Pitchfork Best New Album Fever Ray Radical Romantics 乐评&翻译

Karin Dreijer’s richly detailed third album renders the search for love as something both sensual and alien.

Karin Dreijer的第三张专辑内容丰富，将寻找爱情的过程演绎得既感性又陌生。

Listen toFever Ray and learn to recognize the unrecognizable. On one of their new songs, “Looking for a Ghost,” Karin Dreijer plunks out a tune inspired by Henry Mancini’s “Baby Elephant Walk,” stacking calliope synths behind the berserk couplet “eating out/like cannibal” and a Bob Marley quote. Then this horny little collage of references slowly assumes shape: In their slyly sincere way, Dreijer is writing a personals ad. “Looking for a person/With a special kind of smile,” it reads. “Teeth like razors/Fingers like spice.” You know, someone who gives you thattingle. Lisbon producerNídia fits them with a corkscrewing synth and a beat that lurches and jingles. “Looking for a ghost in the midst of life,” Dreijer says, which could almost be a literal complaint about queer dating in one’s forties, and then they wink: “Asking for a friend/Who’s kind of shy.”

听听Fever Ray的歌，并学会辨认那些无法辨认的东西。在他们的一首新歌 "寻找一个幽灵 "中，Karin Dreijer敲出了一首灵感来自Henry Mancini的 "Baby Elephant Walk "的曲子，在 "吃掉/像食人族 "的狂暴对句和Bob Marley的一句话后面堆积了卡里欧合成器。然后，这个骚气的小拼贴的参考资料慢慢成形。以他们狡猾的真诚方式，Dreijer正在写一则交友广告。"寻找一个人/有一种特殊的微笑，"它写道。"牙齿像剃刀/手指像香料"。你知道，一个能让你感到兴奋的人。里斯本的制作人Nídiafits用开瓶器的合成器和一个摇摆不定的节拍为他们配音。"在生活中寻找一个幽灵，"Dreijer说，这几乎可以说是对四十多岁的酷儿群体约会的真实抱怨，他们眨眼。"寻找一个朋友/他有点害羞"。

Shy or not, we’ve come to know Dreijer better since their days as a shadowy beaked figure alongside their brother Olof in the heady electronic project the Knife. As Fever Ray, they make synth-pop with mucous membrane and muscle memory, writing songs that throw off unlikely hooks (“mustn’t hurry”) and chart new orbital paths around large pop structures. With a title like a college seminar and Dreijer’s signature blend of kink and theory, Radical Romantics is essentially a collection of notes on love. Love—whether sexy, overwhelming, or vengeful—links together the recurring motivations of the Fever Ray catalog: curiosity and exploration, family born and chosen, sexual freedom and pleasure. In the past, perhaps, they have sung about love as something vague and unknowable. Now they go looking.

害羞与否，自从与兄弟Olof一起在令人激动的电子项目the Knife中担任朦胧的喙形人物以来，我们对Dreijer有了更多的了解。作为Fever Ray，他们用粘膜和肌肉记忆制作合成器流行音乐，写出了一些不太可能的钩子（"一定不要着急"），并在大型流行结构周围绘制了新的轨道路径。有一个像大学研讨会一样的标题和Dreijer标志性的怪癖和理论的融合，Radical Romantics本质上是一个关于爱的笔记集。爱--无论是性感的、压倒性的还是报复性的--将Fever Ray目录中反复出现的动机联系在一起：好奇心和探索，出生和选择的家庭，性自由和快乐。也许在过去，他们把爱唱成了模糊的、不可知的东西。现在他们去寻找。

In the run-up to 2017’s vivid and lustfulPlunge, Dreijer talked about their dating experiments with candor that came as a surprise. “I’ve been on Tinder,” theysaid then, presumably with a glint in their eye.Plungewas no stranger to love but also called it “the final puzzle piece.” Anybody will tell you that to find it, first you must look within. Like many, Dreijer shifted their priorities during the pandemic, sayingrecently that the past few years provided them space to practice patience. In a modern culture that promotes love as instant gratification—keep swiping—Fever Ray now search elsewhere. Referencing bell hooks’ influentialAll About Love andGift From the Sea, Anne Morrow Lindbergh’s 1955 spiritual bestseller, Dreijer is on an inner quest through a region of adult heartache that’s less often explored.

