【搬运】【译】叉婊Pitchfork评Katie Dey 2019年专辑《solipsisters》(独唱姐妹花)

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：Joonly-EC

校对：Ryan-Chopin

排版：Ryan-Chopin

The internet can be a lonely place, but Katie Dey treats it like a one-way transmitter to other people feeling trapped in their homes, heads, or bodies. On her debut asdfasdf, the Melbourne songwriter shot her fragmented voice out of her isolated world and right into your own. Her heavily pitch-shifted coo on songs like “don’t be scared” and “fear o the dark” made the words difficult to understand, but the ineffability of the feelings was clear. If her vocals sometimes sounded more electrical than human, they also reminded you that, hey, brains run on electricity. On the new solipsisters, Dey moves closer to the mic than ever before, revealing the powerful lyricist hidden in plain sight.

互联网可以是一个孤独的地方，但Katie Dey却把它视为一个单程发射器，把信息传播给那些受家庭、思想和躯体束缚的人们。在她的首张专辑《asdfasdf》中，这个来自墨尔本的作曲家把她碎片般的独字独句吟唱出来，交给你来定义。她在“don't be scared(别被姐吓到哦)”和“fear to the dark(老娘怕黑)”中不乏咕咕声和精湛地音高转换，除了能让人体会到无法言喻的感情，就不能做更多的理解了。在《solipsisters(独唱姐妹花)》中，Dey比之前唱的都要多，并展示了她强大的作词能力。

For all the scrambled sonics running through her music, Dey has proven a knack for careful pacing. Asdfasdf kicked in like a generator, building to an energetic peak on “Unkillable,” while 2016’s Flood Network staggered its songs with short interludes running from “(f1)” to “(f8).” solipsisters pushes off gently with “waves,” pairing crashing water and crumbling, distorted pulses that flow seamlessly into the title track. “solipsisting” builds with warm drums that swoop and crack in the air, and rather than ending after its ascendent climax, it simply floats in the immaculate atmosphere. Dey’s voice slides into textural fog, where acoustic guitars and synths tie loose knots that recall Feels-era Animal Collective, whose songs seemed to curiously wander past their logical conclusions. Dey’s attention to how her songs start, end, and connect has never been keener or better controlled.

对于她所有歌曲中的呲呲的合成器声，Dey已经证明了自己对节奏把握的诀窍。《Asdfasdf》像一个发电机一样进场，慢慢建立起电力十足的乐章，然后在“Unkillable(杀不死老娘)”中达到了顶峰，然而2016年的专辑《Flood Network(发大水的网络)》把里面的歌用“(f1)”到“(f8)”八首短暂的曲目分开了。《solipsisters》则是先用“waves(摇/波浪)”温柔开场，搭配着击打水花的声音，失真的脉搏声在这首歌中若隐若现。《solipsisters》用温暖的鼓点构架乐章，节奏在空中猛扑并破裂，而不是在上升到高潮之后结束，它只是漂浮在完美的氛围中。Dey的声音渐入佳境，不插电的吉他和合成器把松散的乐符牢牢系在一起，让我想起了《Feels(感受，专辑名)》时期的Animal Collective(动物共同体，乐队名)，他们的歌貌似是在好奇地漫步而到达乐曲终点。Dey的关注点在如何开始、如何结束和衔接她的音乐，并且这一点越发地娴熟。

As seamlessly as “solipsisting” sneaks into view, “stuck” snaps to attention with crisp piano lines and pristine drums. “I was born inside this body and I’m stuck there/I’m a storm inside a rotting false construction,” Dey sings with surprising clarity. Her words, shared in a lyric sheet for the first time, nestle their sharp edges inside candy-coated sounds and unexpected details. “stuck” amplifies her strengths without losing the homespun intimacy that made her work so special, like when she punctuates a soaring chorus with a soft, throat-clearing cough.

就像《solipsisters》展示的那样无缝连接，“stuck(卡住)”用清脆的钢琴曲和古朴的鼓声抓住了我们的注意力。“我因这具血肉而生却又被它羁绊/我是一座腐败的错误的建筑中的风暴，”Dey第一次这么清楚地唱歌，着实令人惊讶。她的话第一次在歌词中有了一席之地，这首歌听着就像被糖衣包裹着的锋利边缘，充满了意想不到的细节。“stuck”在增强她力量的同时，又使她的作品不失格外朴实的亲切感，就像她用轻柔的、清嗓子的咳嗽打断了一段高亢的合唱。

solipsisters’ suite-like uniformity and more balanced mix are a departure from the chaotic highs and lows of Dey’s early work, allowing the songs to support and play off one another. Repeated references to shells and waves ripple from the stunning centerpiece, “shell,” where Dey opens a reflection on her own voice with the line, “My soul sings in higher octaves than my larynx will allow.” In a recent interview, she explained that her virtuosic pitch-shifting was not only an artistic decision, but “a way of relieving dysphoria and making my own music more palatable for me to listen to so that it didn't upset me—like putting an Instagram filter on your face.” Over flourishes of drums and glowing synths, she finds melody and poetry in knotty phrases like, “Morphing esophageal practices hardening the lumps up in my throat/My heart throbs in impossible rhythms my head could never erode.” It’s transcendent enough to illuminate even the album’s darkest passages.

《solipsisters》因为它的正装般的正式和更为平衡的混音脱离了Dey早期作品中混乱的高低音，使得歌曲能够前呼后应。在“waves”和主题曲“shells(壳)”中反复运用的涟漪声，是Dey把歌词和声音相互照应的试验田。“我的灵魂比我的喉咙唱得高了八度。”Dey在近期一个采访中解释道，她精湛的音高转换不仅是一个艺术体现，也是“一种缓解焦虑的方式，让我自己的音乐听起来更顺耳，这样我就不会心烦意乱——就像在你脸上放一个Instagram滤镜。”在鼓声和悦耳的合成器声的增多时，她发现，就像“变形食道练习着如何使我喉咙里的肿块变硬，我的心脏以不可能的节奏搏动着，我的头永远不会被腐蚀，”这些旋律和诗歌中夹杂着复杂的表达方式，它们的超越性足以照亮专辑中最黑暗的段落。

In that same interview, Dey explained of solipsisters: “There’s a lot of ‘you’ and ‘me’ and ‘we,’ but it’s really all just about me, because I was so totally alone while I was writing these songs. You end up talking to yourself a lot if you’re isolated.” The album’s depictions of disconnection and depression are not easy to hear, even when surrounded by sounds that are, but in writing so passionately and honestly, Dey has initiated a powerful act of communion. If she’s reached you, she’s already made you feel less alone.

在同一场采访中，Dey诠释了《solipsisters》:“专辑中有很多‘你’、‘我’和‘我们’，但这些人称其实都是在代表我自己，因为当我在写这些歌的时候，我完全是独自一个人。如果你很孤独，你就会自言自语地说很多。”这张专辑对分离和沮丧的描写不容易听出来，尽管被这种声音围绕着，通过热情而真诚的填词，Dey已经开始了一次强有力的对话。如果她让你产生了共鸣，她已经让你不那么孤独了。