翻译：thesweetescape

原文链接：https://pitchfork.com/features/lists-and-guides/the-best-songs-of-the-1990s/

Björk: “Human Behaviour” (1993)

Björk is not an alien, despite the extraterrestrial terms in which she is often described. But as a human woman who, at the time of her 1993 solo debut, baffled journalists simply by being from Iceland, to say nothing of her avant-garde sensibilities, she was well-positioned to offer an outsider’s perspective on “Human Behaviour.” On the surface, her thesis—that we definitely (definitely, definitely) lack logic—is a warning to other interlopers preparing for contact. Really, it names our vagaries, our capacity for misunderstanding and being misunderstood, as essential to the human condition, reframing these isolating experiences as shared ones. Furthering the song’s sense of universality, Björk reached across time and geography to borrow its rattling percussion and commanding timpani riff from the Brazilian composer Antônio Carlos Jobim. The result, the throat-clearing opening of Björk’s foray into experimental dance-pop, is strange and welcoming; it invites you to sit with the unfamiliar. –Olivia Horn

Björk不是外星人，但外界言论却时常这样嘲讽她。但这位人类女子，在1993年发行个人出道专辑《Debut》时，她来自冰岛的身份便足以让记者一头雾水，更不用说她前卫先锋的艺术鉴赏了，她在歌曲“Human Behaviour”中完美描绘出一个外星生物的视角。从歌词表面含义看，她的立场是——我们人类绝对（绝对，绝对）缺乏逻辑——对想接触人类的外星人发出警告。但实际含义是，歌曲将我们人类反复无常的状态，我们对误解和被误解的接受能力，视作人类的基本构成要素，将这些零散的感受都整合在一起。为了增添歌曲的浩瀚无垠感，Björk超越时间和地域的限制，从巴西作曲家Antônio Carlos Jobim那里借用了响亮的打击乐和抑扬顿挫的定音鼓乐段。最终，该歌曲成为Björk首次涉足实验流行舞曲领域的开嗓之作，怪诞却惬意；邀约你接纳陌生事物。 –Olivia Horn