Avicii传记翻译P139—152 中英对照
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___________
My procrastination.
我的拖延症。
It needed to be explained to me very logically and caveman-esque for me to truly understand its nature and how it was harming me. ‘Ouch, pain. Why me pain now? Uncomfortable feeling. Future Tim deal with pain. Future Tim deal with pain better than present Tim because already there’s too many present pains more urgent to deal with.’
只有用穴居人的逻辑方式向我解释，我才能真正理解它的性质以及它是如何伤害我的。“哎哟，疼。为什么我现在会痛？不舒服的感觉。未来的Tim会处理疼痛。未来的Tim比现在的Tim更能处理疼痛，因为现在已经有太多更紧急的疼痛需要处理了。”
___________
IN NOVEMBER 2012 Tim went back to Stockholm.
2012年11月，Tim回到了斯德哥尔摩。
Along the wharf on Södermalm, where tourists strolled in the summer, lay the dark mirror of Riddarfjärden bay, shiny and quiet at that time of year. In a yellow stone building right on the water, a former foundry, Salem Al Fakir had rented a studio.
夏天，游客们沿着Södermalm的码头边漫步，如同黑镜一般的湖水在这个时节闪闪发光，显得格外宁静。岸边的一栋黄色石头楼房曾经是一家铸造厂，Salem Al Fakir在那里租了一间工作室。
Salem immediately saw that Tim was in high spirits when he came upstairs. There was a bustle in his body, as if he were a proud child who wanted to show off a shell he had just found.
Salem一眼就看出，Tim上楼时兴致高涨。他看起来很兴奋，就像一个骄傲的孩子，想要炫耀自己刚刚找到的贝壳。
‘So listen to this,’ Tim said, and asked Salem to pull up a song.
“听听这个，”Tim说着，让Salem播放一首歌。
The room was filled with trumpet blasts, accordions and hand claps. The song was called ‘Little Talks’ and was made by Of Monsters and Men, a band from Iceland that Tim and Emily had been listening to continuously for the last few weeks. Tim had performed his own version of the song at his latest gigs – the ecstatic drive fitted perfectly in large arenas. At the same time, the music was distinctly acoustic, sounding like something performed by sailors with wooden spoons and tin plates while the sea rolled wildly outside the galley.
房间里充满了喇叭声、手风琴声和掌声。这首歌叫做Little Talks，是由来自冰岛的乐队Of Monsters and Men创作的，Tim和Emily在过去几周里一直在听这首歌。在最近的演出中，Tim播放了他自己的版本——这首歌狂热的动力完美地适应了大型场馆。与此同时，这首曲子还带有明显的原声风格，听起来就像是海浪汹涌澎湃时，水手们在船上的厨房里用木勺和锡盘演奏的曲子。
The mix of the rustic instruments and the rumbling cheers was quite irresistible, Tim thought.
乡村乐器和隆隆的欢呼声的结合让Tim觉得难以抗拒。
‘Wouldn’t it be awesome to try something like this?’
“尝试一下类似的东西岂不是很棒？”
In the room was a new acquaintance of Salem Al Fakir, a tall guy with blond Viking hair and a friendly manner.
房间里有一位Salem Al Fakir新认识的熟人，他身材高大，留着维京人的金发，态度和蔼可亲。
Like Al Fakir, Vincent Pontare had been marinated in music since childhood. His father, Roger Pontare, was one of the country’s big pop stars when Vincent was growing up; he himself had started playing metal guitar early in the guest house out in the Ängermanland forest. When Pontare moved to Stockholm, it was to establish himself as a rapper in the hip-hop duo Verbal ’N’ Vincent, but after a couple of half-failed attempts as a solo artist, he had instead started to find his place as a songwriter in the background – a few years earlier he had co-written Swedish House Mafia’s smash hit ‘Save the World’.
像Al Fakir一样，Vincent Pontare从小就沉浸在音乐中。在Vincent的成长过程中，他的父亲Roger Pontare是该国的流行音乐巨星之一；而他自己很早就开始在阿格曼兰森林的招待所里弹金属吉他。Pontare搬到斯德哥尔摩后，开始在嘻哈二人组 Verbal 'N' Vincent中担任说唱歌手，但在几次半途而废的单飞尝试后，他转而开始在幕后担任词曲作者——几年前，他与瑞典浩室黑手党合作创作了热门歌曲Save the World。
It was Vincent Pontare who had rented out his studio space to Salem Al Fakir; they had noticed that they enjoyed each other’s company and started working together.
Vincent Pontare曾把他的工作室租给了Salem Al Fakir，他们发现彼此相处愉快，于是开始合作。
Now they both looked at their excited guest.
现在他们俩看着兴奋的客人。
It was not entirely easy to understand what Tim wanted to get out of this Icelandic squall, which Vincent mostly thought sounded like some kind of plastic wannabe-country. But he picked up his guitar and started looking for a melody.
