Avicii传记翻译P34—43 中英对照

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IN THE AUTUMN OF 2006 Tim had other things to think about, anyway. There was a song that had dominated the radio the whole summer. Irritating, but still somehow irresistible. The bouncing synth bass, clattering drums, and lyrics that no adult in all of Stockholm seemed to understand. Those who didn’t know anything about computers thought the song was about a boat. In fact, ‘Boten Anna’ (‘Now You’re Gone’) was a digital love story about a moderator in a chat room; it was sung by a guy who called himself Basshunter. Only a few months earlier he had been a bullied computer nerd who posted his gimmicky song online as a joke for his mates. Within a few months the single had become the most downloaded song ever in Scandinavia.

2006年秋天，Tim有其他的事情需要考虑。整个夏天，一首歌曲在电台上独霸鳌头。这首歌曲既令人恼火，又不知为何无法抗拒。弹跳的合成贝斯、嘈杂的鼓声以及众多斯德哥尔摩成年人无法理解的歌词。那些对电脑一无所知的人认为这首歌是关于一艘船的。实际上，‘Boten Anna’ (‘Now You ’re Gone’)）是一个关于聊天室主持人的数字爱情故事，由一个自称为Basshunter的家伙演唱。仅仅几个月之前，他还是一个被欺负的电脑痴，将自己的俏皮歌曲发布在网上供他的朋友开心。几个月之内，这首单曲成为了斯堪的纳维亚地区下载量最高的歌曲。

It was a lame song in every way, Tim knew as much. It might have worked for the tweens in middle school, but hardly for someone who had begun second year in high school. But there was something about that melody. Once it got in your head it wouldn’t disappear.

这是一首无聊的歌曲，Tim非常清楚。这或许适用于中学的小孩，但对于已经上高二的他来说几乎没有吸引力。但是这首歌的旋律却有一种神奇的力量，一旦进入脑海就无法消失。

One evening at the beginning of the autumn term in 2006 Tim got an MSN message from Jakob, who had found a video on YouTube, a newly launched site where anyone could upload film clips.

2006年秋季学期开始的一个晚上，Tim收到了Jakob发来的MSN消息。Jakob在YouTube上找到了一个视频，这是一个新推出的网站，任何人都可以上传影片。

Tim pressed play and saw a grey computer screen covered in chequered patterns. Furthest to the left ran a black-and-white keyboard, digital keys laid out just like on a real piano. The voice that spoke belonged to Basshunter himself, who was showing how he created his hits. With the help of the mouse, he dragged mint-green bricks across the screen – within seven minutes he had the skeleton of the song.

Tim按下了播放键，屏幕上出现了一个被方格图案覆盖的灰色电脑屏幕。最左边是一台黑白键盘，数字按键就像真正的钢琴一样排列着。说话的声音来自Basshunter本人，他展示了他是如何创作他的热门歌曲的。通过鼠标，他将薄荷绿色的方块拖动到屏幕上——仅用七分钟，他就完成了歌曲的骨架。

It looked simple, and fun. Tim immediately downloaded a pirated version of FL Studio, the program that Basshunter used. This Belgian software had previously been called Fruity Loops and was one of the programs that had revolutionised the way music was created. Only ten years earlier, a musician would have had to rent a studio or spend tens of thousands of dollars on machines and instruments. Now you could do it all from your bedroom.

看起来很简单、很有趣。Tim立即下载了一份盗版的FL Studio，这是 Basshunter所使用的程序。这个比利时软件以前被称为Fruity Loops，是一款彻底改变音乐创作方式的程序之一。仅在十年前，音乐家还必须租用录音室或花费数万美元购买机器和乐器。现在你可以在自己的卧室里完成所有这些。

Tim tried to get a grasp of the software bricks; he’d plucked the guitar strings enough to understand the basics. If the green bricks were placed in the upper part of the grid, the notes got higher, further down were the lower octaves. What the program allowed Tim to do was to devise chords. He moved one block up, another down, then listened again. When he broadened the brick, the tone sounded longer.

Tim试图掌握软件里的方块；他弹了足够多的吉他弦，以了解基础知识。如果将绿色方块放置在网格的上部，音符就会变高，放在下面就会变低。该程序允许Tim设计和弦。他上移一个方块，下移另一个方块，然后再次聆听。当他延长方块时，音调听起来更长。

To the left was a column of pre-recorded sounds: synthetic guitars, cymbals and violins. Some sounded like shy raindrops on a windowpane, some sizzled like bacon in a pan. The tones could scream like a gunfight between spaceships or be eerie like an unpleasant horror movie. An entire orchestra – no, hundreds of them – conveniently packaged in digital form.

