Pitchfork Best New Album Yves Tumor PALWCBWDNCOSHBW 乐评&翻译

The art-rock auteur’s latest album is a glistening, richly detailed world that feels like a culmination of their ever-escalating talent and ambition.

这个艺术摇滚自创者的最新专辑是一个闪闪发光、细节丰富的世界，感觉像是他们不断升级的才华和野心的顶峰。

Yves Tumor began their career in the low-ceilinged world of experimental noise, but from the outset, their yearning—for bigger stages, sweeping statements, limitless horizons—was palpable. “I only want to make hits,” they said with a laugh in 2017. “What else would I want to make?” Since signing to Warp, Yves Tumor has scaled upward so quickly that it sometimes seemed their own music was racing to contain their ambitions. As 2018’s darkly sensuous Safe in the Hands of Love gave way to the sex-god theatrics of 2020’s Heaven to a Tortured Mind, the only true constant was Tumor’s near-religious devotion to the possibilities of recording—for the careful placement of perfect sounds within implied space. For Tumor, headphone space is holy space, a sanctuary in which all sorts of transfigurations become possible.

伊夫-托莫尔 在低矮的实验噪音世界中开始了他们的职业生涯，但从一开始，他们对更大的舞台、全面的声明、无限的视野的渴望是可想而知的。他们说："我只想做热门歌曲"，他们在2017年笑着说。"那我还想做什么？" 自从与Warp签约以来，Yves Tumor的规模迅速扩大，以至于有时他们自己的音乐似乎在争先恐后地遏制他们的野心。正如2018年的黑暗感性的《安全在爱的手中》让位给2020年的《性神》的戏剧性。2020年的《天堂》（Heaven to a Tortured Mind）。唯一真正不变的是Tumor对录音的可能性近乎虔诚的奉献--在隐含的空间内仔细放置完美的声音。对Tumor来说，耳机空间是神圣的空间，是一个圣地，在这里所有的转变都成为可能。

With Praise a Lord Who Chews but Does Not Consume (Or Simply, Hot Between Worlds), Tumor reaches an inflection point in their arms race with their own talent and ambition. They’ve got Noah Goldstein on board, a one-time Kanye engineer who worked on My Beautiful Dark Twisted Fantasy, alongside Alan Moulder, one of the most celebrated architects of guitar sounds in rock history. From the sound of it, they’re pursuing an ecstatic fusion of alt-rock and R&B, seeking the mysterious nexus where Loveless meets Purple Rain. The guitars roar with jet engine propulsion, threatening to consume everything in their midst, a clear trademark of shoegaze pioneer Moulder, while Tumor’s doubled vocals ring out in an unmistakable echo of Prince. On “Operator,” Tumor even lets out the pained, wordless eros-yip—more feline than human, equally childlike and adult—that was one of Prince’s aural markers.

与 《赞美嚼而不咽的主（或简单地说，世界之间的热》乐队在与他们自己的才能和野心的军备竞赛中达到了一个拐点。他们已经有了Noah Goldstein的加入，一个曾经的kanye的设计师，他曾参与了我美丽的黑暗扭曲的幻想

他曾在《My Beautiful Dark Twisted Fantasy,》中担任过设计师。并与摇滚史上最著名的吉他声音建筑师之一Alan Moulder一起工作。从声音上看，他们正在追求另类摇滚和R&B的欣喜若狂的融合，寻找一个神秘的纽带，在那里创造了《Loveless》和《purple rain》的私生子。

. 吉他以喷气式发动机的推进力咆哮着，威胁着要吞噬它们中间的一切，这显然是Shoegaze先驱Moulder的标志，而Tumor的双声部响起，是对Prince的无误回声。在 "Operator "中，Tumor甚至发出了痛苦的、无言的情欲--比人类更多的猫科动物，同样的孩子气和成人气--那是Prince的听觉标志之一。

Countless bands have turned to Moulder over the decades, hoping some of the comet-trail dust of his famous shoegaze records would settle on their project. But only someone with an imagination as glittering and generous and expansive as Tumor’s can tap Moulder and make a record like this. Purely in sensory terms, it’s difficult to imagine many richer-sounding rock records being released this year.

几十年来，无数的乐队向Moulder求助，希望他的一些彗星轨迹的尘埃能在他的作品中出现，

在他们的项目上合作。但是，只有像Tumor那样拥有闪亮、慷慨和广阔的想象力的人，才能请到Moulder出山并制作出这样一张唱片。 纯粹从感官上来说，今年不太有可能会有听起来比这张更丰富的摇滚乐唱片发行。

Tumor treats sounds so lovingly they sometimes resemble a director framing and lighting a beloved actor, and every sound on Praise enters the mix with near-visible entrance and exit cues. The wall of guitar distortion that kicks in on “Meteora Blues” only lasts a few moments on each chorus, but it is the most exhilarating evocation of the Smashing Pumpkins guitar sound that has ever existed outside of Melon Collie or Siamese Dream. Once you hear it, you spend the rest of the song yearning for it to return. Ditto the synthesizers that well up in the last minute of “Echolalia,” so dimensional and detailed it feels as if you could reach and put your fingers through them like mist. It’s a testament to Tumor’s loving touch that none of these gestures feel empty or formal: Each one resounds with the fullness, somehow, of a life lived.

