搬运译Pitchfork评潘岱静2017年专辑《惊蛰》

翻译：Jaychen-_2022

搬运自：https://music.163.com/#/topic?id=53215645

Pan Daijing’s first two releases—the 2015 tape Sex & Disease and this year’s A Satin Sight EP—for the most part fell squarely into the realms of noise and techno, respectively. Meanwhile, “Zhao Hua,” her standout collaboration with HVAD from Pan’s MONO NO AWARE compilation, was a cloudy and dreamlike ambient track. Useful as these genres have been as guideposts, the Chinese-born, Berlin-based artist’s practice is more expansive than any one of them, incorporating movement, improvisation, and installation—and also taking an interest in the potential of sound beyond music. Lack, Daijing’s ambitious debut full-length, incorporates all of this as it draws from the past two years of her live performances, accommodating a deeply felt theatrics.

潘岱静的前两部作品分别是2015年的《***&DISEASE》（磁带 only）和今年的一部《A satin sight》的EP，它们在很大程度上都属于噪音和工业音乐。同时，“zhaohua”，她与HVAD的杰出合作，来自PAN的MONO NO-AWARE合集，是一首朦胧而梦幻的环境音乐。尽管这些流派几乎成了她的标签，这位出生在柏林的华人艺术家的实践活动比任何一种流派都要广泛，包括舞蹈、即兴创作等，而且她对音乐之外的潜在声音也很感兴趣。《Lack》是潘岱静雄心勃勃的处女作，从她过去两年的现场演出中汲取了这一切，融入了一种令人印象深刻的戏剧感。

Though Lack collects pieces from different contexts, it follows a well-structured dramatic arc, building from eerie, ominous atmospheres into pulsating industrial fuzz. Daijing has noted that the record is her take on an opera, and this emerges literally on the piercing opener, “Phenomenon,” in which a soprano oscillates between two tones over struck strings and dissonant drones. Moving forward, she turns to a wilder sonic palette: a muted atonal chorus of synthesizers on “A Loving Tongue,” and on “Practice of Hygiene,” the claustrophobic sound of a groaning voice, either ecstatic or tortured—it’s unclear which, and maybe irrelevant.

尽管《Lack》收录的是不同背景下的作品，但它们有一种共性——从阴森、不祥的气氛中营造出令人悸动的工业模糊场景。潘黛静说过，这张唱片是她对一部歌剧的演绎，而这张专辑的开场就是“Phenomenon”，即女高音在敲击的琴弦和刺耳的噪声之间摆动。下一首，她改用了更为狂野的音色：在“A Loving Tongue”和“Practice of Hygiene”中，合成器的无调性声音，一个幽闭恐怖的呻吟声，要么狂喜，要么被折磨——不清楚到底是哪种状况，这也许并不重要。

           (图为潘岱静为PAN做的mix)

But amid such explosive aesthetics, there remains a formality to her delivery, a sense of control and even elegance. In “Plate of Order,” for example, Daijing portions out snarls of distortion that act as blistering punctuation underneath her own sustained vocals. Not merely aggressive, her application of crashing percussion or squalls of noise develops a near-meditative quality as Lack progresses. Certain songs may at first have an anxiety-inducing effect on the listener, but this is not anxious music; rather, it transmits an intense sense of presence.

但在这种爆炸式的美学中，她的表达方式仍然是一种形式，一种控制感，甚至是一种优雅。例如，在《Plate of Order》中，戴静把扭曲的高音部分划分出来，在她自己持续不断的嗓音下，这些扭曲的声音几乎是多余的。不仅仅是咄咄逼人，她运用撞击打击或狂暴的噪音达到了一种近乎冥想的境界。某些歌曲一开始可能会让听者产生焦虑感甚至难以听下去，但这并不是令人焦虑的音乐--相反，它有着一种强烈的存在感。

（译者：就这3段，没了（我也觉得很短），mix可以在soundcloud上听（我也会上传电台，见网易云音乐：）