左边是一列预先录制的声音：合成吉他、钹和小提琴。它们中有些听起来像窗户上的羞怯的雨滴，有些则像平底锅里煎培根的嘶嘶声。这些音色可以尖叫，像宇宙飞船之间的枪战，也可以像不愉快的恐怖电影一样令人毛骨悚然。整个管弦乐团——不，数百个管弦乐团——都被方便地打包成数字形式。

Impatiently, Tim tried everything out, staying up all night, mixing and matching and moving. Failing and trying again.

迫不及待的，Tim 尝试了所有的东西，整夜不眠，不断尝试混合和调整。失败了又再次尝试。

Soon he understood that the same chords could have a completely different feel to them depending on what sound he chose from the column on the left. Something that pulsed calmly in one digital synth could become a sharp cry in another. He had discovered a synth that was called Z3ta+, where he could choose between sounds with names like Trance Delivery, Foreign Attack, Space Bell and Fusion Poly. Now he found a whiny tone that made the melody almost stressfully nasal.

很快，他明白了同样的和弦，根据从左侧列中选择的声音，可以有完全不同的感觉。在一个数字合成器中平静地搏动的声音，在另一个数字合成器中可能会变成尖锐的呼喊声。他发现了一个名为Z3ta+的合成器，他可以在其中选择名为Trance Delivery、Foreign Attack、Space Bell和Fusion Poly等声音。现在，他找到了一个尖锐的音调，使旋律几乎有充满压力的鼻音。

It was perfect. He knew that Jakob and Fricko and the others would think it was cool if he made a song that was as irritating as possible. In the sound library Vengeance Essential Clubsounds Volume 2 there was a fervently whipping hi-hat which he sprinkled in quick succession. There was also a recorded voice that screamed: The beat, the bass and the party – let’s go!

这简直是完美的。他知道Jakob、Fricko和其他人会觉得如果他做出一首尽可能刺耳的歌曲是非常酷的。在声音库Vengeance Essential Clubsounds Volume 2中，有一个狂热敲打的踩镲，他加了一些快速的连续。还有一个录制的声音尖叫着：节拍、低音和派对——出发！

Now it started to resemble something. To really emphasise that this was a parody, he added yet another voice that, without interruption, said, BASS! BASS! BASS! BASS! BASS!

现在它开始变得有点像样子了。为了真正强调这是一个恶搞，他又加入了另一个声音，不间断地说着，低音！低音！低音！低音！低音！

Maybe it wasn’t good, but it was annoying and fun.

也许它不是很好，但它很烦人而且有趣。

Filip Åkesson climbed in through the loading dock and followed the pulse that vibrated through the concrete walls. When he and his friend got further into the shabby warehouse in the industrial district in Nacka the whole space opened up and Åkesson looked around through the fog coming from the smoke machine.

Filip Åkesson从装货区爬进去，跟随着穿过混凝土墙体的脉冲。当他和他的朋友深入纳卡工业区的破旧仓库时，整个空间敞开了，Åkesson透过烟雾机喷出的雾气四处张望。

It was something totally different from the boring classes at Östra Real.

这与Östra Real无聊的课程完全不同。

The green laser beams hovering over the dance floor in swirling cobwebs, girls with blonde hair in tight dresses, guys from the suburbs in expensive jackets and shoes with shiny buckles. The hard banging electro that pounded against his eardrums.

绿色的激光束在舞池上空盘旋成漩涡状的蜘蛛网，金发碧眼的姑娘们穿着紧身裙，来自郊区的小伙子们穿着昂贵的夹克和带有闪亮扣子的鞋子。电音嘎嘣有力地敲打着他的耳膜。

For so long Filip had dreamed about getting to see this for real that he intuitively recognised the scene.

Filip长久以来一直梦想着亲眼见到这一幕，他直觉地认出了这个场景。

After its birth in Chicago, house music – and its more edgy cousin techno – had been picked up by curious Brits, who brought the sound from the US to Europe. And with the music came the parties. Filip Åkesson had heard about the mythological summer of 1988, when dance-craving Englishmen had organised illegal raves in the fields by the motorway surrounding London. He knew about Love Parade, which soon after had flooded the streets of Berlin with people celebrating equality and the new-found freedom of the early 90s.

