搬運自：微信公眾號【評論搬一堆】（在原文基礎上添加了英語原文與排版調(diào)整）

翻譯：ConigliaFolle/Nina Wang/1&OnlyFudge/Emma.Z

校正：1&OnlyFudge/Ryan-Chopin

原文鏈接：https://pitchfork.com/features/song-by-song/the-1975s-matty-healy-dissects-every-song-on-a-brief-inquiry-into-online-relationships/

Matty Healy is overwhelmed by the view. The 29-year-old Mancunian falls silent as he looks across Manhattan’s bottom end from the 40th floor of One World Trade Center. It’s the only time?during our conversation that words fail him.

Matty Healy為窗外的景象而震驚。這位29歲的曼徹斯特人從世界貿(mào)易中心一號大樓第40層向下望曼哈頓的街景時，突然沉默。整個采訪里，只有這一次他說不出話了。

He’s here to talk about?A Brief Inquiry Into Online Relationships, the adventurous third album from his shapeshifting pop group,?the 1975. Discussing his songwriting, words like “deconstructed,” “anthological,” and “postmodern” come up a lot, and the record reflects his uncontainable philosophy of the world. It includes era-defining rock anthems and the tenderest of ballads; a jazz standard about keeping things casual and a glittery pop song about Healy’s decision to kick heroin. For good measure, there’s also a creepily funny monologue narrated by Siri.

他是來聊一聊自己帶領的流行樂隊The 1975的第三張專輯《網(wǎng)絡交友的快問快答》(?A Brief Inquiry Into Online Relationships)，這張專輯風格十分大膽，展現(xiàn)了該樂隊的極強可塑性。當談到歌曲創(chuàng)作的時候，像“解構”（deconstructed），“選擇性的”（anthological），還有“后現(xiàn)代”（postmodern）這樣的詞很多次出現(xiàn)，整張專輯也包含了他對于世界無止境的哲學理解。整張專輯中有劃時代的搖滾，也有溫柔的抒情歌曲；一首爵士歌曲講述著順其自然，還有一首亮耳的流行歌曲講述了馬修決定戒掉海洛因的經(jīng)歷。除此之外，里面還有一段Siri講述的獨白，奇怪而有趣。

While the 1975 are already planning a follow-up album, titled?Notes on a Conditional Form, for next year—a decision Healy says was informed by au courant binge culture—he isn’t taking anything about the 15 songs on?A Brief Inquiry?for granted. For now, the chronic overthinker at the forefront of one of the decade’s most relentless bands seems content, adding a new dimension of wisdom to his trademark no-filter openness. “I’m not scared of anything,” he says warmly. “And I’m not hiding anything.”

The 1975已經(jīng)在準備下一張專輯了，名叫《Notes on a Conditional Form》，準備在明年發(fā)行——希利說這個決定是由當今這放縱狂歡的文化環(huán)境所決定的——他不認為《快問快答》中的這15首歌是輕松得來的。如今，這位“患有”慢性多慮癥的藝術家看著自己這支樂隊在十年來活力一直未有消減，似乎很是滿意；這為率真的希利增添了一絲睿智?！拔沂裁炊疾慌??！彼麥睾偷卣f?！拔乙膊淮蛩汶[瞞什么?！?/p>

1. “The 1975”

Pitchfork: The self-titled intro has become a tradition across your three albums so far. Each one has the same lyrics but different arrangements, and this is the most sparse and strange version yet. How did it come about?

這首同名的序曲已經(jīng)成為了三張專輯的傳統(tǒng)。每首的歌詞都是一樣的，但是編曲不同，現(xiàn)在這首是三首里最稀奇古怪的版本了。它是怎么誕生的呢？

Matty Healy: Throughout the making of the record, I had a different intro that was based on?Steve Reich, like xylophones and strings. I was working on it for fucking ages and I just couldn’t get it right. So, two days before we had to deliver the record, we didn’t have an intro. I was like, “Why don’t I go in the booth on the piano, and then maybe we manipulate it and see if anything interesting happens.” That was the most last-minute thing on the whole record, and it was a real panic. But as soon as we got this version, I was like, “That’s actually fucking dope.” I went from hating myself to being kind of proud of myself in a day.

Matty Healy：在制作整張專輯的時候，我制作了一個史蒂芬·萊奇（?Steve Reich）風格的序曲，有木琴和弦樂之類的元素。我在這首曲子上花了很多很多時間，但是依然找不到感覺。所以在專輯要交付的前兩天，我們還沒有序曲。我當時就想：“也許我可以坐在鋼琴前，隨便彈點什么？或許我們就能搞出來一些很有趣的東西來呢！”這是我們整張專輯里最后一個最終敲定的曲子，真的讓人害怕。但當我們得到了最終的版本時，我想，“這真的太**棒了?！蔽以谝惶熘畠?nèi)經(jīng)歷了從討厭自己到為自己驕傲這種過山車般的情緒。

Do you think you’ll ever abandon these intros in the future?

