! BASS! BASS!

現(xiàn)在它開始變得有點像樣子了。為了真正強調(diào)這是一個惡搞，他又加入了另一個聲音，不間斷地說著，低音！低音！低音！低音！低音！

Maybe it wasn’t good, but it was annoying and fun.

也許它不是很好，但它很煩人而且有趣。

Filip ?kesson climbed in through the loading dock and followed the pulse that vibrated through the concrete walls. When he and his friend got further into the shabby warehouse in the industrial district in Nacka the whole space opened up and ?kesson looked around through the fog coming from the smoke machine.

Filip ?kesson從裝貨區(qū)爬進去，跟隨著穿過混凝土墻體的脈沖。當他和他的朋友深入納卡工業(yè)區(qū)的破舊倉庫時，整個空間敞開了，?kesson透過煙霧機噴出的霧氣四處張望。

It was something totally different from the boring classes at ?stra Real.

這與?stra Real無聊的課程完全不同。

The green laser beams hovering over the dance floor in swirling cobwebs, girls with blonde hair in tight dresses, guys from the suburbs in expensive jackets and shoes with shiny buckles. The hard banging electro that pounded against his eardrums.

綠色的激光束在舞池上空盤旋成漩渦狀的蜘蛛網(wǎng)，金發(fā)碧眼的姑娘們穿著緊身裙，來自郊區(qū)的小伙子們穿著昂貴的夾克和帶有閃亮扣子的鞋子。電音嘎嘣有力地敲打著他的耳膜。

For so long Filip had dreamed about getting to see this for real that he intuitively recognised the scene.

Filip長久以來一直夢想著親眼見到這一幕，他直覺地認出了這個場景。

After its birth in Chicago, house music – and its more edgy cousin techno – had been picked up by curious Brits, who brought the sound from the US to Europe. And with the music came the parties. Filip ?kesson had heard about the mythological summer of 1988, when dance-craving Englishmen had organised illegal raves in the fields by the motorway surrounding London. He knew about Love Parade, which soon after had flooded the streets of Berlin with people celebrating equality and the new-found freedom of the early 90s.

在芝加哥誕生后，house音樂以及更加前衛(wèi)的表親techno被好奇的英國人接受，他們將這種聲音從美國帶到了歐洲。隨著音樂的到來，派對也隨之而來。Filip ?kesson聽說過神話般的1988年夏天，當時渴望跳舞的英國人在倫敦周圍的高速公路旁組織了非法的狂歡派對。他也知道Love Parade，隨后這個節(jié)日在柏林的街頭涌現(xiàn)，慶祝平等和早期90年代新獲得的自由。

Since then, the festivities had continued in derelict factories and solitary forest edges across the continent and turned dance music into a modern European folk music, a patchwork of different styles that occasionally cross-fertilised each other but just as often sounded essentially unique.

從那時起，慶?；顒釉趶U棄的工廠和孤立的森林邊緣繼續(xù)進行，將舞曲變成了現(xiàn)代歐洲民間音樂，一個由不同風格拼湊而成的圖案，有時會相互交融，但更常見的是獨具特色。

In 2007 the French built their house music on filtered disco samples that hovered over blurred bass lines. In England choppy bass rumbled over pirate radio in a sticky style called dubstep. The biggest and most powerful scene was in the Netherlands, where Ti?sto filled arenas with his trance, built on grand string arrangements over blaring drums.

2007年，法國人將他們的House音樂建立在使用濾波器的迪斯科采樣上，漂浮在模糊的低音線上。在英格蘭，被稱為Dubstep的粘性風格中，切碎的低音在盜版電臺上隆隆作響。最盛大最強有力的場景出現(xiàn)在荷蘭，Ti?sto用他的Trance音樂填滿了體育館，這種音樂建立在宏大的弦樂編排和高亢的鼓聲之上。

The scene in Sweden was not nearly as big, at least not numerically speaking. But there were tremors in the ground, signs that were noticed by those who, like Filip ?kesson, considered themselves as belonging to the vanguard. In Stockholm, a unique musical expression was growing, one that was as bombastic as it was euphoric, and could be heard not least on this night in the warehouse south of the city.

