翻完就直接贴上来了，版面可能会比较乱， 建议用PTT app以获得最佳阅读体验XD 原文网址： https://www.nme.com/features/new-blur-album-the-magic-whip-graham-coxons-track -by-track-guide-756613 New Blur Album ‘The Magic Whip’: Graham Coxon’s Track-By-Track Guide Blur’s new studio album was a happy accident: one that rejuvenated the band and the relationship between Damon Albarn and Graham Coxon. In this exclusive interview, Coxon gives NME’s Barry Nicolson an intimate track-by-track of ‘The Magic Whip’… Blur 全新专辑魔鞭，Graham Coxon的个别曲目导览 Blur 全新创作专辑是个快乐的意外：乐团的复苏以及Damon 与Graham的关系。在此特 别专访中，Graham给NME记者带来每首歌的某些提示... By Graham Coxon’s own admission, the new Blur album should not exist. As late as six months ago, ‘The Magic Whip’ was still only a jumble of half -formedideas gathering dust on a digital shelf, a relic of another unsuccessful attempt at re-establishing the band as a creative entity. That they went back to it at all was improbable enough; that it might well be the best thing they’ve ever done is little short of miraculous. “A happy accident,” is how Coxon describes the album, calling fresh from rehearsals for the band’s comeback show at a west London club on March 20. “It probably shouldn’t have happened in the first place – we shouldn’t have had that time in Hong Kong to record it, for one thing. Then one day I was bored and frustrated and I had this idea of getting [‘Modern Life Is Rubbish’, ‘Parklife’, ‘The Great Escape’ and ‘Blur’ producer] Stephen Street to go through it all with me. Damon could easily have said, ‘Nah, I don’t like that idea, I don’t want anything to do with it,’ but instead he said, ‘Great, go ahead.’ It was a bit like when you’re driving and you keep hitting green lights all the way home. It felt weirdly like it was meant to be.” Graham Coxon承认，新的Blur专辑原本不会出生。至少六个月前，魔鞭这张专辑还只是 一团堆放在满是蒙尘架上的混乱半成品，一个不成功的遗物，试图用这些小灵感重建乐 团。他们想靠这些东西来回归几乎是一件不可能的事，却也许可以是他们短暂美妙的小 火花所激发的最美好的事物。 「这是个美好的意外，」才刚结束乐团为西伦敦三月二十演出彩排的Graham如此这样形 容这张专辑。「这一开始也许根本不可能发生，我们也没时间在香港录制整张专辑。有 天我很无聊的苦恼着，想着我应该找Stephen Street*和我一起制作。Damon当时可以简 单说一句：不要吧，我不喜欢这想法，这些东西我已经不想再管了。但他只是说：『太 好了，就这样做吧！』这有点像是你开车回家的路上一路都是绿灯，感觉很怪但就好像 原本就应该这样 。」 *Modern Life Is Rubbish、Parklife、The Great Escape、Blur的专辑制作人 The details behind ‘The Magic Whip’, as announced at a press conference on February 19, are as follows: when the Tokyo Rocks festival was cancelled in May 2013, they found themselves with five days to kill in Hong Kong, where they decided to hole up in a local studio and mess around with some new material. It was all very informal, but the sessions initially went so well that Damon decided to announce their intention to make a new record during a gig at the Asia World-Expo arena that same week. “We had a lot of pressure to record an album, and when the Japanese festival fell through and this opportunity to record for five days came up, Damon felt he had enough ideas on [Mac music software] GarageBand to go in and have some fun with,” recalls Coxon. “We did it just to fill the time, really – I’d actually been looking forward to putting my feet up for five days! We all felt that it could be a start to something, but we didn’t know exactly what. And for a while, it looked like it was going to be the start of sitting in an airing cupboard for eight months.” 