你覺得你會在未來放棄這種序曲嗎？

I love drama and subtext and all that shit, so I think I’d keep those themes. It’s always a signpost of where we are. Instead of taking a picture of someone, it’s like holding a video on them for five minutes—they have to squirm a little bit.

我喜歡極強的戲劇性，還有歌詞背后的潛在意義之類的，所以我覺得我應該會保留這種序曲。它們一直是提醒我們身處何處的標示牌。就像是保留一段五分鐘的有關某個人的錄像，而不是給他拍照——他們肯定會有點不舒服。

2. “Give Yourself a Try”

You sound like you’re speaking to your younger fans on this song.

在這首歌里，你像是在跟你的年輕粉絲們談話。

It’s about how, whether it’s through pop culture or literature, you’re presented with the idea of these destinations of happiness, of being a grown-up and feeling OK about yourself—and it never really happens. I’d love to talk to myself at 40 and see what I’ve achieved and what I feel… but I will just be the same neurotic person who’s striving to be a grown-up.

這首歌講述的是當今的流行文化和文學給年輕人們灌輸?shù)膬r值觀。（現(xiàn)在的流行文化）告訴我們要快樂幸福，要有成年人的樣子，要自我感覺良好——但我們從來都沒有實現(xiàn)過這些目標。我很好奇自己40歲的時候，收獲了什么，感覺如何……但那個40歲的我大概還是一個努力成長的神經(jīng)質(zhì)（就像現(xiàn)在一樣）。

Do you think this current generation of teenagers has it harder than you did?

你認為當今這一代青少年的生活狀態(tài)比你當時更艱難嗎？

Definitely. I have a brother who’s 13 years younger than me. Back when I was in high school, if there was a fight, there’d be the buildup, then the fight, and then the aftermath where people talk shit, but then people would go back to their houses and that was it. But my brother was telling me that now, with Twitter, the fight is the?start?of it. Once everyone goes home, everyone’s adrenaline is up, so everyone’s like [mimics excitedly typing on a phone]. Then another 15 fights get organized for after school and then?that?shit kicks off and then you go home, and everyone’s up till like four in the morning, going, “Bro, you’re going to get fucked up!” And then everyone’s super tired and turns up to school all craggy. Nobody can concentrate, everyone’s fighting.

那是肯定的。我有一個小13歲的弟弟。在我高中的時候，如果有人打架，那他們就會拉幫結派，然后就打起來了，打完之后雙方可能還會說點閑話，但之后大家就會各回各家，這事兒就算結束了。但我弟弟跟我說，現(xiàn)在因為有了推特，打架只是一個“開始”。大家各自回去了以后，每個人都腎上腺素飆升，然后就（模仿激動地在手機上打字的動作）。所以放學之后還會發(fā)生另外15場戰(zhàn)爭，導火索才被點燃，然后每個人都熬夜到凌晨三四點，說著“哥們兒，你明天完蛋了！”之類的話。但大家都累得不行，第二天上學的時候都快崩潰了。沒人能集中精力學習，人人都在打架。

3. “TOOTIMETOOTIMETOOTIME”

This is a relatively simple pop song in the context of the album. Did writing a track like this feel counterintuitive?

在整張專輯的背景下，這首歌顯得格外簡單而大眾。寫這樣的歌對于你來說是不是違背了自己的直覺（counterintuitive）？

That’s the exact word, counterintuitive. Where I’m at now—in the least pretentious way I can try to explain it—I just want to celebrate what I am. And that allows me to be as serious or as frivolous or as emo or whatever it may be. I get to play with all these bits of my identity that I’ve created over the years. So that’s why, when I was making this song, I didn’t have the kind of “serious artist” syndrome that I’ve had before. Making a record is like delineating a personality, and you can’t do that without it being incredibly dynamic. Because that’s what a personality is—loads of things.

這個詞用得很準確，違背直覺（counterintuitive）。就我現(xiàn)在所處的位置來說——我試著用最露骨的方法來說明——我只想享受現(xiàn)在的我。我可以嚴肅、輕佻或者情緒化，或者其他什么樣子。我可以玩弄這些年來我所建立的身份標簽。這也是為什么我在制作這首歌的時候，并沒有帶著之前我一直有的那種“嚴肅的藝術家”包袱。制作專輯就像刻畫一個人物，如果你沒有蓬勃的創(chuàng)新力的話，就不能完成這項工作。因為一個人物是包羅萬象的。

As long as songs are about?something, it doesn’t matter. When songs are just rhymes, and they don’t mean anything, I’m not into that. But songs can be about frivolity itself—if it’s a good song about frivolity. So it did start out to be a bit counterintuitive, but then I just thought, “I love pop music! I don’t make any apologies for that. And it doesn’t negate my intellect or integrity.” Also, the song just wouldn’t work if I was trying to be verbose. It wouldn’t resonate. It also wouldn’t be fun, because that’s gotta be what music’s about at some point.