瑞典的音樂現(xiàn)場不算很大，至少從數(shù)量上來說是這樣的。但是，像Filip ?kesson這樣認為自己屬于先鋒派的人們，已經(jīng)注意到了地面上的顫動。在斯德哥爾摩，一種獨特的音樂表達正在發(fā)展，既炸裂又欣快，尤其在城市南部的倉庫里，在這個夜晚可以聽到它的聲音。

Filip ?kesson wove his way in among people who moved instinctively to the bass lines. Only a few weeks earlier he had tried Ecstasy for the first time and felt how the little pill made the music tingle and swell in each muscle. The melodies became wonderful, the snare drums were like an extra body part. Tonight as well they had started partying on the terrace at the house of a mate’s dad, and the music now pulsed through ?kesson’s body in pleasant convulsions. There was something magical in the way this music slowly grew.

Filip ?kesson穿梭在那些本能地跟隨低音線舞動的人群中。僅僅幾周前，他第一次嘗試了搖頭丸，感受到小小的藥丸讓音樂在他的每個肌肉中發(fā)麻并膨脹。旋律變得美妙，軍鼓就像額外的身體部位一樣。今晚，他們也在一位朋友的父親家的露臺上開始聚會，音樂現(xiàn)在在?kesson身體中愉悅地抽搐著。這種音樂緩慢增長的方式中有一種魔力。

Those who didn’t understand may have seen the songs as repetitive, but that was part of the point. The monotony made the music suggestive and prodding, teasing each and every sense. The night was a sea where it slowly blew up into a storm.

那些不理解的人可能會認為這些歌曲很單調(diào)，但那也是其意圖之一。單調(diào)性使音樂富有暗示性和刺激性，挑逗著每一個感官。這個夜晚像一片海洋，慢慢地醞釀成一場風暴。

Up towards the small ledge that served as a stage came a guy in worn jeans, a T-shirt, and a backwards baseball cap with the LA Dodgers logo. He slowly pulled up the fader to play a new tune, threw off his cap, baring a tightly tied tuft of hair.

一個穿著破舊牛仔褲、T恤和戴著洛杉磯道奇隊標的反戴棒球帽的男子走向作為舞臺的小臺子，緩緩抬高音量桿播放一首新歌，然后脫下棒球帽，露出一個扎緊的小辮子。

There he was. Steve Angello. Of all the house producers in Stockholm, this twenty-four-year-old was by far the coolest in Filip ?kesson’s eyes. You just needed to look at him: how Angello’s body language radiated that he couldn’t care less what people thought. His back held straight and his chest protruding through any and all difficulties.

他就在那兒。Steve Angello。在斯德哥爾摩的所有House音樂制作人中，這位24歲的年輕人在Filip ?kesson看來無疑是最酷的。你只需要看看他：Angello的身體語言表現(xiàn)出他根本不在乎別人的想法。他的背挺得筆直，胸膛挺得高高的，不論面對任何困難。

The Swedish press had of course yet to grasp what was happening – what a lively scene had been created in the capital over the last few years – but what did it matter when Angello’s girlfriend had her own blog? Among pictures of high heels and skincare pointers, she talked about when her boyfriend spun in the booths at the clubs at Stureplan – the nightlife centre of ?stermalm – at the venues that Filip ?kesson dreamed of one day getting into. She gossiped about the drinks at Grodan, F12 and Laroy, and posted pictures of Axwell and Sebastian Ingrosso, two other producers with whom Steve Angello was increasingly collaborating.

瑞典媒體當然還沒有意識到正在發(fā)生的事情——過去幾年在首都創(chuàng)造一個多么熱鬧的場景——但是當Angello的女友擁有自己的博客時，這還有什么關(guān)系呢？在高跟鞋和護膚指南的照片中，她談?wù)摿水斔杏言?stermalm的Stureplan俱樂部的DJ臺上旋轉(zhuǎn)時的情形——這是?stermalm夜生活中心的場所，F(xiàn)ilip ?kesson夢想有一天能進入這些場所。她閑聊Grodan、F12和Laroy的飲料，并發(fā)布Axwell和Sebastian Ingrosso的照片，這兩位制作人正與Steve Angello越來越多地合作。

A bit playful and a little ironic – as if to emphasise how small yet prominent the Swedish scene was – they had started calling their trio Swedish House Mafia. In the summer they travelled to Ibiza, the party island in the Mediterranean that Filip already knew was the kingdom of heaven and played the clubs there. The pictures on the blog showed Sebastian Ingrosso with a sizeable drink in his hand at the legendary spot Pacha, where they performed with the star David Guetta. Steve Angello sat with a sunhat on the beach and read about himself in the music magazine Mixmag.