要理解Tim想从这首冰岛小调中得到什么并不完全容易，Vincent认为这首歌的大部分听起来像是对乡村音乐的拙劣模仿。但他还是拿起吉他，开始寻找旋律。
Tim’s search for a more rural soundscape came at just the right time. In recent days, Vincent and Salem had collaborated with Veronica Maggio, a singer who had become one of Sweden’s most popular. The three of them were working on an album set in an atmospheric and hazy landscape. Salem hummed a small melody he had just composed for ‘Hela Huset’ (‘The Whole House’), one of Maggio’s songs.
Tim对乡村风格的追求恰逢其时。最近，Vincent和Salem与Veronica Maggio合作，她已经成为瑞典最受欢迎的歌手之一。他们三人正在制作一张以大气、朦胧的风景为背景的专辑。Salem哼起了他刚刚为Maggio的一首歌Hela Huset创作的一小段旋律。
Tim shouted right away.
Tim立刻大喊起来。
‘Yes! There it is!’
“对！就在那儿！”
It was as simple as it was the last time Tim and Salem worked together while writing ‘Silhouettes’ in just one afternoon. Salem threw out the fishing line and Tim knew exactly when to bite. His ability to intuitively perceive that one second that sparkled, that could be built on, was astounding.
就像上次Tim和Salem一起创作Silhouettes时一样简单。Salem扔出了渔线，Tim清楚地知道何时咬钩。他凭直觉感知到那一瞬间的闪光点，并能在此基础上构建，这种能力令人惊叹。
While Vincent Pontare was strumming his guitar, he began to mumble sounds. For much of his teenage years, he had sat with dictionaries and studied English expressions to become a tongue-twisting rapper, something that had given him a gift for improvising words on the go.
Vincent Pontare一边弹着吉他，一边开始喃喃自语。在他青少年时期的大部分时间里，他都坐在字典前学习英语表达，为了成为一名绕舌说唱歌手，这让他拥有了即兴创作的天赋。
‘Bidaaaaaaaahh biii booooothaa!’
“Bidaaaaaaaahh biii booooothaa!”
‘Ah, there! There!’
“啊，那里！那里！”
Tim was even more excited now, when he heard a sound that formed a word.
Tim此时更加兴奋了，因为他听到了一个单词的发音。
‘Shit, brother! That’s good!’
“天，brother！那太棒了！”
They continued to work, now with a vague idea about brotherhood, loyalty, blood ties. First and foremost, it was a feeling they were going for, sometimes the lyrics then came second: ‘Hey sister, know the water’s sweet but blood is thicker.’ Water is sweet but blood is thicker? Could you say that in English? It didn’t sound really smart when you thought about it, but what the hell – it fitted nicely with the melody.
他们继续工作，现在有了一个关于兄弟情谊、忠诚和血缘关系的模糊想法。首要的是追求一种感觉，而歌词则是次要： “嘿，姐妹，水是甜的，但血浓于水。”水是甜的，但血浓于水？你能用英语说一下吗？当你想明白它时，它听起来并不明智，但管他呢——这句话与旋律非常契合。。
After an intro that was dominated by Vincent’s guitar playing and a driving bass drum, Tim drew up a drop that was clearly inspired by the Icelanders’ ‘Little Talks’. The cheering trumpet fanfare made ‘Hey Brother’ explode, Tim could already envision the rain of confetti at the gigs in front of him.
在以Vincent的吉他演奏和强劲的低音鼓为主导的前奏之后，Tim设计了一段明显受到冰岛人的Little Talks启发的高潮。欢呼的小号带动了Hey Brother的爆发，Tim已经能够想象到演出现场将会下起漫天的纸屑雨。
‘This is going to be fucking sick,’ he shouted.
“这会变得超他妈酷，”他喊道。
‘That’s for sure,’ laughed Vincent.
“这是肯定的，”Vincent笑着说。
Tim left the old foundry with feelings of happiness in his chest. He was at home in Stockholm, in a couple of days he would see his favourite comedian Ricky Gervais perform at the Globe Arena, and now he knew in which direction he wanted to go musically.
Tim离开旧铸造厂时，心中充满了幸福感。他在斯德哥尔摩感到宾至如归，在几天后他将在环球竞技场看到他最喜欢的喜剧演员Ricky Gervais的表演，现在他也知道自己在音乐上想要走向哪个方向。
‘Folk-electronica, bro,’ he wrote to Arash before contacting his father to tell him as well about his new creative direction: ‘I think country music and house could be cool as hell!’
“民谣电子音乐，兄弟，”他发消息给Arash，在联系他的父亲告诉他自己的新创意方向之前：“我认为乡村音乐和电子舞曲结合起来会很酷！”
*
It was time to show the world who was really on top.
是时候向世界展示真正的领袖是谁了。
Tim and Arash had agreed that Avicii would not be yet another house producer who only made singles.
Tim和Arash一致认为，Avicii不会成为又一个只会制作单曲的浩室音乐制作人。
He would record a real record, a full-length album.
他将录制一张真正的唱片，一张完整的专辑。
That’s why Tim and Emily were in a taxi on their way to Universal’s main office building in Santa Monica. Tim was nervous. He thought that the man he was about to meet would surely be pushy and presumptious, and he didn’t really know what he was expected to say to a high-profile record label exec in the United States. Arash had assured him that Neil Jacobson was cool, but he was still one of the top decision-makers at Interscope, an imprint of Universal – a person with power.