如果這些歌曲是有內(nèi)容的，那就沒什么要緊。當歌曲里面只有韻律、并沒有實際的含義時，我就不在乎了。但是一首歌的內(nèi)容也可以就是“輕率”本身——如果這首歌寫得好的話。所以一開始的時候，這確實有點違背我的習慣，但是我只是想，“我愛流行音樂！我也不會因此而感到抱歉。它也不會影響我的聰明才智和正直的秉性?！倍耶斘覍懺~很啰嗦冗長的時候，我也寫不出來好歌，這種歌并不能入耳，它也不會有趣。因為從某種程度上來說，這不是音樂的精神。

4. “How to Draw/Petrichor”

This song sounds like your tribute to UK garage music. What is your history with that genre?

這首歌中，你似乎在致敬英國車庫音樂。那么你對這種流派有什么記憶嗎？

Growing up in the UK, if the radio was on past 7 o’clock, it?was dance music. It’s the soundtrack to nighttime, to being up too late, to being a kid. So it’s not so much us trying to pay homage to the records we were into as teenagers as much as it was the sound of being young to me. That’s why “How to Draw” is really easy for us, because that’s our identity. That’s where we come from.

我在英國長大，每天7點多打開電臺，放的一定是舞曲。在熬夜的晚上，這些音樂便烙印在我幼小的心里。所以這首歌并不是在刻意致敬我們年輕時喜歡的音樂，而是在述說我的年少青春。因此“How to Draw”的創(chuàng)作可以說是信手拈來，因為它是我的自我認同和心靈歸屬。

Is that influence a preview of where the band is headed on the next album?

這一影響是否預示著樂隊下一張專輯的走向？

There’s an element of a preview in the production, because it’s such a masterpiece by [drummer/producer George Daniel]. At the moment, if we just put out what we have, it would be very left-field. But it’s taking shape. It just didn’t make sense to tour for two years and make one album, being the band I want to be. It’s not how it’s happening now. It’s not how even I consume things: I watch something on Netflix and it’s like, “That was the greatest thing I've ever seen. Next?”

在制作上的確有預示的意思，畢竟這個杰作也出自 [drummer/producer（鼓手／制作人） George Daniel]之手。雖然我們已經(jīng)有了些想法，但這種想法呈現(xiàn)出的效果不一定盡人意。我們不是那種巡演還按照原樣兩年出一張專輯的樂隊；我們需要積淀，做自己想做的音樂。這首歌不關乎當下，不關乎我當下的想法。就像我在Netflix（美國一個視頻制作網(wǎng)站）上看完一個很好的視頻，就會感慨：“這集太棒了！真期待下一集?！?/p>

5. “Love It If We Made It”

The first thing this made me think of was Scottish ambient pop group?the Blue Nile, particularly “The Downtown Lights” from their 1989 album?Hats.

聽完這首歌，我第一個想到的就是蘇格蘭氛圍音樂流行組合Blue Nile，尤其是他們1989年《Hats（帽子）》收錄的“The Downtown Lights（城市的霓虹閃爍）”。

Full-on. That definitely started out as us just killing?Hats?every night before we went onstage, listening to that record until it broke. It’s slightly different; it’s like Blue Nile on steroids. We wanted it to sound really machine-like, in an industrial sense.

確實很像。以前我們每晚上臺前都要過一遍“Hats”，日復一日直到光盤磨損為止。但它們還是有些區(qū)別的，這首歌是夸張版的Blue Nile。我們想做得更機械，更有工業(yè)風。

The lyrics are very of-the-moment, with references to Trump and Kanye and Lil Peep. How did you go about writing them?

歌詞緊跟時事，提到了Trump，Kanye和Lil Peep。你是怎么寫出這些歌詞的？

Basically, every day post-I Like It When You Sleep, I got [Dirty Hit Records product manager] Ed [Blow] to pick up the tabloid newspapers on the way into the office so I could eventually, after a year, have every single tabloid headline and write a song about that. The sad thing is that, using the actual things that were written, it was just becoming too slapstick and funny.

“I Like It When You Sleep（喜歡安睡時的你）”基本上就是每日新聞的精華。Dirty Hit Record（英國獨立廠牌）的產(chǎn)品經(jīng)理Ed Blow每天都會帶一份報紙到辦公室，于是我就攢了一整年的每日頭條，寫了這首歌。但美中不足的是，用時事做詞歌曲會顯得過于滑稽。

Can you remember any lines that were cut?

