【搬运】【译】叉婊Pitchfork评Pip Blom 2019年专辑《Boat》

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：Lucia C

校对：TylerSmith

排版：Lynn Liu

The Dutch quartet undercut their perky, grunge-lite melodies with just the right amount of pop-fuzz aggression.

来自荷兰的四人乐队用恰到好处的流行曲风削弱了他们欢快的grunge旋律。

Since the dawn of the internet, multitasking has become a way of life. In her namesake four-piece band, 23-year-old Amsterdam native Pip Blom cleverly weaponizes lapses in concentration to craft perky, grunge-lite melodies. “I’ll watch a documentary while playing guitar,” she explained earlier this year. “When I play something on my guitar that stands out more than the documentary does, then that becomes something I should use.” While she’s immersed in stories about interesting people or mental illness (her preferred choice of docs), a hypnotic melody or peculiar chord progression pushes to the front. These become the quartet’s thumping heart: moody riffs, steady post-punk percussion, and ebullient hooks that sink deep.

自从互联网蓬勃兴起，同时做多件事便成为了一种生活方式。在以本人的名字命名的四人乐队中，来自阿姆斯特丹的23岁女孩Pip Blom聪明地运用着专注时的走神来创作欢快的grunge旋律。“我会一边看纪录片一边弹吉他，”她在不久前解释道。“当我在吉他上弹出了比纪录片更吸引人的东西时，那就是我应该选用的旋律。”在她沉浸在有关有趣的人物以及精神疾病（她最爱的纪录片主题）的故事中时，一段美妙的旋律或者特别的和弦吸引了她的注意。这些曲调接着就会变成乐队的灵魂：情感多变的吉他乐段、沉稳的后朋鼓点，以及欢快又深入人心的hook部分。

The catchiness and ease of the songs on the band’s debut album Boat overshadow the self-aware lyrics. Blom’s vocals, although clear, are undercut by just the right amount of pop-fuzz aggression. Boat is an enjoyable and uncomplicated listen, but it’s hindered by the sense that the production and vocals are built on top of each other, instead of building space for each other. Some songs feel rambling, while others have clear conviction. On standout “Bedhead,” lethargic strums and tempered drums build around Blom’s vocals in perfect symbiosis. “I woke up, felt like I never slept/No one knew what was wrong,” she sings, describing a mental exhaustion that goes well past everyday grogginess into a dark, depressive hole. Her voice comes closer during the chorus, strengthening the band’s scruffy pop with emotional intimacy.

乐队的首张专辑《Boat（船）》中歌曲的抓耳和放松感夺走了自我意识鲜明的歌词的风头。Blom的歌声，虽然很清晰，却被恰到好处的流行风伴奏削弱了。《Boat》听起来有种简单的快乐，但是编曲和歌声互相重叠，而非合理搭配，影响了听感。有些歌曲听起来有些杂乱，而其它的则比较明晰。在比较优秀的歌“Bedhead”中，懒洋洋的拨弦声以及温和的鼓声与Blom的歌声有着完美的共生。“我醒来，感觉自己从未入睡 / 无人知道哪里出了错，”她唱着，描述着日复一日的昏昏沉沉带来的精神疲惫感，发展为一个黑暗的、压抑的大洞。她的声音在副歌声变得更加靠近，用情感上的亲密感补充了乐队的邋遢流行乐风。

In the rustling urgency of “Daddy Issues” and the zig-zagging laxity of “Sorry,” Boat offers many crisp, cozy moments. Throughout, the band teeters between themes of distraction, isolation, and victory over apathy. On “Ruby,” Blom sings about the dilemma of finally recovering: “The worst days are all over/But now that I feel fine, I don’t know what to do with all that time.” Whatever scenarios surround these new feelings are mysterious, sometimes sinister. Elsewhere, Blom seeks to numb her emotions as she prepares to act on an unnamed mistake—seemingly one of passion. A grimy bassline lurks like a devil on her shoulder, urging her to follow through. “Caught off guard by feelings/I felt happy,” she sings, with eerie perplexity during “Tinfoil.”

从“Daddy Issues”中瑟瑟作响的紧迫感到“Sorry”中曲折的舒缓感，《Boat》有着许多新鲜而舒适的时刻。整张专辑中，乐队平衡着分心、孤立、胜利，以及冷漠的主题。在“Ruby”中，Blom唱着最终痊愈的困境：“最坏的日子已经过去了 / 但是如今我感觉很好，却不知怎样度过这些时光。”围绕着这些新的感觉的场景很神秘，有时甚至邪恶。在另一处，Blom准备作出某个未知的错误决定---看起来是感情所致，并试图麻木她的情感。污秽感的贝斯曲调像恶魔般附在她的肩上，迫使她坚持到底。“感情让我放松了警惕 / 我感到快乐，”她在“Tinfoil”中唱道，带有些怪异恐怖的复杂感。

Blom has said that it’s fine if listeners don’t hear all her words; she “finds the melody more personal.” By focusing on melody, their greatest strength, the band also emphasize their struggle to fully captivate. The songs on Boat are comfortable but far from the irreverent edge of the earlier singles like “School.” Some tracks have the excitement and magnetism of an encounter with a fascinating stranger, while others are merely pleasant. There’s solace in distraction; it can be satisfying just to let the noise wash over you, whether it’s an obscure documentary or a pacifying wave of distortion. There is no grand thesis or groundbreaking concept on Boat, but Pip Blom provide a welcoming nook for spacing out.

Blom说，听众们听不到所有的歌词也没关系；她“认为曲调更凸显她自己。”通过专注于曲调（他们的最大优势），乐队却同时显示出了他们无法完全吸引到听众的事实。《Boat》中的歌的确很舒适，却没有了一些例如“School”的早期单曲特殊的优势。有些歌曲有着兴奋感及吸引力，仿佛遇见一个有趣的陌生人一般，而有些歌曲却仅仅只是令人惬意。分心有时也是有益的；仅仅让声音将你带走有时也能令人满足，无论是模糊不清的纪录片或是令人舒适的失真声波。《Boat》中没有什么宏大的主题或者开创性的概念，但是Blom提供了一个让人走神的小角落。