【搬运】【译】叉婊Pitchfork评Joy Overmono 2019年单曲《Bromley》

搬运自：微信公众号【评论搬一堆】（在原文基础上添加了英语原文与排版调整）

翻译：Lynn Liu

审译：Joonly EC

排版：Ryan-Chopin

Talk to enough clubbers, or look at enough DJ charts, and you may get the sense that big anthems have been scarce in house and techno this year. It’s hard to say why; perhaps it has to do with the steady fragmentation of scenes and niches. Maybe there’s just so much music being pumped out that it’s becoming harder for any one song to generate a consensus. One song that bucks the trend is Overmono’s “Le Tigre,” a twinkling, understated breakbeat number that turns surprisingly hefty when played loud. Released just a few weeks ago, it’s been getting played by DJs like Four Tet, Ben UFO, Gilles Peterson, and Daniel Avery. Now Overmono—the duo of Tessela and Truss, aka brothers Ed and Tom Russell—might have an even bigger crowd-pleaser on their hands in the form of “Bromley,” a collaboration with Joy Orbison.

如果你和足够多的俱乐部会员交流过，或是看了很多的DJ排行榜，你可能会有这样一种感觉：今年，在house和techno这两种音乐风格中，大牌舞曲已经很少见了，这很难解释缘由；也许这与风格、品味的细化有关。也许也因为大量的音乐涌入市场，以至于很难有一首歌让大家都产生共鸣。Overmono的“Le Tigre”是一首反潮流的歌曲，也是一首闪烁、低调的霹雳舞歌曲，如果放得太大声，它会变得非常沉重。这首歌发行于几周前，已经有四位DJ表演过了——Tet、Ben UFO、Gilles Peterson和Daniel Avery。现在，Tessela和Truss二人，又称为Ed Russell& Tom Russell兄弟，他们在“Bromley”中与Joy Orbison的合作，可能获得更大的成功。

Like “Le Tigre,” “Bromley” is something of a wolf in sheep’s clothing. It’s tougher and more percussive than its predecessor, but for a long stretch of runway, it unrolls without much fanfare, lacking climactic moments or even much in the way of distinguishing characteristics. That all changes at 3:43, as the beat drops out and an unbidden voice breaks through. The vocal sample—something like “Say it, yeah”—is garbled, tripping over its final syllable like a stuck CD, but the words themselves are hardly the point; it’s all about the energy that falsetto cry brings to the song, and the hole it leaves as it falls silent once again, gone as unexpectedly as it appeared.

和“Le Tigre”一样，“Bromley”有点像披着羊皮的狼。与前者相比，它更强硬、更有冲击力，但在长达快7分钟的音乐中，它展开时没有多少声势，没有高潮，甚至没有很多鲜明特色。这一切都在3点43分发生了变化，随着节奏的减弱，一个突兀的声音突然响起。人声采样——“Say it, yeah”——虽然听起来有些混乱、虽然它在最后一个音节上摇摆，就像一张卡主的cd，但这些词本身并不是重点，这一切都是假声呐喊带给这首歌的能量，以及它在再次陷入沉默时所留下的空洞，它的消失如同它的出现一样出乎意料。

The vocal lick returns a handful of times, and somehow it remains almost as startling. Each time it disappears, the drums proceed as though nothing had happened, leaving you with the weird sensation that maybe you imagined the whole thing. It’s less a riff than a collective hallucination, and it’s precisely that ability to conjure a roomful of wonder that makes it the tentpole tune the season needed.

这种声音反复出现了几次，但不知为何，它仍然几乎让人惊讶。每次它消失时，鼓点就像无事发生一样的进行着，留给你一种奇怪的感觉，仿佛一切都是你想象出来的。与其说是重复乐段，不如说它是一种集体幻觉，而正是这种创造众多奇迹的能力，让它成为本季所需的最佳单曲。