有點調(diào)皮，有點諷刺——似乎是為了強調(diào)瑞典樂壇雖小卻顯赫——他們開始稱自己的三人組為瑞典浩室黑手黨。夏天，他們前往地中海上的派對島伊比沙島演出。博客上的照片顯示Sebastian Ingrosso手中拿著一杯大杯飲料在傳奇場所Pacha表演，與明星David Guetta同臺。Steve Angello戴著太陽帽坐在沙灘上，在音樂雜志Mixmag上讀著關(guān)于自己的報道。

The dream life.

夢想生活。

As the bass was bouncing between the walls, ?kesson started to box with his hands in the air to yet another one of the hard synth riffs.

隨著低音在墻壁間彈跳，?kesson開始伴隨著又一個硬核合成器的旋律在空中揮舞雙拳。

This was his world, everything he was looking for.

這是他的世界，他所追尋的一切。

Tim Bergling didn’t go to any clubs, he was totally uninterested in them. Instead, he had sat in front of his computer for four months, engrossed, but still hadn’t got any real depth into his songs.

Tim Bergling從未去過任何夜店，對此他完全不感興趣。相反，他坐在電腦前四個月，全神貫注地創(chuàng)作，但仍然沒有真正深入他的音樂。

When he described what genre he was working in, he hesitated. What even was this kind of music? ‘Don’t actually know,’ he wrote in the forum Studio, a venue on the internet where beginners got on with seasoned professional producers. ‘Tween-simple-Eurodance techno possibly,’ he decided. At the end of January 2007 he posted a question about how he should approach FL Studio:

當他描述他正在創(chuàng)作的音樂類型時，他猶豫了。這到底是什么樣的音樂？我其實不知道，他在網(wǎng)絡(luò)論壇Studio中寫道，那里是初學者和經(jīng)驗豐富的專業(yè)制作人一起交流的場所。也許是Tween-simple-Eurodance techno，他決定了。在2007年1月底，他發(fā)布了一個關(guān)于如何處理FL Studio的問題：

I just wanted to ask if a FL veteran with a little extra time and energy would be able to help finalise a song I’m kinda happy with. I’ve basically been sitting for DAYS trying to fiddle with compressor and bass boost and vocoder etc. to make the voice and bass drum etc. sound good but haven’t gotten anywhere :/. I don’t understand the compressor and the song distorts like crazy at a 30% gain . . .

我想問一下，如果一個FL老手有一點額外時間和精力，是否能夠幫助我完成一首我有點滿意的歌曲？我已經(jīng)花了幾天的時間調(diào)整壓縮器、低音增強器和聲碼器等，以使人聲和低音鼓等聽起來更好，但一直沒有取得進展 :/。我不理解壓縮器，當增益為30%時歌曲會失真得厲害...

Tim absorbed all the tips he got. He watched even more clips on YouTube, where other producers clarified the finesses and the settings.

Tim接受了他得到的所有建議。他在YouTube上觀看了更多的視頻片段，其他制作人在那里闡明了各種技巧和設(shè)置。

The usual thing was obviously to start by looking for drums and a bass line that played nicely together. There was the bottom itself, the backbone of a song, that seemed to be the consensus. The recipe could certainly be spiced up with some sampling or a little moaning, but it was the drums and the bass that drove the production forward.

通常的做法顯然是先尋找打擊樂和低音線，讓它們很好地配合在一起。這是歌曲底部的骨架，似乎是共識。當然，這個配方可以加入一些采樣或輕微的呻吟，但是是打擊樂和低音推動了制作的進展。

Tim’s instincts led him to think differently.

Tim的本能使他有不同的想法。

He began with a melody.