魔鞭背後的细节，在二月十九日的媒体发表会宣布时，这样形容：当2013年三月的东京 摇滚嘉年华取消时，他们发现他们必须待在香港五天杀时间，所以他们决定躲在一个当 地的录音室，跟一堆新的材料鬼混。这当初是很随性的想法，但最初的讨论太顺畅了， 所以Damon决定公布他们企图在亚洲巡回演出这周制作新专辑的消息。Graham回忆道：「 我们刚开始对於要录制新专辑感觉压力很大，尤其当日本演出取消加上这个五天就要录 制新专辑的机会，Damon觉得他已经有很多想法都放在GarageBand里面，随时可以拿出来 用。我们真的原本只是为了消磨时间，我原本还很期待可以整天翘着脚放空五天！後来 我们大家都觉得这应该是某种开始，虽然我们并不太确定那究竟会是什麽。过了一阵子 ，感觉像是待了八个月在虚拟的架子上，然後突然决定要开始了。」 Impulsivity soon gave way procrastination, however, and the idea was abandoned until Coxon enlisted Stephen Street. They began the process of editing and embellishing the recordings – most of which took the form of lengthy, unstructured 30-minute jams – into tangible songs. Albarn returned to the process to add lyrics and vocals following a repeat visit to Hong Kong. For Coxon, ‘The Magic Whip’ was not just an artistic opportunity, but a personal one. “Part of the reason why I wanted to do it was to make amends,” he admits. “Damon and I have an increased respect for each other because of this record, and we’re not ashamed to let each other know about that increased respect. But what we also have a lot of is history, and our friendship – like any friendship between two people who are in a band together – has had to go through a lot. It’s been put to the test, and we’ve often let each other down. This record was a way of saying, 'Sorry for being such a pain in the arse for the last 20 years!’” 莽撞马上就导致延期，直到Graham 徵招了Stephen Street，否则这只是一个被放弃的 想法。他们马上开始编辑和重新架构这些原本很多都只是一些超长30分钟以上、没有 组织的即兴演奏，直到看得出雏型。Damon 再度加入编辑和并为填词再访香港并配唱。 对於Graham而言，魔鞭不只是一个创作机会，更像是更私密的。「一部分的理由是我想 用此作为一种补偿，」他承认，「Damon和我都因为这张专辑对彼此更增添了许多敬意， 我们也不在意让其他人知道我们这份对彼此的尊重。但我们也有很多过往和友情，就像 是更多两个朋友之间的羁绊，我们也经历过许多。我们的友情曾经有过考验，也让彼此 失望。这专辑就是我们对彼此的表示：抱歉过去20年来我这麽机车。」 Once we start digging into the details of the record, it becomes evident that Coxon would quite happily sit and talk for hours about these songs, the city they were recorded in and the unique way it all fell into place. He’s justifiably proud of the album, even if he’s unsure of whether it will be the first of more to come, or the last thing they’ll ever release. “I’m not saying that it wasn’t difficult at times, or that it wasn’t hard work, but it was a real pleasure to make this album. Whether that means we’re a full -time entity again is another matter, but it was important to me to be part of another Blur chapter – even if it’s the last one, I wanted it to be a positive one…” 一但我们开始深入挖掘这张专辑的细节，Graham开始很明显的表现出他很乐意花好几个 小时跟我们分享这些过程，关於他们录制专辑的城市、如何以这种独特方式进行录制。 看得出他对於这张专辑是如此自豪，即使他并不确定从专辑录制初期到最终完成时的效 果是否满意，甚至更不确定这张专辑是否会发表。「我不是指那时候一点都不困难，或 不需要特别拼命，但做这张专辑真的很开心。无论这是否代表其中一个重点是我们又再 次成为一个整体，但能成为另一个Blur的新篇章对我来说真的很重要，就算这是最後一 张，我也要他变成一个正面的作品...」 