在芝加哥诞生后，house音乐以及更加前卫的表亲techno被好奇的英国人接受，他们将这种声音从美国带到了欧洲。随着音乐的到来，派对也随之而来。Filip Åkesson听说过神话般的1988年夏天，当时渴望跳舞的英国人在伦敦周围的高速公路旁组织了非法的狂欢派对。他也知道Love Parade，随后这个节日在柏林的街头涌现，庆祝平等和早期90年代新获得的自由。

Since then, the festivities had continued in derelict factories and solitary forest edges across the continent and turned dance music into a modern European folk music, a patchwork of different styles that occasionally cross-fertilised each other but just as often sounded essentially unique.

从那时起，庆祝活动在废弃的工厂和孤立的森林边缘继续进行，将舞曲变成了现代欧洲民间音乐，一个由不同风格拼凑而成的图案，有时会相互交融，但更常见的是独具特色。

In 2007 the French built their house music on filtered disco samples that hovered over blurred bass lines. In England choppy bass rumbled over pirate radio in a sticky style called dubstep. The biggest and most powerful scene was in the Netherlands, where Tiësto filled arenas with his trance, built on grand string arrangements over blaring drums.

2007年，法国人将他们的House音乐建立在使用滤波器的迪斯科采样上，漂浮在模糊的低音线上。在英格兰，被称为Dubstep的粘性风格中，切碎的低音在盗版电台上隆隆作响。最盛大最强有力的场景出现在荷兰，Tiësto用他的Trance音乐填满了体育馆，这种音乐建立在宏大的弦乐编排和高亢的鼓声之上。

The scene in Sweden was not nearly as big, at least not numerically speaking. But there were tremors in the ground, signs that were noticed by those who, like Filip Åkesson, considered themselves as belonging to the vanguard. In Stockholm, a unique musical expression was growing, one that was as bombastic as it was euphoric, and could be heard not least on this night in the warehouse south of the city.

瑞典的音乐现场不算很大，至少从数量上来说是这样的。但是，像Filip Åkesson这样认为自己属于先锋派的人们，已经注意到了地面上的颤动。在斯德哥尔摩，一种独特的音乐表达正在发展，既炸裂又欣快，尤其在城市南部的仓库里，在这个夜晚可以听到它的声音。

Filip Åkesson wove his way in among people who moved instinctively to the bass lines. Only a few weeks earlier he had tried Ecstasy for the first time and felt how the little pill made the music tingle and swell in each muscle. The melodies became wonderful, the snare drums were like an extra body part. Tonight as well they had started partying on the terrace at the house of a mate’s dad, and the music now pulsed through Åkesson’s body in pleasant convulsions. There was something magical in the way this music slowly grew.

Filip Åkesson穿梭在那些本能地跟随低音线舞动的人群中。仅仅几周前，他第一次尝试了摇头丸，感受到小小的药丸让音乐在他的每个肌肉中发麻并膨胀。旋律变得美妙，军鼓就像额外的身体部位一样。今晚，他们也在一位朋友的父亲家的露台上开始聚会，音乐现在在Åkesson身体中愉悦地抽搐着。这种音乐缓慢增长的方式中有一种魔力。

Those who didn’t understand may have seen the songs as repetitive, but that was part of the point. The monotony made the music suggestive and prodding, teasing each and every sense. The night was a sea where it slowly blew up into a storm.

那些不理解的人可能会认为这些歌曲很单调，但那也是其意图之一。单调性使音乐富有暗示性和刺激性，挑逗着每一个感官。这个夜晚像一片海洋，慢慢地酝酿成一场风暴。

Up towards the small ledge that served as a stage came a guy in worn jeans, a T-shirt, and a backwards baseball cap with the LA Dodgers logo. He slowly pulled up the fader to play a new tune, threw off his cap, baring a tightly tied tuft of hair.

一个穿着破旧牛仔裤、T恤和戴着洛杉矶道奇队标的反戴棒球帽的男子走向作为舞台的小台子，缓缓抬高音量杆播放一首新歌，然后脱下棒球帽，露出一个扎紧的小辫子。

There he was. Steve Angello. Of all the house producers in Stockholm, this twenty-four-year-old was by far the coolest in Filip Åkesson’s eyes. You just needed to look at him: how Angello’s body language radiated that he couldn’t care less what people thought. His back held straight and his chest protruding through any and all difficulties.