他以一段旋律開始。

If he didn’t already hear it in his head, then it usually came to him when he played around with the chord bricks.

如果他還沒有在腦海中聽到它，通常當他玩弄和弦方塊的時候，它就會出現(xiàn)在他的腦海里。

Once the right melody was in place then the next challenge began. Tim started looking for a fitting software synth and began to tweak, push and pull. The fun thing with FL Studio was that each and every sound could be twisted and distorted until it was unrecognisable. In the software program the instruments were freed from their classical roles – sweet strings could become blunt rhythmic instruments; a short and aggressive trumpet blast could be filtered so that it was perceived as a smooth bass tone.

一旦正確的旋律確定下來，接下來的挑戰(zhàn)就開始了。Tim開始尋找一個適合的軟件合成器，并開始調(diào)整、推拉。FL Studio有趣的地方在于，每一個聲音都可以扭曲和失真，直到它變得不可識別。在軟件程序中，樂器從它們的古典角色中解放出來——甜美的弦樂可以變成鈍的節(jié)奏樂器；短促而有力的小號聲可以被過濾，以便被感知為平滑的低音。

Only once the chords sounded right sonically did Tim start building the rest of the song. Then he heard what kind of drums were needed, and what other effects he would use.

只有和弦在聲學上聽起來正確，Tim 才開始構(gòu)建歌曲的其余部分。然后他聆聽需要哪種鼓聲，以及他將使用哪些其他效果。

On YouTube the video to ‘Feel The Vibe (Til The Morning Comes)’, a song by Axwell of Swedish House Mafia, played on repeat. Tim studied the forward-leaning, soft production, the rolling bass that was as fat as cream. He noticed how the bass line interacted with the melody in an airy and elegant sway. Tim liked that the song was euphoric and soft without feeling cheesy. It was happy music that still had bite. He had a hard time understanding how Axwell had achieved such a saturated soundscape. If Tim’s own beats were drawn in sharp pencil, Axwell’s songs were painted with colourful pastel crayons.

在YouTube上，播放著瑞典混音組合Swedish House Mafia的Axwell制作的歌曲Feel The Vibe（Til The Morning Comes）的視頻。Tim研究了這首前傾、柔和的作品，那滾動的低音線就像奶油一樣肥厚。他注意到低音線與旋律的相互作用，以輕盈、優(yōu)雅的搖擺方式呈現(xiàn)。Tim喜歡這首歌曲既興奮又柔和的感覺，而不會感覺俗氣。它是快樂的音樂，但仍然具有力量。他很難理解Axwell是如何實現(xiàn)如此飽和的音景的。如果Tim自己的節(jié)拍是用銳利的鉛筆畫出來的話，那么Axwell的歌曲則是用豐富多彩的蠟筆畫出來的。

Tim sat up all night, continuing to read and ask questions, just as he had done before on the gaming forums. When friends came to visit, it was clear that Tim was fixated on something new. When they wanted to watch a movie or start a new raid, their friend was sitting almost unreachable in front of his screen. It could be an hour of waiting, it could be two. It was as if Tim couldn’t hear them.

Tim整夜都坐在那里，不斷閱讀和提問，就像之前在游戲論壇上一樣。當朋友來拜訪時，Tim顯然對某些新事物著迷了。當他們想看電影或開始新的游戲時，他們的朋友好像無法接觸地坐在屏幕前。等待可能是一個小時，也可能是兩個小時。就像Tim聽不到他們說話一樣。

He was captivated by his puzzle, had understood that a piece that felt insignificant on its own could be completely load-bearing when joined together with another. There was a logic in the process that was calming.

他被這個拼圖所吸引，明白了一個單獨無足輕重的拼圖塊在與另一個拼接在一起時可以完全承受重量。這個過程中有一種邏輯性，讓人感到平靜。

Tim forgot about his homework, forgot to eat, forgot about his spots.

Tim忘記了他的作業(yè)，忘記吃飯，也忘記了他的痘痘。

In this room was nothing else.

這個房間沒有別的東西了。

When two and three and then four pieces of the puzzle finally fitted together, Tim began to bounce on his chair. A while ago there was nothing on the screen, just an empty grid, now a whole beat was pounding in his headphones. It even had some swing to it!