LONESOME STREET There are any number of sounds and styles you might expect the first Blur album in 12 years to include, but you probably weren’t expecting the brass -necked zest and buoyancy of ‘Modern Life is Rubbish’ and ‘Parklife’ to be among them. Listening to ‘Lonesome Street’ for the first time, you can’t help but think that it’s been a long time since Blur sounded so… well, Blurry: just try suppressing a grin when Damon chirps about catching “the 5:14 to East Grinstead”. “There’s a definite familiarity with that song,” says Coxon. “We weren’ tin uncharted waters with it, we were well within the realms of the Blur world. It’s got that cheeky-sounding vocal of Damon’s, that perverse nursery -rhyme feel, and it all sounds a bit like you’re careening through a night of chaos.” ‘Chaotic’ is a pretty good way of describing it: this is a song that seems to shoot off in a hundred different directions, a quirk of the piecemeal fashion in which it came together. “When I was listening back to it with Stephen, I thought, ‘Why not go the whole hog and have a really Syd Barrett-y middle-eight in there?’” recalls Coxon. “So I wrote another section for it, which is about the way you seem to ride the tarmac in Hong Kong: you stand on the road, you don’t move, and it’ll take you anywhere you want to go. It’s a very lighthearted way to start the record.” 冷清的街道 经过了12年再度发行新专辑，众人一定都很期待各种曲风和效果，但你应该没有预期到 会再度感受到Modern Life is Rubbish 和Parklife的那种铁齿般的热情和无重力感会 再度出现。当你第一次听到这首冷清的街道，忍不住会回想起Blur好久没有这麽...模 糊了，当Damon叨念的唱着：5:14到东格林斯特德，并试图压抑他的笑容。 「一定多少都觉得对这首歌有熟悉感，」Graham说。「我们并不是在摸索中，我们置身 在Blur这个王国已久了。里面带着Damon厚脸皮的声线、调皮的韵脚还有一点打翻混沌 夜晚的声响。」混沌用在这里描述的很好，这首歌就有点像是来自各个方向的枪响，和 零散的怪僻结合成的。「当我跟Stephen再听一次的时候，我想说我们要不肢解整首歌， 来点 Syd Barrett*那种副歌的感觉？」Graham回忆道。「所以我另外加了一段进去， 就是那段你彷佛置身在香港柏油路上的感觉，像是站在路中央动弹不得，并且带着你到 任何你想去的地方。对於这张专辑，这是一种非常轻快的开场。」 *Syd Barrett，Pink Floyd 前主唱 NEW WORLD TOWERS Following on from the arch, stylised Englishness of the opening track, ‘New World Towers’, with its retro-futuristic sci-fi textures and images of vast, bustling buildings “carved out of the great white sky”, appears to be very much a ‘Hong Kong song’ – even the title is a reference to a skyscraper in the city’s Central district. For Coxon, however, “it’s not a Hong Kong song at all, because before Damon went back and imbued himself with the city again, it didn’t have any words, it just had phasers. None of the stuff I did on the album was done to the words – the lyrics and vocals all came last. I wanted that song to be a sort of science-fiction ‘Greensleeves’, so I was putting my energy into making it sound very English, but in a slightly off-kilter way.It’s a bit like that weird cylindrical planet at the end of Interstellar – I loved that image from the film, so I was trying to write some chord sequences that sounded quite traditional, but putting these 1970s-sounding futuristic effects on top of them. It’s one of my favourites on the album.” 新世界大厦 沿着这种非常英式的拱廊走，作为开场曲，新世界大厦用一种复古未来主义的科幻感带 领听者进入到广大熙攘画面让人想像如同「凭空雕凿出」的建筑群中，呈现出非常「香 港歌曲」的感觉，甚至连歌名也直指市中心的一栋摩天大楼。然而对於Graham来说，「 这其实一点都不是什麽香港之歌，因为在 Damon回到香港并将他自己再次沈浸在这城市 之前，这首歌完全没有歌词，只有些乐曲片段。这专辑所有东西都不是从歌词来的，所 有的歌词和配唱都是最後才出现。我想要这些歌成为某种科幻小说般的绿袖子* ，所以 我将所有精力投注在让这些听起来非常英国，但又有一点脱轨感。有点像是某种奇怪的 圆柱状星球在宇宙烟灭的时候，我很爱那个在某个电影中的场景，所以我试图写一些和 弦编曲让这首听起来有点传统，但叠加了一点70年代的未来主义效果。这是专辑里其中 一首我最喜欢的歌。」 *绿袖子，16世纪着名英国民谣，旋律可参考下面wiki音档 https://upload.wikimedia.org/wikipedia/commons/2/20/Greensleeves.ogg GO OUT The first taster from the album, chosen, in Coxon’s words, “because it wasn’t a jolly, winking, over-familiar Blur thing – I realise that a lot of people love Blur because of those songs, and lot of people hate them because of it, and people from the camp who hate us probably don’t know much about the other stuff that we did. ‘Go Out’ struck me as being somewhere between the two– it’s sort of casual sounding, but it’s also quite powerful. For me, it felt like a place that we hadn’t really gone before: it’s mildly familiar because of Damon’s voice, but sonically it’s quite different from anything we’ve done before.” 出走 被选为这张专辑第一首主打歌，用Graham的话来说就是「因为这不是什麽欢乐、使点眼 色或是太过熟悉的东西，我知道很多人是因为那些歌所以爱Blur，也有很多人因为这些 歌讨厌Blur，而那些站在反对阵营的人大概不太知道其他我们做过的歌。出走这首歌对 我来说像是介在两者之间的攻击，带点随性的音乐，但同时又非常强烈。对我来说，感 觉像是我们从来没真正到达过的地方一样，有着 Damon的歌声中带着一点温和的熟悉感 ，但在音效上却又和我们以往所做的相当不同。」 ICE CREAM MAN A strange little song, built around a blooping keyboard riff that sounds like it was sourced from an early ’90s Megadrive game. In reality, Coxon pinched it from Damon’s hard-drive. “Damon’s got all sorts of crazy things he’s done on GarageBand,” he explains, “and quite a bit of the album was done by building songs around those ideas and gluing them together with bits of the jam sessions we did in Hong Kong. So that song started as this little chord sequence, then Stephen and I chopped up some improvised vocals and made a chorus out of them.” He also couldn’t resist running with the frozen dessert theme, echoed in the album’s neon artwork: “The bass solo is supposed to be a spin on the Mr Softy tune that the ice cream van played when I was a kid – it’s not exactly the same, but there’s a definite similarity.” The lyrics are quite oblique, and even seem frivolous at first (“Here comes the ice cream man, parked at the end of the road”) but there’s a sinister Pied-Piper air to proceedings: could the line “I was only 21 when I watched it on TV” be a reference to the 1989 Tiananmen Square massacre, perhaps? As Coxon puts it, “the song sounds jolly enough on the outside, but there are some dark undertones there.” 冰淇淋先生 这是一首有点奇怪的小曲子，建立在短促的键盘乐句让这首歌听起来像是从某种90年代 电动玩具取样出来的声音。实际上，这是Graham从Damon硬碟里捏出来的。「Damon有各 种他用GarageBand做出来的疯狂东西，」他解释「这有点像是这张专辑其实是利用这些 想法和一堆在香港即兴演奏黏合拼凑而成的歌曲。因此这首歌是从一些小的和弦进行作 为开端，然後 Stephen和我拆解一些即兴配唱，再加上副歌。」他同时也无法抗拒同时 作为专辑霓虹封面的主题－冷冻甜点，「Bass独奏部分像是一段我小时候看到 Mr. Softy*冰淇淋车旋律盘旋其中，虽然不是完全一样，但绝对是些共通点。」 歌词本身相当歪斜，甚至一开始听起来很琐碎，（歌词「冰淇淋先生来了，停在马路尽 头」）带着些许邪恶吹笛手的气氛，例如「当年我21岁，在电视上看到」这句是不是意 指1989年天安门广场大屠杀呢？对此Graham回应「这首歌听起来很欢乐，但也带着一点 黑暗的弦外之音。」 注：Mister Softee，冰淇淋品牌 THOUGHT I WAS A SPACEMAN For Coxon, the key theme of ‘The Magic Whip’, both musically and lyrically ,“is this atmosphere of dislocation that’s running throughout, of these odd sounds that drift in and out, letting you know that you’re not really in the world you inhabit, the one you’re familiar with – you’ve somehow gone somewhere else.” That’s certainly the case with this track, which at a shade over six minutes is the album’s longest. It offers a snapshot of an unfamiliar –perhaps even post-apocalyptic – earth, which seems to bear more resemblance to the surface of Mars: “The desert had encroached upon the places where we lived/ People like me tried to keep the demons hid”. Eventually, in a Planet Of The Apes-style twist, one of the sand dunes the titular spaceman is rooting around in turns out to be none other than London’s Hyde Park – scene of the band’s big comeback gig this summer. 