这就是Tim和Emily正乘出租车前往圣莫尼卡的环球音乐主办公楼的原因。Tim很紧张。他觉得即将见到的那个人肯定会咄咄逼人，自以为是，他真的不知道他应该对美国一家知名唱片公司的高管说些什么。Arash向他保证Neil Jacobson是个很酷的人，但他仍然是环球音乐旗下的Interscope公司的高层决策者之一，一个有权势的人。
Tim’s concerns were immediately dismissed. Neil Jacobson turned out to be a noisy and talkative big-city man from New York who showed Tim and Emily to one of those corner offices they had seen in the movies, where the big boss putts golf balls across the carpet while making life-changing decisions on speakerphone. Jacobson had ramped up the cliché even more because, in addition to the putter and the balls, he had a basketball hoop mounted on the door. Now he threw himself into his chair, wearing worn jeans and a shirt, and immediately took command of the conversation.
Tim的担忧立刻被打消了。Neil Jacobson原来是一个来自纽约的大城市人，聒噪而健谈，他带Tim和Emily去了他们在电影里见过的那种角落办公室，在那里，大老板一边在地毯上打高尔夫球，一边通过免提电话做出改变命运的决定。而Jacobson更加强化了这种陈词滥调，因为除了推杆和高尔夫球，他还在门上安装了一个篮球架。现在，他穿着破洞牛仔裤和衬衫，扑通一声坐回到椅子上，并立刻掌握了谈话的主导权。
Jacobson talked about the model for songwriting that he had started to use, one that he was convinced would make electronic music mature and reach its full potential as pop.
Jacobson谈到了他开始使用的歌曲创作模式，他坚信这种模式将使电子音乐走向成熟，并充分发挥其作为流行音乐的潜力。
Back in the day, he had received a number of instrumentals from a producer, demos that he played for artists and then asked which song they would like to sing on. The beat had always come first, the topline melody and the lyrics had been an afterthought.
以前，他曾从一位制作人那里收到过一些乐器伴奏的小样，他为艺术家们播放这些小样，然后询问他们想在哪首歌曲中演唱。节拍总是第一位的，旋律和歌词都是事后才想到的。
But because the production of a song – how the instruments sounded sonically – was so timebound, many house tracks had quickly become dated. A soundscape that was cool one summer could already feel painfully dorky the following year. Very few eternal classics had been produced in this way.
但是由于歌曲的制作——乐器的声音效果——具有很强的时效性，许多浩室音乐很快就过时了。前一年夏天还很酷的音效，到了第二年就会让人觉得非常乏味。几乎没有永恒的经典作品是用这种方式制作出来的。
Neil Jacobson got the idea for changing the process from Will.i.am, producer of the group Black Eyed Peas. Jacobson had been the sounding board for the group three years earlier, when they sold platinum around the world alongside David Guetta, so Jacobson had seen the producer at work. Will.i.am wrote the melodies of the songs on his guitar. Only when the foundation was ready did he enter the sketch into the computer and start building the electronic costume around his stripped-down demo. In a way, he did a remix of his own acoustic song.
Black Eyed Peas团队的制作人Will.i.am激发了Neil Jacobson想要改变制作流程的想法。三年前Jacobson是该乐队的传声筒，当时他们与David Guetta一起在全球销售白金唱片，因此Jacobson见识过这位制作人的工作。Will.i.am用吉他谱写了歌曲的旋律。只有在基础部分准备好后，他才将草图输入电脑，并开始在简化版演示录音的基础上建立电子外壳。在某种程度上，他对自己的原声歌曲进行了混音。
Tim Bergling listened intently. Neil put into words the philosophy he himself was already following. It was exactly this that had made the collaboration with Salem and Vincent so much fun – that the melodies, the beating heart of the songs, were at the centre.
Tim Bergling认真倾听。Neil用语言表达了他自己一直遵循的理念。正是因为这一点，Tim与Salem和Vincent的合作才如此有趣——旋律，歌曲跳动的心脏，才是中心。
This was exactly how he wanted to work.
这正是他想要的工作方式。
Neil had now gone so far as to ask all songwriters who contacted him to remove the rhythmic instruments completely from their sketches. The song should flow regardless of which production they would later choose to put on it. He had his computer full of such demos, which he called backwards songs.
Neil现在甚至要求所有与他联系的词曲作者在草图中完全去掉节奏乐器。无论他们以后选择哪种制作方式，歌曲都应该流畅。他的电脑里有很多这样的小样，他称之为 "反向歌曲"。
‘Think about how it’s done in Hollywood,’ he said. ‘Millions of dollars are spent to create a very specific screenplay before any other decisions are made. You see, without that fantastic groundwork there’s no great movie, no matter how many tricks you’re able to pull later on in the production.’
“想想好莱坞的做法吧，”他说，“在做出任何其他决定之前，要花费数百万美元来创作一个非常具体的剧本。你看，如果没有这些极好的的基础工作，无论你在制作的后期能施展多少花招，也不会创作出伟大的电影。”
Jacobson noticed that film enthusiast Tim Bergling liked the analogy.