在2017年生动而充满欲望的《Plunge》之前，Dreijer谈到了他们的约会实验，其坦率程度让人吃惊。"我上过Tinder（类似探探的app)，"他们当时说，大概是眼里闪着光。Plunge对爱情并不陌生，但也称其为 "最后一块拼图"。任何人都会告诉你，要找到它，首先你必须向内寻找。像许多人一样，她在大流行期间转移了他们的优先事项，最近说，过去几年为他们提供了练习耐心的空间。在一个提倡爱是即时满足的现代文化中--继续打卡--同时Fever Ray现在在其他地方寻找爱情。参考贝尔-霍克斯有影响力的《关于爱的一切》和安妮-莫罗-林德伯格1955年的精神畅销书《来自大海的礼物》，Dreijer正在通过成人心痛的区域进行内心的探索，而这一探索并不常见。

There are a typically savvy collection of collaborators: Along with Nídia on “Looking for a Ghost,” there’s Olof, whose sorcerous trap doors turn the album’s first four tracks into an unofficial and much-anticipated Knife reunion; English producer Vessel, on the standout “Carbon Dioxide”; Aasthma, the production duo of Peder Mannerfelt and Pär Grindvik, on “Tapping Fingers”; and Trent Reznor and Atticus Ross, whose creeping industrial groans give Dreijer’s reality the weird thrill of fiction. The baleful mood kicks in on “Even It Out,” a small act of cosmic reckoning: “This is for Zacharias/Who bullied my kid in high school/There’s no room for you/And we know where you live!” Dreijer yowls. Where Lydia Tár stoops, Dreijer stands. “I do things methodically,” they sneer, slicing up the word as implied violence: “M-m-m-m-m-methodically.”

有一个典型的精明的合作者的集合。除了《寻找幽灵》中的Nídia之外，还有Olof，他的魔法陷阱门将专辑的前四首曲目变成了非官方的、备受期待的Knife重聚；英国制作人Vessel，在突出的《二氧化碳》中。Aasthma，由Peder Mannerfelt和Pär Grindvik组成的制作组合，在 "Tapping Fingers "中；以及Trent Reznor和Atticus Ross，他们令人毛骨悚然的工业呻吟给Dreijer的现实带来了虚构的奇怪刺激。邪恶的情绪在 "Even It Out "中启动，这是一个小小的宇宙清算行为。"这是为了Zacharias/在高中欺负我的孩子/这里没有你的空间/我们知道你住在哪里！" Fever Ray大叫。在Lydia Tár弯腰的地方，Dreijer站着。"我做事有条不紊，"他们嗤之以鼻，把这个词切成了隐含的暴力。"M-m-m-m-m-m-m-m-m"。

Radical Romantics doesn’t have a line like Plunge’s “this country makes it hard to fuck.” It’s slipperier and often slower, working through problems that take longer to solve even as the sky darkens. “Did you hear what they call us?” Dreijer moans on opener “What They Call Us,” a song written from “a very queer perspective.” But we cannot hear the despicable words, only turn to one another anxiously for confirmation that we are not alone yet. Dreijer’s asphyxiating delivery implies danger—the silent alarm or the spreading cloud—but for the moment, love shields us and we proceed through a beat that licks like flames at the heel. Everywhere their words are full of the exquisite caution of experience, as on “Shiver,” where a high pitch shift seems to throw a question into the hands of its recipient: “Can I trust you?”