你能說說一些被刪掉的歌詞嗎？

There was one funny one about a horse: “Horse Burger Butchered by the British,” or something like that. And it was all about foreign nurses as well. So I just let it sit. But then, every time something really touched me, I would make a thing out of it. And then I had loads of stuff, and I had to make it all rhyme. That was the most difficult bit.

有一句關于馬的歌詞挺有意思的，大概是：“Horse Burger Butchered by the British（英國馬肉漢堡風波）”。還有一篇講外國護士的新聞，我又記了下來。但后來每次我有感觸時又會加一句歌詞，漸漸地記得多了，我得讓它們押韻。而這一句實在不好處理，所以就刪了。

Were there any moments of writing it that were particularly memorable?

寫這首歌的過程中有什么難忘的經(jīng)歷？

There was one moment while making the record that, if you could bottle it, it would be better than any other drug. I was sat in my car, and I had to get this line. I had, “Consultation, degradation, fossil-fueling?masturbation/Immigration, liberal kitsch, kneeling on a pitch...” And then I had “excited to be indicted.” I had all these things, but I didn’t have that one bit in between. I needed seven syllables. And I’d just written the Kanye line, and I was thinking, “What else has he famously said?” Then it was like [sings triumphant melody] the syllable spaces of “I moved on her like a bitch” just went in, game show-style, and I was like, “Oh my god! I’ve got it!” And then [my bandmates] were like, “It’s another swear word.” And I was like, “Oh yeah, that’s a bit annoying.” But then I was like, “No, if we’re going to get censored, we’re going to get censored for verbatim quoting the leader of the free world.” That is the song in its essence. How weird is reality?

有那么一瞬間，你要是在場，肯定會覺得我的反應比嗑*還有意思。當時我坐在車里想歌詞。我已經(jīng)寫了兩句：“心理咨詢，墮落，燃燒，自贖，移民，自由主義的媚俗，球場上的下跪……”和“被起訴了我超激動”，就差中間的七個音節(jié)。那會兒我剛寫完Kanye部分的詞，于是我就開始想他還有什么“名言”。霎那間，就像一扇門突然被踹開一樣，“I moved on her like a bitch（像個碧池狂吻她）”猛地闖進我的腦海。我當時激動得，跟參加電視競賽在十萬火急的關頭突然想到答案一樣，大叫“天啊天啊！我知道了！”我的樂隊成員就說：“肯定又是句臟話?！蔽艺f：“確實有點臟?！比缓笪蚁肓讼耄终f：“也不叫臟。如果不過審，也是因為我們一字不落地引述了自由世界領頭羊的胡言亂語?！边@就是這首歌的本質(zhì)。不是歌詞荒謬，而是現(xiàn)實本身就不正常。

6. “Be My Mistake”

This song feels particularly vulnerable, a ballad that plays like you’re singing to just one person. What were you writing about?

這首歌聽起來尤其細膩脆弱，就像只唱給一個人聽的一首民謠。那么這首歌講了什么？

“Be My Mistake” is just about guilt. It’s about when you are a young person and you struggle sometimes to figure out what you really want. And sometimes, like a lot of things, it requires you to make a mistake before you actually understand what you have. And then maybe you push people away, and then you realize that the idea of a casual relationship with somebody is just not really something that you want.

“Be My Mistake”講的是內(nèi)疚。我們年輕的時候都曾迷茫，不知道自己究竟想要什么。而很多時候，我們都是走了彎路才真正明白自己擁有了什么。比如你跟別人親熱完就把他／她推開，之后又意識到你想要的遠不止那轉(zhuǎn)瞬即逝的火花。

The arrangement is very sparse. It’s mostly just your vocals and acoustic guitar.

這首歌的編曲簡單輕柔，基本都是你的歌唱和原聲吉他。

I love?Nick Drake?and shit like that, but I’m not into your modern singer-songwriter dude. So I always stylistically stay away from it, but then I realized that’s where a lot of the truth is, if you do it right. I want people to feel personally addressed. If you’re going to tell the truth like that, you can’t dress it up.

我喜歡Nick Drake的風格，對現(xiàn)代的創(chuàng)作型歌手沒什么興趣。所以我的曲風向來和后者相去甚遠。但后來我發(fā)現(xiàn)，只要寫得好，也能寫出很多內(nèi)容的。我希望人們聽歌時能置身其中。如果我想傳遞這些事實，就得舍棄一些樂趣。

7. “Sincerity Is Scary”

This song plays as something of a thought spiral, like you’re imagining two sides of a conversation.