Jacobson注意到电影爱好者Tim Bergling喜欢这个比喻。
‘You are the director. But we have to be careful which screenplays we choose.’
“你是导演，但是我们必须谨慎选择剧本。”
Tim already knew who he wanted to try this method with. ‘I wanna work with Paul Simon,’ he said. ‘And Stevie Wonder.’
Tim已经知道他想要尝试这种方法的人选了。“我想和Paul Simon一起合作，”他说，“还有Stevie Wonder。”
When they parted ways, Neil Jacobson tried to digest what Tim had actually said. Jacobson had been in the business for a long time by now, but the suggestions for collaborators still left him astonished.
当他们分别时，Neil Jacobso试图消化Tim究竟说了些什么。Jacobson在这一行已经干了很长时间了，但关于合作者的建议还是让他大吃一惊。
So far, the European house scene had grown properly within the box: Swedish House Mafia had worked with Pharrell Williams, Calvin Harris with Rihanna, David Guetta with the Black Eyed Peas. Sure, those were collaborations across unspoken borders – from the club towards the slick pop world, from Europe to the USA – but they were still ties between colleagues who were contemporaries.
到目前为止，欧洲的电子舞曲圈子一直在盒子里茁壮成长：瑞典浩室黑手党与Pharrell Williams合作，Calvin Harris与Rihanna合作，David Guetta与Black Eyed Peas合作。当然，这些都是跨越无声的边界的合作——从俱乐部到流行音乐世界，从欧洲到美国——但是仍然局限于同行之间的联系。
Tim had wanted musicians like Paul Simon, a legend who made smart ballads in the 60s. Did Simon even know what house music was?
Tim想要Paul Simon这样的音乐人，他是60年代制作时髦的抒情歌曲的传奇人物。Simon知道什么是浩室音乐吗？
The other requests Tim had made were not easy either.
Tim提出的其他请求也同样不容易。
Mick Jagger said no; Van Morrison’s representatives were vague in their answer, giving a kind of half maybe. Neil didn’t even manage to get in touch with Slash, the guitarist in the hard rock band Guns N’ Roses. Nor with Stevie Wonder or Sting.
Mick Jagger说不行；Van Morrison的代表们的回答含糊，有点可能；Neil甚至没能联系上硬摇滚乐队Guns N’ Roses的吉他手Slash，也没能联系上Stevie Wonder或Sting。
It was not particularly difficult to understand. Avicii certainly was on a fantastic run right now – ‘I Could Be The One’, a song he had done with Dutch producer Nicky Romero, had just gone straight to number one on the UK singles chart. But why would a rock veteran like John Fogerty care about that? For these contented men, whose career peaks were at least twenty years behind them, Avicii was at best an obscure Swede with a summer hit.
这并不难理解。Avicii现在无疑是如日中天——他与荷兰制作人Nicky Romero合作的歌曲I Could Be The One刚刚在英国单曲榜上直接登顶。但是像John Fogerty这样的摇滚老将为什么会关心这个呢？对于这些已经过了职业生涯巅峰至少二十年并且心满意足的男人们来说，Avicii顶多只是一个拥有夏日热单的默默无闻的瑞典人。
It was therefore on a pure whim that Neil Jacobson asked another old-timer. They were on the fourteenth hole of the Bel-Air Country Club golf course. Neil’s playing partner for the day was a seventy-year-old from Texas, an idol of Jacobson. In the late 60s, Mac Davis had helped Elvis Presley reboot his career by writing the songs ‘A Little Less Conversation’ and ‘In The Ghetto’ for the star. After that, Davis had had his own career as a country musician, became a movie star and performed in musicals on Broadway. He wrote low-key lyrics about love and heartbreak, and Neil Jacobson thought that Mac Davis, in addition to having a short game that was impressive for his age, was one of the great songwriters in the country.
因此，Neil Jacobson纯属一时兴起，询问了另一位老前辈。当时他们正在比尔艾尔乡村俱乐部高尔夫球场的第十四球洞。Neil当天的打球搭档是一位来自德克萨斯州的七十岁老人，是Jacobson的偶像。在60年代末，Mac Davis通过为明星献唱A Little Less Conversation和In The Ghetto等歌曲，帮助Elvis Presley重振事业。此后，Davis开始了自己的乡村音乐生涯，成为了一名电影明星，并在百老汇音乐剧中演出。他用低调的歌词描写爱情和心碎，Neil Jacobson认为Mac Davis除了拥有在他这个年龄段令人印象深刻的短打技巧之外，还是美国最伟大的词曲作者之一。
‘By the way, Mac,’ Neil said just before teeing up, ‘how would you like to work with Avicii?’
“顺便问一下，Mac，”Neil在准备挥杆前说道，“你想和Avicii合作吗？”
‘Well, I don’t know. Who’s that?’
“我不知道 那是谁？”
‘A young guy making electronic music.’