《激进的浪漫主义者》没有像普朗格的 "这个国家让人很难做爱 "这样的台词。它更滑稽，而且往往更慢，即使在天空变暗的情况下，也需要更长的时间来解决这些问题。"你听到他们怎么称呼我们了吗？" Dreijer在开篇的 "他们叫我们什么 "中呻吟，这首歌是从 "一个酷儿的角度 "写的。但我们无法听到这些卑鄙的话语，只能焦急地转向彼此，以确认我们还不孤独。Dreijer的窒息性表达暗示着危险--无声的警报或蔓延的云层--但在这一刻，爱为我们提供了保护，我们通过像火焰一样舔着脚跟的节拍前进。在任何地方，他们的话语都充满了经验的精致的谨慎，就像在 "颤抖 "中，一个高音调的转变似乎把一个问题扔到了接受者的手中。"我能信任你吗？"

Sometimes you cannot. Sometimes love is bad for you. Sometimes the fire is too hot and the glove melts at the touch. This is the love of obsession and distraction, like the whining mosquito voice that echoes Dreijer’s words on “Carbon Dioxide”: “Hy-y-y-per focus!” (Later they quote from 1 Corinthians 13, the memorable Bible passage on love: “If I speak in the tongues of men or of angels, but do not have love, I am only a resounding gong or a clanging cymbal.”) We’ll need new tools to survive, so on the eerie “New Utensils,” they supply practical knowledge of how to build a fire and then the secret techniques, stretching and squeezing like a bellows as they list some of the ways to make love: “Lips/Fists/A mouthful of words.” Love and fire are the two essential human inventions and where we’re going, we’ll need both.

有时你不能。有时爱对你不利。有时火太旺，手套一碰就化。这就是痴迷和分心的爱，就像 "二氧化碳 "上呼啸的蚊子声音，呼应着德莱杰的话。"Hy-y-per focus！" (后来他们引用了《哥林多前书》13章，那段令人难忘的关于爱的圣经。"我若用人的语言或天使的语言说话，却没有爱，我不过是一面响亮的锣或一个叮当的钹。") 我们需要新的工具来生存，所以在阴森的 "新器具 "中，他们提供了如何生火的实用知识，然后是秘密技术，像风箱一样拉伸和挤压，因为他们列出了一些做爱的方法。"嘴唇/拳头/一口话"。爱和火是人类的两项基本发明，而我们要去的地方，我们将需要这两项。

Love is patient but life is short. OnRadical Romantics, Dreijer uncovers fresh anxiety about aging and the passage of time, if only because they feel they have so much love left to give: “What if I die with this song inside?” The album concludes with a mystery called “Bottom of the Ocean,” one for the whales, seven minutes of vocal drip-drops and scraping synths that unfold at the mournful pace of underwater footage of theTitanic. Previous Fever Ray albums set such meditative passages somewhere in the middle, so the bookend placement feels somehow deathly. Love is partially unknowable; could it be out of reach? Or, asks Lindbergh inGift From the Sea, “Is it not possible that middle age can be looked upon as a period of second flowering, second growth, even a kind of second adolescence?” Here is love,vast as the ocean. Dreijer leaves us there, sinks down and out of sight as we come to rest in the ancestral womb of life, waiting to be born anew.

爱是耐心的，但生命是短暂的。在《激进的浪漫主义者》中，Dreijer发现了对衰老和时间流逝的新的焦虑，如果只是因为他们觉得自己还有那么多的爱可以给予。"如果我带着这首歌死去怎么办？" 这张专辑以一首名为 "海底 "的神秘歌曲结束，这是一首为鲸鱼准备的歌曲，7分钟的人声滴落和刮擦的合成器，以泰坦尼克号水下录像的哀伤节奏展开。以前的Fever Ray专辑将这种冥想的段落设置在中间的某个地方，所以这个书尾的位置让人感到某种程度的死亡。爱是部分不可知的；它可能是遥不可及的？或者，林德伯格在《海的礼物》中问道："难道中年不可能被看作是第二次开花、第二次成长的时期，甚至是一种第二次青春期？这里有爱，像海洋一样广阔。Fever Ray把我们留在那里，当我们在生命的祖先的子宫里休息时，沉入水中，看不见了，等待着新的诞生。