這首歌聽起來像一場思想交鋒，而你似乎在想象對話的雙方。

It’s about me trying to denounce all of my postmodernism of being sarcastic instead of sincere. It’s me having a go at myself. And it’s wholesome! It’s?good for you! It’s?good food! It’s just nice to hear a pop star—or a rock star, or whatever I am—worrying about whether he’s meeting his potential of being nice. I like that.

這首歌關乎自我批判，我在嘗試譴責自己偏執(zhí)且反真誠的后現(xiàn)代主義思想。這可是件好事！對流行歌手或者搖滾歌手（隨便你們怎么叫我）來說，自我批判本身就是件好事。而我就喜歡這么做。

This song features jazz Trumpet player?Roy Hargrove, who passed away earlier this month. What was your working relationship with him like?

爵士小號手Roy Hargrove為本曲演奏，他在本月早些時候離開了人世（本文寫于2018年11月），與他合作是什么樣的體驗呢？

So intense. You’d get him in the room and you’d be so scared. He did the Trumpets on?D’Angelo’s?Voodoo, which is the most iconic brass section for us ever. He was the greatest musician I’ve ever been in a room with, by a mile. It’s the first time that somebody who’s actively brought something to the 1975 sonically has passed. Something died in the music, and it made me really sad.

感覺非常緊張。他一站到房間里，我就開始害怕了。他為迪·安格羅（D'Angelo）的專輯《Voodoo》吹過小號，那段管弦樂太厲害了。在我合作過的音樂家中，他是最偉大的，比我厲害很多。很多人為The 1975的音樂帶來了有力的新元素，他是其中第一位離開人世的。我能感覺到，音樂中有一些東西消亡了，實在是悲哀。

8. “I Like America & America Likes Me”

Has touring changed the way you look at America compared to other countries?

巡演怎樣改變了你對美國的看法？和其他的國家相比呢？

If everybody did what I did for a job, there would be less of a divide. That sounds like a really fucking massive statement to make, but what I’m saying is: If you do the same thing in different places all the time, it’s exactly the fucking same thing. Every night looks, smells, sounds, reacts, and operates exactly the same way. Yeah, I notice the way that people have darker hair in Mexico than they have in Scandinavia. Of course. But the things that you notice are the similarities. Personality-wise, there’s differences, but we’re all worried about the same shit. Everyone’s just scared of dying!

如果每個人都像我一樣（以音樂為生），這個世界就不會那么分裂了。這聽起來非常地大而空，但我的意思是；如果你在不同的地方一直做著同樣的事，那你就（嗶——）實在重復同一件事呀！每一晚的模樣、氣味和音韻都無異，發(fā)生的事都是千篇一律。的確，我注意到墨西哥的人們也許比斯堪的納維亞人的皮膚顏色更深（廢話…），但是你最先注意到的是大家的相似之處。從性格上來說，大家有所不同，但是我們都擔心一樣的事：大家都怕死！（譯注：Matty這句話呼應了本首歌的歌詞）

Your voice is also heavily Auto-Tuned in this song. What do you like about that effect?

這首歌里，你的聲音有很濃重的電音（Auto-Tune）效果。你喜歡這個效果的什么地方呢？

Not only does it tune your voice, it stops it, compresses it, punctuates it. It turns it into an instrument. But also, this song started out as an homage to SoundCloud rap. It’s the sound of America to me at the moment. I was almost going to put it out with just mumble lyrics, to see how far I could take it.

Auto-Tune不僅會調(diào)音，還會截斷、壓縮、打斷你的聲音，這就像樂器一樣。不過，這首歌最初是想致敬“模糊說唱（SoundCloud rap，又稱Mumble rap）”。對我來說，這種聲音就代表著當下的美國。我差一點想把歌詞也模糊地唱出來，看看自己能玩兒多大。

9. “The Man Who Married a Robot/Love Theme”

This is a spoken Word track recited by Siri about a lonely man who falls in love with the internet. How much do you identify with that character?

這段誦讀詞（Spoken Word）由Siri朗讀，是一個人與互聯(lián)網(wǎng)相愛的故事。你和這個角色有共鳴嗎？

Probably more than I’d like to. It’s just pointing out how fucking weird things are by that removal of the human experience—just hearing a robot saying “cooked animals” on this track is a bad vibe, right??Why?is it a bad vibe? This is the question I’m asking. It’s the acknowledgement of an already existing dystopian reality. It sounds like a warning of what a future could be, but you realize it’s exactly what we’re living in.

我的共鳴也許比自己想得還要強。這首歌只是想指出，把人類體驗去除后，事情會變得有多（嗶——）奇怪：聽著一個機器說出“烹飪動物的肉”多奇怪??？為什么會感覺這么不好呢？這才是我想問的問題。這首歌展現(xiàn)了一種已有的反烏托邦現(xiàn)實：最初聽的時候，這首歌就像一種糟糕的未來；但之后你就會意識到，這就是我們現(xiàn)在的世界。

Where did the idea for this monologue come from?