他就在那儿。Steve Angello。在斯德哥尔摩的所有House音乐制作人中，这位24岁的年轻人在Filip Åkesson看来无疑是最酷的。你只需要看看他：Angello的身体语言表现出他根本不在乎别人的想法。他的背挺得笔直，胸膛挺得高高的，不论面对任何困难。

The Swedish press had of course yet to grasp what was happening – what a lively scene had been created in the capital over the last few years – but what did it matter when Angello’s girlfriend had her own blog? Among pictures of high heels and skincare pointers, she talked about when her boyfriend spun in the booths at the clubs at Stureplan – the nightlife centre of Östermalm – at the venues that Filip Åkesson dreamed of one day getting into. She gossiped about the drinks at Grodan, F12 and Laroy, and posted pictures of Axwell and Sebastian Ingrosso, two other producers with whom Steve Angello was increasingly collaborating.

瑞典媒体当然还没有意识到正在发生的事情——过去几年在首都创造一个多么热闹的场景——但是当Angello的女友拥有自己的博客时，这还有什么关系呢？在高跟鞋和护肤指南的照片中，她谈论了当她男友在Östermalm的Stureplan俱乐部的DJ台上旋转时的情形——这是Östermalm夜生活中心的场所，Filip Åkesson梦想有一天能进入这些场所。她闲聊Grodan、F12和Laroy的饮料，并发布Axwell和Sebastian Ingrosso的照片，这两位制作人正与Steve Angello越来越多地合作。

A bit playful and a little ironic – as if to emphasise how small yet prominent the Swedish scene was – they had started calling their trio Swedish House Mafia. In the summer they travelled to Ibiza, the party island in the Mediterranean that Filip already knew was the kingdom of heaven and played the clubs there. The pictures on the blog showed Sebastian Ingrosso with a sizeable drink in his hand at the legendary spot Pacha, where they performed with the star David Guetta. Steve Angello sat with a sunhat on the beach and read about himself in the music magazine Mixmag.

有点调皮，有点讽刺——似乎是为了强调瑞典乐坛虽小却显赫——他们开始称自己的三人组为瑞典浩室黑手党。夏天，他们前往地中海上的派对岛伊比沙岛演出。博客上的照片显示Sebastian Ingrosso手中拿着一杯大杯饮料在传奇场所Pacha表演，与明星David Guetta同台。Steve Angello戴着太阳帽坐在沙滩上，在音乐杂志Mixmag上读着关于自己的报道。

The dream life.

梦想生活。

As the bass was bouncing between the walls, Åkesson started to box with his hands in the air to yet another one of the hard synth riffs.

随着低音在墙壁间弹跳，Åkesson开始伴随着又一个硬核合成器的旋律在空中挥舞双拳。

This was his world, everything he was looking for.

这是他的世界，他所追寻的一切。

Tim Bergling didn’t go to any clubs, he was totally uninterested in them. Instead, he had sat in front of his computer for four months, engrossed, but still hadn’t got any real depth into his songs.

Tim Bergling从未去过任何夜店，对此他完全不感兴趣。相反，他坐在电脑前四个月，全神贯注地创作，但仍然没有真正深入他的音乐。

When he described what genre he was working in, he hesitated. What even was this kind of music? ‘Don’t actually know,’ he wrote in the forum Studio, a venue on the internet where beginners got on with seasoned professional producers. ‘Tween-simple-Eurodance techno possibly,’ he decided. At the end of January 2007 he posted a question about how he should approach FL Studio:

当他描述他正在创作的音乐类型时，他犹豫了。这到底是什么样的音乐？我其实不知道，他在网络论坛Studio中写道，那里是初学者和经验丰富的专业制作人一起交流的场所。也许是Tween-simple-Eurodance techno，他决定了。在2007年1月底，他发布了一个关于如何处理FL Studio的问题：

I just wanted to ask if a FL veteran with a little extra time and energy would be able to help finalise a song I’m kinda happy with. I’ve basically been sitting for DAYS trying to fiddle with compressor and bass boost and vocoder etc. to make the voice and bass drum etc. sound good but haven’t gotten anywhere :/. I don’t understand the compressor and the song distorts like crazy at a 30% gain . . .