“一个制作电子音乐的年轻人。”
Mac Davis looked at his younger friend in disbelief. Davis was a troubadour, a storyteller, a man who could spend days finding the right rhythm of a rhyme. Although his sons liked that hectic dance music, it hardly seemed to focus on the lyrics.
Mac Davis难以置信地看着他那位年轻的朋友。Davis是一位吟游诗人，一个讲故事的人，他可以花费数日时间找到正确的韵律。虽然他的儿子们喜欢那种狂热的舞曲，但似乎很少关注歌词。
‘Hey listen,’ said Jacobson, ‘this guy is twenty-three years old and made a boatload of money last year.’
“嘿，听着，”Jacobson说，“这个家伙才23岁，去年就赚了一大笔钱。”
‘Okay,’ laughed Mac Davis. ‘Why not?’
“好吧，”Mac Davis笑着说，“为什么不呢？'
Universal had its own recording studios in Santa Monica. Neil Jacobson showed the way to a room with dim lighting and a pair of deep leather sofas. On the floor was a thick Persian rug, by one of the walls stood the mixing table that Dr. Dre used when he completed The Chronic, one of the greatest hip-hop albums ever.
环球唱片公司在圣莫尼卡拥有自己的录音室。Neil Jacobson带路来到一个昏暗的房间，里面有一对深色皮沙发。地上铺着一条厚重的波斯地毯，靠着一面墙放着混音台，这正是Dr. Dre在完成The Chronic这张伟大的嘻哈专辑时所使用的。
Jacobson introduced the veteran and the newcomer to each other before Mac Davis picked up his dark brown guitar and started singing ‘Black And Blue’, a sketch he already had, about a man who woke up hungover and heartbroken in his hotel room.
Jacobson把老手和新手介绍给彼此认识，然后Mac Davis拿起他那把深棕色吉他，唱起了Black And Blue这首歌，这是他之前创作的一个草稿，关于一个男人在旅馆房间里醒来，宿醉和心碎。
Tim Bergling listened with delight. He had received so many suggestions for lyrics in recent years that were full of breasts, buttocks and strippers. This was something completely different. Although this story was also about love and lust, it was characterised by bitter-sweet realism.
Tim Bergling听得很高兴。近年来，他收到了许多歌词建议，这些建议充满了乳房、臀部和脱衣舞娘。而这是完全不同的东西。虽然这个故事也是关于爱和欲望，但它充满了苦涩的现实主义。
Mac Davis went on. He lowered the next demo a key, from D to C, to be able to play the melody faster and gradually build up to the higher notes. He had understood that this was how it would sound in this genre.
Mac Davis继续演唱。他将下一个试听的曲调从D调降到C调，以便更快地演奏旋律，并逐渐逼近高音。他明白这就是这种音乐风格的特点。
The second ballad he had named ‘Addicted To You’. This too was a love story, of a person almost blinded by passion.
他取名为Addicted To You的第二首歌曲也是一个爱情故事，讲述了一个几乎被激情冲昏头脑的人。
Tim entered the guitar sound into his computer and put on his headphones. He was working fast now, his fingers flying over the keys. Mac Davis was sitting behind Tim’s back and saw his face reflected in the blue light of the screen.
Tim将吉他声音输入电脑并戴上了耳机。他现在工作得很快，手指飞快地在键盘上敲击。Mac Davis坐在Tim的背后，看到自己的脸在屏幕的蓝光中的倒影。
After twenty minutes, the Swede took off his headphones and turned around.
二十分钟后，这位瑞典人摘下了耳机并转过身来。
‘What do you think?’
“你觉得怎么样？”
From the speakers rippled music that sounded like a whole orchestra.
扬声器里传出阵阵乐声，仿佛是一整个交响乐团在演奏。
Not even by Elvis Presley had Mac Davis been so enchanted.
就连猫王Elvis Presley都没有让Mac Davis如此陶醉。
Tim and Emily had rented a house in The Bird Streets, the area in Hollywood’s steep mountains where all the streets were named after little birds: nightingales, thrushes, orioles, larks and swallows.
Tim和Emily在鸟街租了一栋房子，那里位于好莱坞陡峭的山区，所有街道的名字都是以小鸟命名的：夜莺、画眉鸟、朱莺、云雀和燕子。
Just a few minutes away from the noise down on Sunset Boulevard was a completely different world. Up here the blocks were closed off, the plots rested hidden behind eucalyptus trees and hedges. If, on the other hand, you entered one of the houses, the whole of Los Angeles unfolded before your eyes.
日落大道的喧闹与这里只有几分钟的距离，但这里是一个完全不同的世界。街区被封闭，地块隐藏在桉树和树篱后面。然而，如果你走进其中一栋房子，整个洛杉矶就会展现在你的眼前。
It was fucking mode.
这他妈的棒极了。
The owners of the house they rented were Cameron and Tyler Winklevoss, a pair of twins who early on had co-operated with Facebook founder Mark Zuckerberg, only to be outmanoeuvred. At least that’s how the story was told in the film that Tim had seen about the drama. The twins were fans, had asked Tim for lessons in the art of being a DJ.