你們是怎么想到做這個獨白的？

It was going to be my dad reading it and then it was going to be me doing spoken Word. But I was like, “fuck that, sounds lame.” And then we were like, “Who should it be?” We just knew immediately. Because earlier this year, post-rehab, I was obsessed with the 2020s, like the idea that this next decade is going to be some retro-future kind of idea. I had, like, purple hair and an orange coat and I was like, “Everything’s going to be fucking super future!” I was just on that kick. I was like, “Robots, robots, robots.”

原本想讓我爸來讀，之后想讓我來讀，但之后我想；“這聽起來就挺沒勁兒的?！比缓笪覀兙陀兄饕饬?。因為今年（2018年）早些時候，我在戒毒回來之后，我對2020年代非常著迷，感覺將來的10年將會是復古與未來風的結合體。我當時頭發(fā)染紫了，穿著橙色外套，當時想的是：“這世界會（嗶——）超級未來風?。?！”順著這股勁兒，我就想到了“機器人”的點子。

As a band so closely tied to the internet, do you feel like this is the album where you turn against it?

The 1975和網(wǎng)絡密切接軌，但在這首歌里，你們是和互聯(lián)網(wǎng)決裂了么？

I am really just asking questions. What’s weird to me is the stuff that we just get used to. When I first heard that robot voice on?OK Computer, it was like,?eugh! [jumps back] That’s fucking scary! The idea of a synthesized voice is scary. But now, you could have this track on in the background and not even fucking realize! People put these voices in their kitchen and they’re like, “GET ME EGGS,” and the robot’s like, “OK.”

我真的只是想問些問題。大家都習慣的這些事情一直讓我感覺很奇怪。我第一次聽到《OK Computer》（Radiohead的一張專輯）里的機器人時，第一反應是：“媽呀！[往回縮]這太可怕了吧！”人工合成的聲音讓我很恐懼。但是現(xiàn)在，你拿這首歌當背景音樂，都不會發(fā)現(xiàn)有什么不對的地方！人們都會在廚房里說：“把我的雞蛋拿來”。然后機器人就會回答：“好的?！?/p>

It’s also difficult because, as a songwriter, it just poses questions.?Katy Perry?will do a song where she’ll say “epic fail” or something like that, but?Leonard Cohen’s new record isn’t going to come out and reference Facetime, right? But in order to be really, really true about the human experience, he would kind of have to, if he was talking about a relationship: “Oh my love, far away, in a distant land… I could get in touch with you in a second!” The internet has completely changed every perspective of how we relate to one another.

不過，作為作曲者，讓這首歌提出問題也很困難。水果姐（Katy Perry）也許會在歌里唱“慘敗”之類的歌詞，但是Leonard Cohen的新歌可不會提到視頻通話，對么？但如果他想在歌詞中忠實地還原（當代的）人類感受，他可能就需要寫這樣的歌詞：“哦寶貝，你在千里之外，但我們即刻便可見到對方面孔！”互聯(lián)網(wǎng)的確改變了我們?nèi)穗H交往的方式。

10. “Inside Your Mind”

The lyrics on this song sound kind of obsessive. You seesaw between love and violence: “I’ve had dreams where there’s blood on you/All those dreams where you’re my wife.”

這首歌的歌詞聽起來，很像是對一個人的迷戀。你在愛情與暴力之間來回跳躍：“夢境中的你滿身血跡/夢中的你是我的妻子”

“Inside Your Mind” is just the idea of sometimes wanting to know what your partner is thinking so much that you want to smash their head open to look. I liked that as a metaphor. I like the idea of morbidly romantic stuff sometimes. I explained it to my girlfriend, and she found it quite sexy.

《Inside Your Mind》這首歌想寫的是：有些時候你非常想知道愛人的腦海中想的是什么，甚至想砸開Ta們的大腦以求一窺。我喜歡這個比喻。我喜歡有時候浪漫的極度會有些病態(tài)。我和女朋友解釋了一下，她覺得這很性感。

11. “It’s Not Living (If It’s Not With You)”

This is a song about heroin addiction where you sing about a character named “Danny.” Who are you referring to?

這首歌以heroin為主題，你唱的是一個叫“Danny”角色的故事。你指的是什么呢？

I think I'm trying to consciously hide it behind being somebody else, writing about their struggle and their strife. Like, “So I’ve got this friend, right? And he’s got this really weird rash on his gooch?” [laughs] That kind of vibe. So it’s like, “Well tell your?friend?that he should...” But it’s quite obvious it’s about me, because there’s been a real reluctance for me to talk about it. I didn’t want to talk about being a heroin addict for five years—having actual nightmares of the idea of it being uncovered. So there was a humorous reluctance to disclose it in this song.