我想问一下，如果一个FL老手有一点额外时间和精力，是否能够帮助我完成一首我有点满意的歌曲？我已经花了几天的时间调整压缩器、低音增强器和声码器等，以使人声和低音鼓等听起来更好，但一直没有取得进展 :/。我不理解压缩器，当增益为30%时歌曲会失真得厉害...

Tim absorbed all the tips he got. He watched even more clips on YouTube, where other producers clarified the finesses and the settings.

Tim接受了他得到的所有建议。他在YouTube上观看了更多的视频片段，其他制作人在那里阐明了各种技巧和设置。

The usual thing was obviously to start by looking for drums and a bass line that played nicely together. There was the bottom itself, the backbone of a song, that seemed to be the consensus. The recipe could certainly be spiced up with some sampling or a little moaning, but it was the drums and the bass that drove the production forward.

通常的做法显然是先寻找打击乐和低音线，让它们很好地配合在一起。这是歌曲底部的骨架，似乎是共识。当然，这个配方可以加入一些采样或轻微的呻吟，但是是打击乐和低音推动了制作的进展。

Tim’s instincts led him to think differently.

Tim的本能使他有不同的想法。

He began with a melody.

他以一段旋律开始。

If he didn’t already hear it in his head, then it usually came to him when he played around with the chord bricks.

如果他还没有在脑海中听到它，通常当他玩弄和弦方块的时候，它就会出现在他的脑海里。

Once the right melody was in place then the next challenge began. Tim started looking for a fitting software synth and began to tweak, push and pull. The fun thing with FL Studio was that each and every sound could be twisted and distorted until it was unrecognisable. In the software program the instruments were freed from their classical roles – sweet strings could become blunt rhythmic instruments; a short and aggressive trumpet blast could be filtered so that it was perceived as a smooth bass tone.

一旦正确的旋律确定下来，接下来的挑战就开始了。Tim开始寻找一个适合的软件合成器，并开始调整、推拉。FL Studio有趣的地方在于，每一个声音都可以扭曲和失真，直到它变得不可识别。在软件程序中，乐器从它们的古典角色中解放出来——甜美的弦乐可以变成钝的节奏乐器；短促而有力的小号声可以被过滤，以便被感知为平滑的低音。

Only once the chords sounded right sonically did Tim start building the rest of the song. Then he heard what kind of drums were needed, and what other effects he would use.

只有和弦在声学上听起来正确，Tim 才开始构建歌曲的其余部分。然后他聆听需要哪种鼓声，以及他将使用哪些其他效果。

On YouTube the video to ‘Feel The Vibe (Til The Morning Comes)’, a song by Axwell of Swedish House Mafia, played on repeat. Tim studied the forward-leaning, soft production, the rolling bass that was as fat as cream. He noticed how the bass line interacted with the melody in an airy and elegant sway. Tim liked that the song was euphoric and soft without feeling cheesy. It was happy music that still had bite. He had a hard time understanding how Axwell had achieved such a saturated soundscape. If Tim’s own beats were drawn in sharp pencil, Axwell’s songs were painted with colourful pastel crayons.

在YouTube上，播放着瑞典混音组合Swedish House Mafia的Axwell制作的歌曲Feel The Vibe（Til The Morning Comes）的视频。Tim研究了这首前倾、柔和的作品，那滚动的低音线就像奶油一样肥厚。他注意到低音线与旋律的相互作用，以轻盈、优雅的摇摆方式呈现。Tim喜欢这首歌曲既兴奋又柔和的感觉，而不会感觉俗气。它是快乐的音乐，但仍然具有力量。他很难理解Axwell是如何实现如此饱和的音景的。如果Tim自己的节拍是用锐利的铅笔画出来的话，那么Axwell的歌曲则是用丰富多彩的蜡笔画出来的。

Tim sat up all night, continuing to read and ask questions, just as he had done before on the gaming forums. When friends came to visit, it was clear that Tim was fixated on something new. When they wanted to watch a movie or start a new raid, their friend was sitting almost unreachable in front of his screen. It could be an hour of waiting, it could be two. It was as if Tim couldn’t hear them.