他们租住的房子的主人是Cameron和Tyler Winklevoss，这对双胞胎早年曾与Facebook创始人Mark Zuckerberg合作，但最终被挤出。至少在Tim看过的关于这个故事的电影中是这样说的。这对双胞胎是Tim的粉丝，曾向他请教如何成为一名DJ。
Now Tim was sitting with Bear curled up next to him on the sofa. He had become extremely attached to the dog, who followed him everywhere he went when he was at home.
现在，Tim正坐在沙发上，Bear紧贴在他身边。他非常喜欢这只狗，当他在家的时候，他走到哪里，这只狗就跟到哪里。
Tim wrote an email to Vincent Pontare. ‘Just did this with Mac Davis,’ he said, attaching the song about the newly dumped man in the hotel room. ‘Thought about us IMMEDIATELY, those times we sat and tried to come up with lyrics etc. This guy is a fucking genius as a lyricist!’
Tim给Vincent Pontare写了一封邮件，附上了一首关于被甩男子在旅馆房间里的歌曲，称：“我刚和Mac Davis合作完成了这首歌，一想到我们曾经一起坐着试图创作歌词的时光，我就立刻想到了你。这家伙真他妈是个作词天才！”
Workwise, it was a treat to be in Los Angeles. Everyone was here, and the new acquaintance Neil Jacobson had already organised a meeting with childhood idol Mike Shinoda of Linkin Park while Arash had arranged for disco hero Nile Rodgers to be involved in the recordings. Even though most of the rock legends seemed to say no, it felt as if things were on the move.
在工作方面，来到洛杉矶是一种享受。所有的人都在这里，新认识的Neil Jacobson已经组织了一次与童年偶像、林肯公园乐队的Mike Shinoda的会面，而Arash则安排迪斯科英雄Nile Rodgers参与录音。尽管大多数摇滚传奇人物似乎都拒绝了，但感觉事情似乎正在进展中。
This was exactly what Tim wanted to do: be in the same room as other talented people, get ideas and energy on the spot.
这正是Tim想要做的：与其他才华横溢的人共处一室，当场获得灵感和能量。
‘Damn what fucking mode it is here in LA!!’ he summarised for Vincent. ‘So fucking much talent, have been in the studio for like 12h per day! Shiiiit would have been so much fun if you all had been here too – we could have done some sick stuff then!’
“操，洛杉矶是什么圣地啊！！”他向Vincent总结道。“这里有太他妈多的才华了，每天在工作室待12个小时！该死的，如果你们都在这里的话，那就太有趣了——我们本可以做些疯狂的东西！”
Another one of Neil Jacobson’s golf buddies was Mike Einziger. The thirty-six-year-old was the guitarist in Incubus, a rock band that around the turn of the millennium had triumphed with Californian punk mixed with metal and funk. Bare-chested and pierced like their contemporaries Korn, Slipknot and Limp Bizkit, Incubus had become big teen idols with music that was not always easy to categorise – but a house musician was probably the last thing Mike Einziger was.
Neil Jacobson的另一个高尔夫球友是Mike Einziger。这位三十六岁的年轻人是Incubus乐队的吉他手，该乐队在千禧年之交以加利福尼亚朋克与金属和放克结合的音乐风格取得了成功。和同时期的Korn、Slipknot和Limp Bizkit乐队一样，Incubus乐队赤膊上阵、打着耳洞，他们的音乐并不容易归类，但是Mike Einziger最不可能成为一名浩室音乐家。
He nevertheless said yes immediately when Jacobson asked. It was always worth trying out new creative paths.
然而，当Jacobson问他时，他立即答应了。尝试新的创意道路总是值得的。
Tim took an Uber out to the guitarist’s house in Malibu and was taken aback that someone could have such a complete studio in his own home. Mixing tables, keyboards, guitars, everything you would need was there. But Einziger was not the only musician in the household – his fiancée Ann Marie Calhoun was a renowned violinist who during her upbringing in rural Virginia had played violin and banjo in her family’s country band. It just so happened that a few months later, in February 2013, the couple would perform at a gala celebrating bluegrass, the folk music that emerged in the meeting between American blues and joyous Irish fiddle playing. Einziger was rehearsing traditional songs such as ‘Whiskey Before Breakfast’ and ‘Groundspeed’, and had realised how challenging the music was. Bluegrass required a different attack on the strings than he was used to, and would need to be played both quickly and cleanly.
Tim坐Uber前往马里布的吉他手家，他大吃一惊，没想到有人能在自己家里拥有如此完备的工作室。混音台、键盘、吉他，所有你需要的东西都在那里。但是Einziger并不是这个家庭中唯一的音乐家——他的未婚妻Ann Marie Calhoun是一位著名的小提琴家，在弗吉尼亚州农村长大的她曾在家庭乡村乐队中演奏小提琴和班卓琴。恰好几个月后，也就是2013年2月，这对夫妇将在庆祝蓝草音乐（一种美国布鲁斯和欢快的爱尔兰小提琴演奏相遇后产生的民间音乐）的晚会上表演。Einziger正在排练传统歌曲，如Whiskey Before Breakfast和Groundspeed，并意识到这种音乐是多么具有挑战性。蓝草音乐对琴弦弹奏方式的要求与他习惯的不同，需要演奏得既快速又干净利落。
He hadn’t strummed his guitar for long before Tim pointed out a chord progression he liked.