我感覺我在寫歌時，有意識地借別人的艱苦斗爭來掩蓋自己的感情。就像有時候和別人說：“我有個朋友，他在襠部那里起了個奇怪的疹子……”[笑]就是這種感覺。當你回答的時候，嘴上說的是：“那告訴你朋友，Ta應該……”其實大家都知道，我在說自己的事兒，只是不愿意明著說而已。我也不想談自己那五年，一直對海*因上癮，甚至會做噩夢，夢到別人發(fā)現(xiàn)這件事。所以在這首歌里，這種不愿意傾訴的感情還有些好玩。

What were you trying to express about addiction in this song that you hadn’t heard before?

在這首你從未聽過的歌里，你想傳達什么關于毒癮的內(nèi)容呢?

I wouldn’t have written about heroin unless I had gotten clean. “I do it” was never a good enough reason for me to talk about it. I don’t think?Kurt Cobain?tried to romanticize drug addiction; because he was so publicly the coolest person in the world, and grunge was so dark, he was telling his truth. Whereas?Pete Doherty?was a different character. That was the thing that I was always scared of—being an obnoxious celebration of that kind of sickness. I just felt so lucky. I hadn’t lost anything really. And that’s normally why people go to rehab, because they lost so much they can’t bear to lose anything else. But I was lucky.

（以前）除非我完全戒了毒，不然我不會寫任何關于海*因的歌?！拔易隽恕边@個理由，它對我來說，從來都沒有好到值得我當談資的地步；我也不認為Kurt Cobain有試過把毒癮描繪得多么浪漫：畢竟他在公眾眼里可是世界上最酷的人，垃圾搖滾本來就很黑暗，他說的的確是實話。而Peter Doherty又是另一種風格。這也是一直以來我特別害怕的一點——成為一個讓人討厭的毒癮歌頌者。我只是覺得自己很幸運，因為我并沒有失去什么。這也是通常人們?nèi)ソ涠镜脑?，他們失去了太多，而且已?jīng)無法承受更多的了。但是還好，我很幸運。

12. “Surrounded by Heads and Bodies”

This seems like a rehab song. Is Angela, the person you’re singing to here, somebody you met there?

這首歌聽起來像是戒毒之歌。你在這首歌中唱的Angela，是你在那兒見過的人嗎?

Yeah, it was only me and this other person—me in my own compound, and she had her own compound across the way. We rarely saw each other apart from some shared therapy, and she was such a beautiful, lovely woman. I felt a real connection and an empathy with her. And we soon found out that we lived on the same?road?in Manchester! And we were in Barbados. It was crazy man. One road in the whole world.

是的，當時就是我和她，我們都有自己的隔間，她的在我對面。除了偶爾一起治療，我們幾乎見不到對方。她真是一個漂亮又可愛女人。我能感受到我們之間的聯(lián)系和共鳴。之后很快就發(fā)現(xiàn)，原來我們還住在曼徹斯特的同一條街！我們都在巴巴多斯。你敢信嗎，真的難以想象。世界這么大，我們卻住在同一條街。

The title of this song is from David Foster Wallace’s?Infinite Jest. What significance does that book hold for you?

這首歌的名字來自David Foster的《Infinite Jest（無盡的玩笑）》。那本書對你有什么意義?

I was reading that when I was in rehab. There was no one there. It was me and my nurses, who’d come in and check on me, and then Angela, miles away. I was surrounded by no one, and the book was just open on the front page, as most copies of?Infinite Jest?are.

我在康復中心讀到的。那里一個人也沒有。只有我和護士們，她們會過來給我做檢查。然后就是安吉拉，她在很遠的地方。我身邊沒有其他人。這本書就像大多數(shù)《Infinite Jest（無盡的玩笑）》一樣，只有扉頁被翻看過。

The quote comes from the literal opening lines of the book.

所以歌詞里引用的話來自書的開頭幾行。

That was kind of the joke. Because nobody reads it all the way! Everyone our age has got a battered, quarter-read copy of?Infinite Jest.

這是個玩笑啦。因為沒有人會一直讀下去！我們這個年齡段的每個人應該都有一本磨爛了的，卻只讀了四分之一的《Infinite Jest（無盡的玩笑）》

13. “Mine”

I didn’t expect a jazz standard from you guys.