Tim整夜都坐在那里，不断阅读和提问，就像之前在游戏论坛上一样。当朋友来拜访时，Tim显然对某些新事物着迷了。当他们想看电影或开始新的游戏时，他们的朋友好像无法接触地坐在屏幕前。等待可能是一个小时，也可能是两个小时。就像Tim听不到他们说话一样。

He was captivated by his puzzle, had understood that a piece that felt insignificant on its own could be completely load-bearing when joined together with another. There was a logic in the process that was calming.

他被这个拼图所吸引，明白了一个单独无足轻重的拼图块在与另一个拼接在一起时可以完全承受重量。这个过程中有一种逻辑性，让人感到平静。

Tim forgot about his homework, forgot to eat, forgot about his spots.

Tim忘记了他的作业，忘记吃饭，也忘记了他的痘痘。

In this room was nothing else.

这个房间没有别的东西了。

When two and three and then four pieces of the puzzle finally fitted together, Tim began to bounce on his chair. A while ago there was nothing on the screen, just an empty grid, now a whole beat was pounding in his headphones. It even had some swing to it!

当拼图的二、三、四个部分最终拼合在一起时，Tim开始在椅子上跳动。不久之前屏幕上什么都没有，只有一个空的网格，现在他的耳机里响起了整个节拍。它甚至有一些摇摆感！

His chest tingled with joy and pride as he played the chords in the air with waving hands.

当他挥舞着双手在空中弹奏和弦时，他的内心充满了喜悦和自豪感。

All of a sudden he could hear Anki getting up out of bed to go to the bathroom. He quickly turned off the ceiling light so that she would not see that he was still awake.

突然间，他听到Anki起床去上厕所的声音。他迅速关闭了天花板的灯，以免她看到他还醒着。

The rumour had started to spread among the teenagers in Östermalm about an artist who called himself Moonboy. The song ‘En låda’ (‘A Box’) had begun to be played from the wireless speakers in the corridors at Östra Real and Filip Åkesson heard it afresh in the kitchen at a house party during the last term in the second year, in the spring of 2007.

在Östermalm，一个自称为Moonboy的艺术家的传言在青少年中开始传播。歌曲En låda(A Box) 开始在Östra Real的走廊无线扬声器中播放，Filip Åkesson在2007年春季第二年的最后一个学期，在一个派对的厨房里再次听到了这首歌。

After a while a guy in Filip’s German class said that Moonboy apparently went to their school. Åkesson thought this sounded ridiculous. The song was too professional to be made by someone their own age.

不久，Filip的德语课上有个男生说Moonboy显然是他们学校的人。Åkesson觉得这听起来很荒谬。这首歌太专业了，不可能是同龄人创作的。

You mean the guy in E2C? The guy whose mum was an actress? The one who used to sit at the tables by the lockers and jabber about his computer games? The guy with yellow soles on his worn-out Adidas?

你说的是E2C的那个人吗？他的妈妈是演员吗？那个总是坐在储物柜旁边的桌子上，喋喋不休地谈论他的电脑游戏的人？那个穿着黄色的磨损的阿迪达斯鞋的人？

Was Tim Bergling Moonboy?

Tim Bergling就是Moonboy吗？

Filip Åkesson didn’t want to miss the chance to get to know someone who made his own beats, no matter how stupidly the guy dressed. One Friday after school, Filip got a ride from his father to Linnégatan and took the lift up to the fifth floor.

Filip Åkesson不想错过认识一个自己制作节奏的人的机会，无论那个人穿得多么愚蠢。一个星期五放学后，Filip从他父亲那里搭了车到林内街，然后乘电梯到了五楼。

‘My parents aren’t home, so we can be on the couch,’ Tim said when he opened the door.

“我父母不在家，我们可以坐在沙发上，”Tim打开门时说道。

Even though they had gone to the same school for a year and a half, they had never really spoken to each other. Now they carried Tim’s computer into the living room and hooked it up to the TV screen that sat on the wall in front of the green sofa.

尽管他们在同一所学校已经待了一年半，但他们从未真正交谈过。现在他们将Tim的电脑搬到客厅，连接到挂在绿色沙发前的电视屏幕上。

Filip immediately began to play the songs of his Swedish idols. A remix by Sebastian Ingrosso, a rippling house piano from Axwell.

Filip立刻开始播放他瑞典偶像的歌曲。由Sebastian Ingrosso混音的歌曲，由Axwell创作的流畅的house钢琴。

‘It’s sick, right?’

