【搬运译】Pitchfork评Destroyer 2022年单曲"June"

搬运自：网易云音乐专栏【Music Online Zine Courier】（在原文基础上添加了英语原文与排版调整）

翻译：豆目豆科

The digitally manipulated, spoken-word outro is something entirely new in the Bejarverse.

经过数字处理的口语化结尾，Bejar塑造出自身宇宙中的全新产物。

Dan Bejar has spent so long refining the recipe for his Destroyer persona —three parts acerbic to two parts rueful, a dash of bitters and shake—that it can be easy to overlook just how much experimentation he’s managed without breaking his dry-old-buzzard pose for even a second. Depending on his wayward interests, you might hear his dry baritone wafting over Mick Ronson power chords, Nelson Riddle strings, or Roxy Music fretless bass and saxophone. On “June,” the third single from his upcoming Labyrinthitis, we once again discover something entirely new in the Bejarverse. After four minutes of louche, silky pop in the Kaputt mode, the bass begins vamping on a single note and we get a two-minute spoken-word performance.

Dan Bejar花了如此长的时间来完善他“Destroyer”的角色配方——三分尖刻、两分沮丧，再加点苦水和摇摆不定——以至于很容易忽视他在不打破他那干巴巴的老者姿态的同时所参杂的或多或少的实验元素。出于他独特的风趣，你可能会听到他的干式男中音在Mick Ronson的力量和弦、Nelson Riddle的弦乐以及Roxy Music的无板贝司和萨克斯上飘荡。在“June”，即他即将发行的专辑《Labyrinthitis》中的第三支单曲中，我们得以再次窥探到“Bejar宇宙”中的一些全新存在。在原先《Kaputt》模范化的四分钟喧闹而丝滑的流行乐之后，低音选择开始在一个单一的音符上跳动，最终我们得到了一个时长两分钟的口语表演。

It’s a big risk—he could’ve very easily looked like an idiot. But rangy spoken-word, it turns out, perfectly fits this born rambler. The verse is an embarrassment of riches: “You come out swinging, but you go down swinging, too/You pay good money for a million-dollar view.” Near the end, his voice begins to warp and distend, another first for a Destroyer song, but the character meeting our eye is instantly recognizable. “The rude empiricism of every troubled loser, quote-unquote-unquote,” he mutters, and the promise embedded in the song is the same as always: If you could just pinpoint where the quote begins and the unquote ends, you might decipher, finally, what Bejar has been trying to tell you all along.

这无疑冒了很大的风险，他很可能会被视为一个白痴。但事实证明，奔放的口语与这个生来漫游、无拘无束之人完美契合。主歌部分的词无疑是在给富人难堪：“You come out swinging, but you go down swinging, too/You pay good money for a million-dollar view.”在接近尾声的部分，他的声音开始扭曲和变形，这在“Destroyer”的歌曲中还是第一次出现，但即便如此我们脑海中浮现出的形象依旧极具辨识度。“The rude empiricism of every troubled loser, quote-unquote-unquote”，他虽在喃喃自语，但其中蕴含的诺言同以往并无不同：如果你能真正指出叙事的开始和被抹去的结束标识，你最终就有可能破译出Bejar一直以来试图在歌曲中告诉你的东西。