搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：Lynn Liu

審譯：Joonly EC

排版：Ryan-Chopin

Talk to enough clubbers, or look at enough DJ charts, and you may get the sense that big anthems have been scarce in house and techno this year. It’s hard to say why; perhaps it has to do with the steady fragmentation of scenes and niches. Maybe there’s just so much music being pumped out that it’s becoming harder for any one song to generate a consensus. One song that bucks the trend is?Overmono’s “Le Tigre,” a twinkling, understated breakbeat number that turns surprisingly hefty when played loud. Released just a few weeks ago, it’s been getting played by DJs like Four Tet, Ben UFO, Gilles Peterson, and Daniel Avery. Now Overmono—the duo of?Tessela?and?Truss, aka brothers Ed and Tom Russell—might have an even bigger crowd-pleaser on their hands in the form of “Bromley,” a collaboration with?Joy Orbison.

如果你和足夠多的俱樂部會(huì)員交流過，或是看了很多的DJ排行榜，你可能會(huì)有這樣一種感覺：今年，在house和techno這兩種音樂風(fēng)格中，大牌舞曲已經(jīng)很少見了，這很難解釋緣由；也許這與風(fēng)格、品味的細(xì)化有關(guān)。也許也因?yàn)榇罅康囊魳酚咳胧袌?chǎng)，以至于很難有一首歌讓大家都產(chǎn)生共鳴。Overmono的“Le Tigre”是一首反潮流的歌曲，也是一首閃爍、低調(diào)的霹靂舞歌曲，如果放得太大聲，它會(huì)變得非常沉重。這首歌發(fā)行于幾周前，已經(jīng)有四位DJ表演過了——Tet、Ben UFO、Gilles Peterson和Daniel Avery。現(xiàn)在，Tessela和Truss二人，又稱為Ed Russell& Tom Russell兄弟，他們?cè)凇癇romley”中與Joy Orbison的合作，可能獲得更大的成功。

Like “Le Tigre,” “Bromley” is something of a wolf in sheep’s clothing. It’s tougher and more percussive than its?predecessor, but for a long stretch of runway, it unrolls without much fanfare, lacking climactic moments or even much in the way of distinguishing characteristics. That all changes at 3:43, as the beat drops out and an unbidden voice breaks through. The vocal sample—something like “Say it, yeah”—is garbled, tripping over its final syllable like a stuck CD, but the words themselves are hardly the point; it’s all about the energy that falsetto cry brings to the song, and the hole it leaves as it falls silent once again, gone as unexpectedly as it appeared.

和“Le Tigre”一樣，“Bromley”有點(diǎn)像披著羊皮的狼。與前者相比，它更強(qiáng)硬、更有沖擊力，但在長(zhǎng)達(dá)快7分鐘的音樂中，它展開時(shí)沒有多少聲勢(shì)，沒有高潮，甚至沒有很多鮮明特色。這一切都在3點(diǎn)43分發(fā)生了變化，隨著節(jié)奏的減弱，一個(gè)突兀的聲音突然響起。人聲采樣——“Say it, yeah”——雖然聽起來有些混亂、雖然它在最后一個(gè)音節(jié)上搖擺，就像一張卡主的cd，但這些詞本身并不是重點(diǎn)，這一切都是假聲吶喊帶給這首歌的能量，以及它在再次陷入沉默時(shí)所留下的空洞，它的消失如同它的出現(xiàn)一樣出乎意料。

The vocal lick returns a handful of times, and somehow it remains almost as startling. Each time it disappears, the drums proceed as though nothing had happened, leaving you with the weird sensation that maybe you imagined the whole thing. It’s less a riff than a collective hallucination, and it’s precisely that ability to conjure a roomful of wonder that makes it the tentpole tune the season needed.

這種聲音反復(fù)出現(xiàn)了幾次，但不知為何，它仍然幾乎讓人驚訝。每次它消失時(shí)，鼓點(diǎn)就像無事發(fā)生一樣的進(jìn)行著，留給你一種奇怪的感覺，仿佛一切都是你想象出來的。與其說是重復(fù)樂段，不如說它是一種集體幻覺，而正是這種創(chuàng)造眾多奇跡的能力，讓它成為本季所需的最佳單曲。