“这太酷了，不是吗？”

‘Fucking sick!’

“太他妈酷了!”

Filip suggested that they should try to do something that resembled his favourite song, ‘Teasing Mr Charlie’ by Steve Angello.

Filip建议他们尝试做一些类似于他最喜欢的歌曲Teasing Mr Charlie（Steve Angello创作）的东西。

Tim quickly went to work. He clicked forward to a sound that was called Saw Dist Tube and began to lay out the components.

Tim 迅速开始工作，点击一个名为 Saw Dist Tube 的声音，并开始布置组件。

Bewitched, Åkesson watched the mint-green blocks dance across the grey grid as he heard a melody take shape. He had been listening to house music for several years, but had never seen it develop like this.

Åkesson被迷住了，他看着薄荷绿色的方块在灰色网格上跳舞，同时听到一首旋律正在形成。他已经听了几年的house音乐，但从未见过它像这样发展。

After only a few minutes Tim had created a pattern that was easy to loop. He copied and placed it under the first bricks – doubling a sequence was the best way he had figured out to make it sound heavier, he explained.

仅仅几分钟后，Tim 就创作出了一个易于循环的模板。他将其复制并放置在第一组音符下面——他解释说，将一个序列翻倍是使其听起来更沉重的最好方法。

Then he slid in a bass drum and a little handclap.

然后他放进了一个低音鼓和一些拍手声。

‘Then we have to tease,’ said Filip Åkesson.

“然后我们就得挑逗一下，”Filip Åkesson说。

This is where Åkesson’s experience came in. Even if he had been impressed by Tim’s local hit ‘En låda’, at best it had lurched on. It never reached climax in the same way that the songs on Filip’s iPod did.

这就是Åkesson的经验所在。即使他对Tim当地的热门歌曲En låda留下了深刻印象，它也只是在蹒跚前行。它从未像Filip的iPod上的歌曲那样达到高潮。

Progressive house was a kind of music that was built on anticipation. That was the whole point with the word ‘progressive’ – that the songs would slowly develop and bloom like a flower in spring. The principle built on maximising the music’s ebbs and flows. The listener was often tricked into a deceptive calm – just as the song was on the way to its crescendo, the drums could stop and be replaced by strings that gently swayed forward. Then the storm intensified in what sounded like a jet plane warming up. Once the song exploded, the effect became physical, a great drop made the chest explode.

渐进浩室是一种建立在期待之上的音乐。这也是渐进这个词的全部意义所在——歌曲会像春天绽放的花朵一样慢慢展开。这种原则是建立在最大程度地增强音乐的起伏之上的。听众常常被欺骗到一种虚假的平静之中——就在歌曲走向高潮之际，鼓点可能会停下，被轻柔摇曳的弦乐所取代。然后，风暴就像喷气式飞机升温一样愈演愈烈。一旦歌曲爆发，效果将变得身临其境，令人的胸腔炸裂。

It was like having sex, or at least what the boys imagined sex to feel like.

这就像是在做爱一样，或者至少是男孩们想象中的做爱的感觉。

Filip Åkesson thought that he knew the recipe, second by second. First, it would be at least half a minute of just drums. This was so that the song could be imperceptibly mixed with another at the clubs. Then a short preview of the melody itself, maybe just a note or two, which made the listener want more.

Filip Åkesson认为自己对这个配方了如指掌，一秒一秒地。首先，至少半分钟的鼓声。这是为了让歌曲在俱乐部与另一首歌无缝混合。然后是旋律本身的简短预览，也许只有一两个音符，这会让听者想要更多。

Tim thought it was cool to meet someone who knew the rules so well, and followed Åkesson’s instructions to a tee.

Tim觉得能遇到一个如此熟悉规则的人很酷，并完美地遵循了Åkesson的指示。

After exactly thirty seconds of drums, he allowed the melody to flicker, just for a moment. He extended it for another fifteen seconds and after a full minute of patient ascension, he finally let the whole melody detonate.

在精确的30秒鼓声之后，他让旋律闪烁了一会儿。他又延长了15秒，经过整整一分钟的耐心上升，他终于引爆了整个旋律。

The screaming synth filled the living room while Åkesson cheered.

Åkesson欢呼着，尖叫的合成器声充满了客厅。

‘Turn up the volume, man! You’re a fucking genius, Tim!’

“把音量调大点，伙计！你真是个天才，Tim！”