我沒想到你們會出一首爵士標準曲（Jazz Standard）。

Me neither. It came from our love of?Coltrane. I always use the magpie analogy: A magpie will collect a diamond or a piece of glass or a piece of foil—it doesn’t matter, as long as it’s shiny and attractive. It’s the same thing with us—as long as it’s beautiful. And I wanted a standard, because imagine writing a new Gershwin song, imagine a new one of those existing. That hasn’t happened since—it’s difficult to say. Was it?Mariah Carey’s Christmas song? That’s probably the last one. “Hey There Delilah?” That was big. [laughs]

我也沒想到。這個想法來源于我們對Coltrane的喜愛。我總是用喜鵲這個例子:喜鵲會收集鉆石、玻璃或小片的金屬箔——只要有光澤和吸引力就行了。這個東西到底是什么，其實并不重要。我們也是一樣的，只要歌有美感就行了。不過也要有一個標準：想象一下，有人要寫一首新的Gershwin式的歌：那可很久沒出現(xiàn)過了?；蛘呤且皇滓敲繫ariah Carey的圣誕歌嗎?這可能是最近的一個例子?；蛘摺禜ey There Delilah（嘿黛麗拉）》呢？那就很了不起了。(笑)

14. “I Couldn’t Be More in Love”

The vocals on this track are really intense. I don’t think I’ve heard you sing like that before.

這首歌的人聲部分很激烈。我感覺以前應該沒聽你這樣唱歌。

It’s because I struggle to sing like that. Some people can just sing and it’s the most natural thing in the world to them. But in order for me to get people to believe me, I have to really, really try. Those vocals were actually from the day before I went to rehab. To be fair, I sang it better when I got out, but there was just something in those vocals. It was kind of guttural. I was really upset and scared. I feel like there’s a hopelessness in the vocal performance.

因為我唱得不好。有些人天生就會唱歌，這對他們來說是最自然的事情。但為了讓人們相信我，我必須非常非常努力。這首歌其實是從我去戒毒所的前一天錄的。說句公道話，我剛（戒毒）出來的時候唱得更好，但是這首歌的人聲中也有很重要的東西，有種喉音的感覺。我那時真的非常沮喪又害怕?？赡茉谶@首歌當中有一種絕望感吧。

It’s also one of the slickest sounding songs on the record.

這也是唱片上最動聽的歌曲之一。

Yeah it’s weird, isn’t it? It has some?Eric Clapton?moments.

是啊這挺奇怪的，對嗎?這首歌有些神似Eric Clapton的瞬間。

Especially with the guitar solo.

特別是在吉他獨奏的部分。

That’s my solo, as well. Again, I don’t want to celebrate the part when I was using, but there were some moments we captured where I was on the brink, and there’s a real intensity to it. That was one take. It was the demo, and I just fucking nailed it for some reason. Like anything, it’s a series of little perfect accidents.

那也是我的部分。我想重申，我提到這部分不是想對自己大加贊賞，但有時候，當我正處于崩潰的邊緣，那時捕捉到的聲音才有一種真實的緊張感。當時只錄了一遍，原本是初版的錄音樣帶，但我他媽不知怎么搞的就搞定了。就像其他事情一樣，這也是一系列完美的意外。

Do you think you’ll rip the solo yourself when you play it live?

你覺得在現(xiàn)場演奏時，自己會在獨奏部分全情投入嗎?

Oh, I’ll rip it to?fuck.

哦，那是當然。

15. “I Always Wanna Die (Sometimes)”

This song instantly felt like a classic to me, like something that has always existed.

對我來說，這首歌立刻就像是一首經(jīng)典，像是一直存在的東西。

It really makes sense, right? “I always want to die sometimes…” I don’t know why I didn’t write that earlier.

這很有道理，對吧? “有時候我總是想死……”我不知道為什么我沒有早點寫這句話 。

It feels very Britpop.

這聽起來很有英倫搖滾的感覺。?

Well, it did. But then, in the production, I was actually quite clever, because it sits in the middle. It’s not a “Bittersweet Symphony” or an?Oasis?song really, because it’s not as dark. But lyrically, vocally, it’s so Manchester. But then I got?David [Campbell], who did the strings for “Iris” by Goo Goo Dolls, to do the strings for it. I was thinking, “I have the potential for this to be cinematic. Why not do a gritty, English ‘I Don’t Want to Miss a Thing’?” It just made a lot of sense. As I was putting the strings on it, I was like, “Is this our big song?”

確實。但在制作過程中，我覺得自己還挺機智的，因為這首歌融合了不同的風格。它不完全像《Bittersweet Symphony》或綠洲樂隊（Oasis）的風格，因為它沒有那么黑暗。但在歌詞和人聲上，這首歌具有很強的曼徹斯特風。后來我邀請到David Campbell來做弦樂部分，他為咕咕玩偶公司(Goo Goo Dolls)的《愛麗絲》(Iris)做過弦樂。我在想，“這首歌有潛力拍成電影。為什么不做的堅決一點，直接做成英國版的《I Don ' t Want to Miss a Thing（我不想錯過任何事情）》？”這意義重大。當我撥動琴弦的時候，我就在問自己，“這是我們的重頭戲嗎?”?