當拼圖的二、三、四個部分最終拼合在一起時，Tim開始在椅子上跳動。不久之前屏幕上什么都沒有，只有一個空的網(wǎng)格，現(xiàn)在他的耳機里響起了整個節(jié)拍。它甚至有一些搖擺感！

His chest tingled with joy and pride as he played the chords in the air with waving hands.

當他揮舞著雙手在空中彈奏和弦時，他的內(nèi)心充滿了喜悅和自豪感。

All of a sudden he could hear Anki getting up out of bed to go to the bathroom. He quickly turned off the ceiling light so that she would not see that he was still awake.

突然間，他聽到Anki起床去上廁所的聲音。他迅速關(guān)閉了天花板的燈，以免她看到他還醒著。

The rumour had started to spread among the teenagers in ?stermalm about an artist who called himself Moonboy. The song ‘En l?da’ (‘A Box’) had begun to be played from the wireless speakers in the corridors at ?stra Real and Filip ?kesson heard it afresh in the kitchen at a house party during the last term in the second year, in the spring of 2007.

在?stermalm，一個自稱為Moonboy的藝術(shù)家的傳言在青少年中開始傳播。歌曲En l?da(A Box) 開始在?stra Real的走廊無線揚聲器中播放，F(xiàn)ilip ?kesson在2007年春季第二年的最后一個學期，在一個派對的廚房里再次聽到了這首歌。

After a while a guy in Filip’s German class said that Moonboy apparently went to their school. ?kesson thought this sounded ridiculous. The song was too professional to be made by someone their own age.

不久，F(xiàn)ilip的德語課上有個男生說Moonboy顯然是他們學校的人。?kesson覺得這聽起來很荒謬。這首歌太專業(yè)了，不可能是同齡人創(chuàng)作的。

You mean the guy in E2C? The guy whose mum was an actress? The one who used to sit at the tables by the lockers and jabber about his computer games? The guy with yellow soles on his worn-out Adidas?

你說的是E2C的那個人嗎？他的媽媽是演員嗎？那個總是坐在儲物柜旁邊的桌子上，喋喋不休地談?wù)撍碾娔X游戲的人？那個穿著黃色的磨損的阿迪達斯鞋的人？

Was Tim Bergling Moonboy?

Tim Bergling就是Moonboy嗎？

Filip ?kesson didn’t want to miss the chance to get to know someone who made his own beats, no matter how stupidly the guy dressed. One Friday after school, Filip got a ride from his father to Linnégatan and took the lift up to the fifth floor.

Filip ?kesson不想錯過認識一個自己制作節(jié)奏的人的機會，無論那個人穿得多么愚蠢。一個星期五放學后，F(xiàn)ilip從他父親那里搭了車到林內(nèi)街，然后乘電梯到了五樓。

‘My parents aren’t home, so we can be on the couch,’ Tim said when he opened the door.

“我父母不在家，我們可以坐在沙發(fā)上，”Tim打開門時說道。

Even though they had gone to the same school for a year and a half, they had never really spoken to each other. Now they carried Tim’s computer into the living room and hooked it up to the TV screen that sat on the wall in front of the green sofa.

盡管他們在同一所學校已經(jīng)待了一年半，但他們從未真正交談過。現(xiàn)在他們將Tim的電腦搬到客廳，連接到掛在綠色沙發(fā)前的電視屏幕上。

Filip immediately began to play the songs of his Swedish idols. A remix by Sebastian Ingrosso, a rippling house piano from Axwell.

Filip立刻開始播放他瑞典偶像的歌曲。由Sebastian Ingrosso混音的歌曲，由Axwell創(chuàng)作的流暢的house鋼琴。

‘It’s sick, right?’

“這太酷了，不是嗎？”

‘Fucking sick!’

“太他媽酷了!”

Filip suggested that they should try to do something that resembled his favourite song, ‘Teasing Mr Charlie’ by Steve Angello.

Filip建議他們嘗試做一些類似于他最喜歡的歌曲Teasing Mr Charlie（Steve Angello創(chuàng)作）的東西。

Tim quickly went to work. He clicked forward to a sound that was called Saw Dist Tube and began to lay out the components.