他还没弹多久吉他，Tim就指出了他喜欢的和弦进行。
‘Oh! Keep playing that!’
“哦！继续弹！”
Then the blocks were dancing up and down in Tim’s computer, and Einziger was wondering what his guest was doing with a particularly screaming synth sound that he smeared all over the various parts. It did not sound elegant at all, just rough and annoying.
然后，砖块在Tim的电脑里上下舞动，Einziger好奇他的客人在做什么，他把一种尖叫的合成器声音涂抹在各个部分上。它听起来一点也不优雅，只是粗糙而烦人。
Tim explained that he was drawing how the vocal melody would fit. Mike had never seen anything like it. When they wrote songs in his band, the singing itself was always more loosely defined than the actual melody – the vocalist rather came up with a rough idea of the melody and went into the recording booth making his own interpretation.
Tim解释说他在画出人声旋律的配合方式。Mike从未见过这样的情况。在他的乐队里写歌时，歌唱总是比旋律更加自由，歌手只是提出了大致的旋律想法，然后进入录音间进行自己的演绎。
Tim was much more precise, wanted every eighth note to be already determined in the sketch. It was as if he could see the whole song in his head and just needed to draw it for himself.
Tim则更加精确，他希望每个八分音符都已经在草图中确定。就好像他能在脑海中看到整首歌曲，只需要自己画出来。
A few days earlier, Tim had first met Aloe Blacc, a singer who belonged to the Los Angeles alternative hip-hop scene and had a minor hit with his song ‘I Need A Dollar’, which was the theme song for a TV series. Tim thought that Aloe Blacc’s dark voice would give the song a splash of soul and got in touch with him.
几天前，Tim第一次与Aloe Blacc见面，他是洛杉矶另类嘻哈音乐圈子的歌手，曾以一首I Need A Dollar小红了一把，这首歌是一部电视剧的主题曲。Tim认为Aloe Blacc深沉的嗓音会给这首歌增添一抹灵魂，于是便与他取得了联系。
Aloe immediately got in his car and drove out to the coast. He arrived well prepared, with sketches of lyrics that he had recently scribbled down during a flight. Together they found some particularly beautiful stanzas that could be built on:
Aloe立刻驱车前往海岸。他有备而来，带着最近在飞行途中潦草写下的歌词草稿。他们一起找到了一些特别美丽的诗句，可以进行改进：
So wake me up when it’s all over
当一切都结束时，请叫醒我。
when I’m wiser and I’m older
当我更明智和年长时
all this time I was finding myself
我曾经一直在寻找自己。
and I did not know I was lost
而我竟在不知不觉中迷失了自我。
Tim motioned with his hand how he wanted Aloe to sing. Pointing up and down with his finger until it sat perfectly. It was quite funny really: a metal guitarist making bluegrass with a soul guy who was shown exactly how he should do it by a house DJ.
Tim用手示意Aloe该如何唱歌。他用手指上下指向，直到Aloe唱得完美无缺。这真的很有趣：一位金属吉他手和一位灵魂歌手合作演奏蓝草音乐，而这位歌手还是由一位电子舞曲DJ亲自指导的。
Around midnight, eight hours after they had met, Tim left Malibu and went home to Emily and the dog. In the taxi, he continued to work with his computer in his lap, already knowing that ‘Wake Me Up’ would be a world hit. There was no doubt about that.
午夜时分，也就是他们见面八小时后，Tim离开了马里布，回到Emily和狗的身边。在出租车上，他把电脑放在腿上继续工作，他已经知道Wake Me Up将会风靡全球。这一点毋庸置疑。
*
The song ‘Hey Brother’, on the other hand, had been lacking a singer for a while. It was Nick Groff, a colleague of Neil Jacobson, who by chance found the man who would do the song justice. To find Tim’s demo in his computer, he typed in the keyword ‘brother’ and then got the soundtrack to the comedy O Brother, Where Art Thou? People in general didn’t know about the musician Dan Tyminski, but many recognised his voice – it was him who in the film gave voice to George Clooney’s character when he sang ‘I’m A Man Of Constant Sorrow’, a song that had become a big hit on American radio. Dan Tyminski was a well-respected bluegrass musician, whose full tenor voice was perfect for Tim’s song.
在另一边，歌曲Hey Brother一直缺少一位歌手。Neil Jacobson的同事Nick Groff偶然发现了能完美演绎这首歌的人。为了在电脑中找到Tim的小样，他输入了关键词brother，然后得到了喜剧电影《O Brother, Where Art Thou》的原声带。一般人并不知道音乐家Dan Tyminski，但许多人认出了他的声音——在电影中，他为George Clooney的角色献声，演唱了I’m A Man Of Constant Sorrow，这首歌曲在美国广播电台上大受欢迎。Dan Tyminski是一位备受尊敬的蓝草音乐家，他的全音男高音完美地演绎了Tim的歌曲。
Tim began to realise that he might not need the biggest of stars – so far there had been even more surprises and excitement together with the slightly odd names, the ones you needed to be in the industry to know.