Tumor对声音的处理是如此的爱护，有时就像导演对心爱的演员进行构图和布光，而每一个声音都在赞扬中以近乎可见的入口和出口提示进入混音轨道。在 "Meteora Blues "中启动的吉他失真墙只在每个副歌中持续了片刻，但它是最令人振奋的唤起了捣毁南瓜乐队Smashing Pumpkins吉他声的最令人振奋的唤起，这是在《Melon Collie》之外存在过的Melon Collie暹罗之梦. 一旦你听到它，你就会在剩下的时间里渴望它回来。同理，在 "Echolalia "的最后一分钟里，合成器的声音是如此的立体和细致，感觉就像你可以伸手把你的手指穿过它们一样。这是Tumor的爱的证明，这些姿态都不觉得空洞或正式。每一个都以某种方式响起了生活的充实感。

The mix on Praise a Lord is dark and viscous, with reverb so thick that every sound—the drums, the keyboards, and above all, the guitars—seems to swim through organic muck to reach your ears. In this superheated mix, all waveforms denature and melt—the gasps hit like snares, the drums feel like breath on your hand. There is a little Kevin Shields in the way Tumor manipulates sounds; the way the triggered samples detonate on late-album highlight “Purified by the Fire” recalls MBV’s “Touched.” On “Parody,” Tumor’s keening falsetto could just as easily be emitting from a synth pad or an amplifier. Within the glistening world constructed on Praise a Lord, they’re just another beautiful, alien life form streaking past our sight.

这张专辑是黑暗和粘稠的，混响如此之厚，以至于每一个声音--鼓、键盘，最重要的是，吉他--似乎在有机的泥土中游泳，以到达你的耳朵。在这种过热的混音中，所有的波形都变性和融化了--喘息声像军鼓一样敲击，鼓声像呼吸一样在你的手上感觉。Tumor操纵声音的方式上有一点Kevin Shields的影子；在专辑后期的亮点 "Purified by the Fire "中，触发采样的方式让人想起了MOVE.感动. "Parody "中，Tumor尖锐的假声可以很容易地从合成器垫或放大器中发出来。在《赞美主》中构建的闪闪发光的世界里，他们只是另一种美丽的外星生命形式，从我们的视线中疾驰而过。

Tumor’s lyrics, when they break the surface, feel engineered to flash against your eyelids—“Stare straight into the morning star/With lips just like red flower petals,” goes an evocative line from “Meteora Blues”—more than to tell stories. “You’re still a friend of mine/We met on Chapman and Catalina,” they sing in “Lovely Sewer.” The line seems less like the beginning of a story than marooned flotsam from someone’s life, a scrap torn from a journal or the first sentence of an overheard conversation. The lyric sheet to Praise a Lord is a wishing-well of “I’s” and “we’s,” an ocean of private lives observed from celestial height. “It’s a version of myself and everyone else I’ve loved,” Tumor sings on “God Is a Circle,” providing a clue as to the source of these private lives. It feels like the most personal admission on the album.

Tumor的歌词，当它们打破表面时，感觉被设计成在你的眼皮上闪光--"直盯着晨星/嘴唇就像红色的花瓣"，这是 "Meteora Blues "中令人回味的一句--而不是讲故事。他们在 "可爱的下水道 "中唱道："你仍然是我的一个朋友/我们在查普曼和卡塔利娜相遇"。这句话看起来不像是一个故事的开始，而像是某人生活中的沉船碎片，从日记中撕下的碎片或无意中听到的对话的第一句。《赞美上帝》是一个由 "我 "和 "我们 "组成的许愿池，是一个从天际高度观察私人生活的海洋。Tumor在 "上帝是个圈 "中唱道："这是一个我自己和我所爱的每个人的版本"，为这些私人生活的来源提供了一个线索。这感觉是专辑中最个人化的承认。

There are stray moments across the 12 tracks where the songwriting briefly thins out, letting the tremendous atmosphere do the heavy lifting. The slower numbers, by and large, are less captivating. But everything comes together with “Ebony Eye,” the final track and the realization of all of Tumor’s ecstatic visions. The guitars advance like a battalion and Tumor’s voice replicates itself until they are a chorus of supplicants, palms turned skyward and begging for deliverance. It suggests, improbably, that there are even bigger places for Tumor yet to go.

在这12首歌曲中，有的时候歌曲创作会短暂地减弱，让巨大的气氛来做沉重的工作。缓慢的数字，总的来说，不太吸引人。但一切都在 "乌木之眼 "中汇集，这是最后一首歌，也是Tumor所有狂喜愿景的实现。吉他像一个营一样前进，Tumor的声音复制自己，直到他们成为一个祈求者的合唱，手掌朝天，乞求解救。这表明，不可能的是，Tumor还有更大的地方要去。