Tim 迅速開始工作，點擊一個名為 Saw Dist Tube 的聲音，并開始布置組件。

Bewitched, ?kesson watched the mint-green blocks dance across the grey grid as he heard a melody take shape. He had been listening to house music for several years, but had never seen it develop like this.

?kesson被迷住了，他看著薄荷綠色的方塊在灰色網(wǎng)格上跳舞，同時聽到一首旋律正在形成。他已經(jīng)聽了幾年的house音樂，但從未見過它像這樣發(fā)展。

After only a few minutes Tim had created a pattern that was easy to loop. He copied and placed it under the first bricks – doubling a sequence was the best way he had figured out to make it sound heavier, he explained.

僅僅幾分鐘后，Tim 就創(chuàng)作出了一個易于循環(huán)的模板。他將其復制并放置在第一組音符下面——他解釋說，將一個序列翻倍是使其聽起來更沉重的最好方法。

Then he slid in a bass drum and a little handclap.

然后他放進了一個低音鼓和一些拍手聲。

‘Then we have to tease,’ said Filip ?kesson.

“然后我們就得挑逗一下，”Filip ?kesson說。

This is where ?kesson’s experience came in. Even if he had been impressed by Tim’s local hit ‘En l?da’, at best it had lurched on. It never reached climax in the same way that the songs on Filip’s iPod did.

這就是?kesson的經(jīng)驗所在。即使他對Tim當?shù)氐臒衢T歌曲En l?da留下了深刻印象，它也只是在蹣跚前行。它從未像Filip的iPod上的歌曲那樣達到高潮。

Progressive house was a kind of music that was built on anticipation. That was the whole point with the word ‘progressive’ – that the songs would slowly develop and bloom like a flower in spring. The principle built on maximising the music’s ebbs and flows. The listener was often tricked into a deceptive calm – just as the song was on the way to its crescendo, the drums could stop and be replaced by strings that gently swayed forward. Then the storm intensified in what sounded like a jet plane warming up. Once the song exploded, the effect became physical, a great drop made the chest explode.

漸進浩室是一種建立在期待之上的音樂。這也是漸進這個詞的全部意義所在——歌曲會像春天綻放的花朵一樣慢慢展開。這種原則是建立在最大程度地增強音樂的起伏之上的。聽眾常常被欺騙到一種虛假的平靜之中——就在歌曲走向高潮之際，鼓點可能會停下，被輕柔搖曳的弦樂所取代。然后，風暴就像噴氣式飛機升溫一樣愈演愈烈。一旦歌曲爆發(fā)，效果將變得身臨其境，令人的胸腔炸裂。

It was like having sex, or at least what the boys imagined sex to feel like.

這就像是在做愛一樣，或者至少是男孩們想象中的做愛的感覺。

Filip ?kesson thought that he knew the recipe, second by second. First, it would be at least half a minute of just drums. This was so that the song could be imperceptibly mixed with another at the clubs. Then a short preview of the melody itself, maybe just a note or two, which made the listener want more.

Filip ?kesson認為自己對這個配方了如指掌，一秒一秒地。首先，至少半分鐘的鼓聲。這是為了讓歌曲在俱樂部與另一首歌無縫混合。然后是旋律本身的簡短預覽，也許只有一兩個音符，這會讓聽者想要更多。

Tim thought it was cool to meet someone who knew the rules so well, and followed ?kesson’s instructions to a tee.

Tim覺得能遇到一個如此熟悉規(guī)則的人很酷，并完美地遵循了?kesson的指示。

After exactly thirty seconds of drums, he allowed the melody to flicker, just for a moment. He extended it for another fifteen seconds and after a full minute of patient ascension, he finally let the whole melody detonate.

在精確的30秒鼓聲之后，他讓旋律閃爍了一會兒。他又延長了15秒，經(jīng)過整整一分鐘的耐心上升，他終于引爆了整個旋律。

The screaming synth filled the living room while ?kesson cheered.

?kesson歡呼著，尖叫的合成器聲充滿了客廳。

‘Turn up the volume, man! You’re a fucking genius, Tim!’

“把音量調(diào)大點，伙計！你真是個天才，Tim！”