我以为我是太空人 对於Graham来说，魔鞭的主轴是围绕在音乐和歌词上的，「这是一种气氛上的错置感， 透过这些声音渗透进出下，让你感受到你并非真正身处在你所熟悉习惯的居处，就像不 知道为什麽你突然瞬间移动到别的场所。」这首为专辑中最长的一首，六分多钟的曲目 明确传达出这个故事。这提供了一种不太熟悉的，甚至像是天啓一般的地球快照，这看 来更像是在火星表面的印象：「沙漠入侵我们的住所，我们压制内心的恶魔」。最终， 在决战猩球般的沙丘上，名义上的太空人毫不犹豫的盘据在伦敦海德公园中，成为了这 个夏天乐团回归的经典场景。 I BROADCAST Another track that harks back to the Blur of bratty exuberance and Fred Perry polo shirts, ‘I Broadcast’ starts out sounding like a slightly askew ‘80s pop song before Coxon’s crunching guitar riff kicks down the door. Lyrically, the guitarist reckons it’s all about “when you go to different places, and the people there know a lot about you, even though you don’t think they do”, and the song seems to depict a world that’s growing ever-smaller and more interconnected, where your identity is indexed, your movements are catalogued and you can never truly disappear – “I love the aspects of another city/ It’s got your number and your blood type”. 我说 另外一首又让人回味起Blur 那种顽劣又生气勃勃的气氛和Fred Perry马球衫，这首「 我说」由带着些微80年代流行音乐的旋律紧接着Graham爆裂般的吉他乐句来踢开大门。 吉他手定下了一个抒情的解释：「当你去到一些完全不同的地点，那边的人却对你了若 指掌，虽然他们自己并不这样认为。」而这首歌描写出世界已经成长为更浓缩又内部连 结的状态，所有的识别记号都被归档，你的一举一动都被展示着，而且永远别想完全消 失。如同「我喜欢来自其他城市的新观点、有着你的编号和血型」所说。 MY TERRACOTTA HEART At the Q&A session for the album’s announcement, Damon played it coy on the subject of personal lyrics, insisting that “everything was related to being in that quite claustrophobic island [Hong Kong] with millions and millions of other people.” That may well be true, but the haunting ‘My Terracotta Heart’ is addressed to one of them in particular: “I knew it was going to be an incredibly sad song, which is why I put that crying guitar on there,” says Coxon. “What I didn’t know at the time was that the lyrics would turn out to be about Damon and I, our long friendship and the ups and downs we’ve had.” If Coxon was driven by a desire to “make amends” with ‘The Magic Whip’, it certainly seems as though something similar was on Albarn’s mind. Looking back forlornly to a time when “We were more like brothers/ But that was years ago”, he lays it all out on the lumpen-throated chorus, asking, “Is something broke inside me?/ Because at the moment I’m lost and feeling that I don’t know/ If I’m losing you again”. “It’s a lovely song,” says Coxon, “and again, I think it’s new territory for Blur. The four of us have kind of met in the middle with this album – we’ve all been off on our own individual journeys, but when we come together and something like ‘My Terracotta Heart’ is the result, that’s a good marriage of all our different tastes and outlooks.” 我的陶土之心 在专辑发表时的问答环节中， Damon腼腆的故作轻松说道这首歌的主题是很个人的，他 坚持「整张专辑都关乎於香港这个岛上由於过多人所产生的幽闭恐惧症。」这也许是真 的，但很明显的「我的陶土之心」是在直指他们之中的某位：「我一开始就知道这会是 首伤心的歌，这也是为什麽我会放了吉他悲鸣在这，」Graham说，「但我不知道 Damon 在谱写歌词的时候会变成在写他跟我，还有我们多年友情间的风风雨雨。」 如果Graham是出於拿魔鞭专辑做为补偿的慾望为出发点，那麽很明显的 Damon也是这麽 想的。回过头看那段绝望的时刻，「我们以前就像兄弟，但那是好多年以前」，他加入 一种如鲠在喉的副歌，「是我的内心崩坏吗？我当时是如此失落和迷惘，若再度失去你 该怎麽办」 「这首很可爱，」Graham说，「但同时，对於Blur来说这也是新的领域。我们四个人在 专辑录制之前有在碰面。我们每个人都经过了很多事，但当我们重聚的时候，我的陶土 之心就变成我们的成果，是一场由我们不同的品味和观点所产生的美好联姻。」 