Tim开始意识到他可能并不需要最出名的明星——迄今为止，与那些略显奇怪的名字合作带来了给他更多的惊喜和兴奋，这是需要在音乐行业中才能知道的。
One restless night, he randomly emailed Neil Jacobson.
一个不眠之夜，他随意地给Neil Jacobson发了一封电子邮件。
‘U think anyone’s up for a session tonight?’
“你认为今晚有谁可以参加会议吗？”
Neil’s colleague Nick thought of a singer from Oklahoma whom he had met some years earlier. She had played her latest project, updated folk songs accompanied by a stomping orchestra. It had hardly been anything for the radio, but her warm voice had remained in his memory.
Neil的同事尼克想起了几年前他曾结识过一位来自俄克拉荷马州的歌手。她演唱了最新的项目，由管弦乐团伴奏的最新民歌。这首歌几乎不适合在广播中播放，但她温暖的歌声一直留在他的记忆中。
When the record company called, Audra Mae was sitting in the car, on her way to pick up her sister at the airport. But the conversation sounded too strange and interesting to ignore – make some dance music with a Swedish DJ? Now, right now?
当唱片公司打来电话时，Audra Mae坐在车里，准备去机场接她的妹妹。但是这次谈话听起来太奇怪、太有趣了，她无法忽视——和一位瑞典DJ一起制作一些舞曲？现在，就是现在？
When Audra arrived in Santa Monica, she and this tobacco-chewing Swede started talking about blues music. Audra Mae was mesmerised by a documentary she had just seen about the mysterious singer Robert Johnson. According to legend, he had sold his soul to the devil to be able to play the guitar sharper than anyone else. While Audra was sketching lyrics about Johnson’s fateful pact, Tim began working on a melody based on ‘Take Five’, a jazz song that, when written in 1959, had caused a stir because it went in a particularly complicated musical meter. It was one of his dad’s favourites.
当Audra抵达圣莫尼卡时，她和这个嚼着烟草的瑞典人开始谈论蓝调音乐。Audra Mae被她刚看过的一部关于神秘歌手Robert Johnson的纪录片所吸引。据传说，他曾经把灵魂出卖给魔鬼，以便比任何人都能弹得好吉他。当Audra在勾勒有关Johnson命运的歌词时，Tim开始创作一段基于Take Five的旋律，这首写于1959年的爵士乐歌曲曾引起轰动，因为它采用了一种特别复杂的音乐节拍。这是他父亲最喜欢的歌曲之一。
‘Man, I wish we had a trumpet or saxophone player here,’ said Tim. ‘I could ask if Neil would be able to find somebody.’
“伙计，我希望我们这里能有一个小号或萨克斯管手，”Tim说，“我可以问Neil能否找到人。”
‘What if we whistle it?’ Audra asked as she sat sunk in the brown leather sofa in the studio. ‘Or you know, I brought my kazoo, if you wanna try that?’
“要不我们吹出来吧？”Audra坐在工作室的棕色皮沙发上说道，“或者，如果你想试试的话，我还带了我的卡祖笛？”
Audra Mae pulled out a wind instrument from her purse. It looked like a very small flute and fitted in the palm of your hand. Tim laughed when he heard the nasal sound that came as Audra blew into it. But why not? There was something enticing in the simplicity of the instrument; it felt like something that belonged by a campfire one late night.
Audra Mae从她的手提包里拿出了一件吹奏乐器。它看起来像一支非常小的长笛，可以放在手掌心里。当Audra吹奏出那种鼻音时，Tim笑了。但为什么不呢？这种乐器的简单性有一种诱人的魅力；它像是属于在深夜篝火旁演奏的乐器。
‘Long Road To Hell’ became the first song Tim and Audra did together, but not the last. Tim asked Audra to sing the vocals on Mac Davis’s ‘Addicted To You’ and thought that she had exactly the voice he had been looking for. Adele may have been the immediate reference, but it was that underlying stuff that made Tim interested. In his ears, Audra had the bite and attack of Nina Simone or Etta James, voices he heard echoing on Linnégatan during his childhood.
Long Road To Hell成为了Tim和Audra一起创作的第一首歌，但并不是最后一首。Tim邀请Audra为Mac Davis的Addicted To You献唱，并且觉得她的嗓音正是他一直在寻找的。Adele可能是他最初的参考，但让Tim感兴趣的是Audra的潜质。在他听来，Audra的嗓音有着Nina Simone或Etta James的咬合和攻击力，这些声音在他童年时代的林内街上空回荡。
‘Listen to her voice, ohhhh mannnnnnn brooooooo,’ he wrote to Arash. ‘You get goosebumps when she starts vibing. Listen to the second chorus, it’s totally sick.’
“听她的声音，天哪兄弟，”他写给Arash，“当她开始发挥时，你会起鸡皮疙瘩。听第二段副歌，简直太棒了。”