THERE ARE TOO MANY OF US Underpinned by a military marching beat, there’s something ominous and inexorable about this song, which Damon has revealed was partly inspired by the 2014 Sydney hostage crisis, but on which the spectre of Hong Kong – one of the most densely-populated cities on earth – is never far away. “There are a million ways you can interpret that lyric,” says Coxon of the titular line, “but for me, when we were in Hong Kong at first, I’d sometimes look out the window and think, ‘Yeah, there are too many of us.’ I started to get quite anxious about that, and the fact that we can’t really go on in this way. I like how the song gets more and more intense as it goes on. I wasn’t really using the guitar on that one – I thought the synthesisers would do a better job, so rather than slumming away on a guitar and a distortion pedal, I was using a lot of these big, fat, death-ray laser sounds.” 有太多的我们 在军队行进的节奏下，这首歌带着一点不详和无情的氛围。 Damon揭露出这首歌部分是 由2014年雪梨人质事件所启发的，但同时以地球上最稠密的都市－香港的魅影重叠。 Graham解释，「有很多种方式可以诠释这首歌词，但对我来说，当我们一开始到香港时 ，我有时候会从窗户往外看然後想，『嗯，这里有太多的我们』，我开始觉得对这件事 觉得焦虑，而且事实上我们也的确不太好过。我喜欢这首歌越来越紧张的气氛。我在这 首歌里其实没用到吉他，我觉得合成器用在这会更好，所以与其用吉他和效果器在这边 制造一堆杂音，我直接用一堆厚重、像雷射死光一样的声音。」 GHOST SHIP “Very much a Damon song,” is how Coxon describes ‘Ghost Ship, and he’s got a point – you can imagine Gorillaz getting to grips with its skinny -sounding disco-soul. Again, Hong Kong features prominently in the lyrics – in fact, the song could even be read as a love letter to the city and the lure it seems to have for Albarn, who returned there earlier this year in search of inspiration before recording his vocals: “I got away, for a little while/ But then it came back much harder”. As Coxon recalls, “when we were in Hong Kong we were going to the studio every day with this kind of rush-hour mindset, going from the hotel through an incredibly weird glass shopping mall to this beautifully-tiled subway area where we’d get on the train. And I guess Hong Kong was sticking to us along the way – we were seeing things, hearing things, and that somehow came out in the music.” 鬼魂之船 「这是一首非常Damon的歌，」Graham这麽解释鬼魂之船的，而他抓到一个重点是，你 可以想像Gorillaz带着慵懒的迪斯可灵魂乐声调唱着。又一次，香港这个词在歌词中 被强调，事实上这首歌可以被认为是写给这城市的情书，而这城市又不断的引诱着Damon， 而他也於今年稍早於录制配唱前回到那里汲取灵感：「我离开了一阵子，但却又向我大力 反扑」。当Graham回忆：「我们在香港时，每天都在一种尖峰时刻的心情下到录音室， 从旅馆穿过一段不可思议又怪异的玻璃购物中心，到达我们搭车的地铁站。我想那时香港 把我们黏的很牢，我们观察、聆听，然後透过音乐宣泄而出。」 PYONGYANG This song has understandably been the source of much speculation – is Damon angling for a spot on Kim Jong-Un’s shitlist? Talking to GQ last year about his visit to the North Korean capital, Albarn likened it to a “magic kingdom, in the sense that everyone is under a spell,” and that quote is key to understanding ‘Pyongyang’, a bewitched metropolis of empty avenues and unspeakable sorrow, where “the pink light that bathed the great leaders is fading”. It’s not the straightforward attack on the Kim dynasty that you might expect, but something altogether more affecting: a portrait of life in a beautiful, but desolate, Stalinist Never-Never Land. Musically, ‘Pyongyang’ is cut from the same cloth as 2003’s ‘Out of Time’ , though it was the product of serious chopping and changing during the editing process. “It started off as a really bleak dirge, with those little ding-ding-ding bells and what sounds like a train pulling away,” remembers Coxon.”It’s got that massive chorus now, but when Steve and I were working on it, there was no chorus in place, no vocal, so I came up with one to fill the gap. Later, when Damon came back, he’d written one of his own – his was better, of course, but you can still hear mine at the end, overlapping with his. It’s actually a very simple song, but it sounds epic – when Damon hits that high note in the chorus, it’s one of those big moments.” 平壤 这首歌已经被各种猜测填满，例如Damon是想帮金正恩的说什麽吗？去年Damon在GQ的访谈 提到他曾经造访北韩首都，他将那比喻成「神奇的国度，如同所有人都在魔咒之下」，而 这句话可被视为理解这首平壤的关键，被施了咒语的大城市充斥着空荡的大道和无法言喻 的忧伤，有着「沐浴在粉红色光线的伟大领导正在消失」的风景。这并不是像你想像的那 样剑指金氏王朝而去的攻击，而是某种综合的伤感：一如画像般的美丽生活，但却荒芜永 无止尽的史达林国土。 音乐上来说，平壤这首是以2003年Out of Time 换装而来，即使这是经过编辑过程中的一 连串的拆解和变化。「这以一段非常显眼的丧曲作为开端，带着一点叮叮叮的铃声，听起 来像是火车正远离，」Graham回忆道，「现在这看来有一段很庞大的副歌，但当我跟 Stephen 在进行时，这里并没有副歌，也没有歌声，所以我为了填补这段而编了一段。後 来当 Damon回来，他想自己写这段，他的当然比较好，但你在这边听到最终版本是我的， 并用他的编曲叠加。这其实是首非常简单的曲子，但听起来像首史诗，当Damon 唱出副歌 的高音，这真的是很棒的瞬间。」 ONG ONG A jaunty, joyous little curveball of a song, featuring slightly wonky Beach Boys harmonies and a chorus that’s just begging to be played at Hyde Park this summer. “It’s a bit of a knees-up,” agrees Coxon. “When Damon did the lyrics and I went to listen to the vocal he said to me, ‘I’ve gone a bit populist with this one,’ but there’s not an awful lot you can do with a song like that: it kind of has to be a beers-in-the-air singalong. The ‘I wanna be with you’ bits remind me of being on a beach and there’s palm trees swaying, the colours are a bit much, you’re feeling a little bit sick, there’s ice cream everywhere and some rock stars scattered around getting sunburnt… it’s like some kind of weird advert for the Bahamas. I really like it, but sometimes a song will ask some weird stuff of you, stuff that you might not necessarily like doing but the song has told you to do it, and so you have to obey!” 嗡嗡 如同一个欢乐愉悦的曲线球，伴随着带着海滩男孩摇摆的和声，在今夏海德公园演出时 更邀请观众一起大合唱的副歌。「这是有点吵闹，」Graham同意，「当Damon 谱写歌词 时我正好去找他，他对我说：『我该让这首歌来点流行感。』但这不是什麽恐怖商业歌 曲，有点像是喝酒歌大合唱的感觉。我想跟你在一起的那句让我回想起在海边还有着棕 榈树摇摆的画面，颜色有点多到让你觉得有点反胃，到处都是冰淇淋和遍布着想晒黑的 摇滚歌手... 有点像是某种奇怪的巴哈马旅游广告。我真的很喜欢，但有时候一首歌会 向你要求一些奇怪的东西，虽然你不是很喜欢那些东西，但既然这首歌命令你了，你就 只能遵从。」 MIRROR BALL After the jollification of ‘Ong Ong’, the album ends on a more contemplative , melancholic note with this track, which is structured around a tremolo -heavy guitar riff that recalls, amongst other things, Arctic Monkeys’ ‘I Wanna Be Yours’. “It’s another of those fairly simple songs, but again, it sounds very big and emotional,” says Coxon. “I’ve always loved playing massive, reverberated chords and bending them with the tremolo arm – I like the dissonance you get from bending the strings, like in Chinese and Indian music.” 镜球 在Ong Ong 欢庆过後，这张专辑以重颤音吉他乐句架构出一种沈淀、忧伤的曲调做为结 尾，带着一点Arctic Monkeys北极泼猴的I Wanna Be Yours感觉。「这就是其中一首简 单老实的歌，但再说一次，这其实既沈重又带着许多情绪，」Graham说，「我一直很爱 玩这种厚重的回音和弦，再用颤音臂拉扯这些和弦，我喜欢这种拉扯琴弦造成的不和谐 音，有点像是中式和印度音乐。」 ＊＊翻译笔记，因为我没有专业的音乐知识，有些专业用词可能有误，如果有地方需要 修正，拜托告诉我喔！ <3 --

※ 发信站: 批踢踢实业坊(ptt.cc), 来自: 118.163.96.135 (台湾) ※ 文章网址: https://webptt.com/cn.aspx?n=bbs/Blur/M.1603260392.A.692.html ※ 编辑: color5bird (118.163.96.135 台湾), 10/21/2020 15:53:51