搬運(yùn)自：網(wǎng)易云音樂(lè)專(zhuān)欄【Music Online Zine Courier】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：Beans_Beans?

Blake Mills?accomplished a sleight of hand on?Look,?his 2018 album, by processing layers of guitars through vintage Roland synthesizers. “[Look] has more guitar on it than any other record I’ve made, but for people who care about that, it’s going to be so disappointing when they hear how un-guitar-y it is,” he?told Pitchfork that year. As a producer and session musician, Mills specializes in this sort of nimble technical magic, sculpting the instrumental curves of albums like?Perfume Genius’?No Shape,?Alabama Shakes’?Sound & Color, and?John Legend’s?Darkness and Light.

Blake Mills在他2018年的專(zhuān)輯《Look》中完善了一項(xiàng)技巧——通過(guò)復(fù)古的Roland合成器來(lái)處理吉他的層次。他在那年接受Pitchfork采訪(fǎng)時(shí)說(shuō)道：“《Look》中用到的吉他比我做的任何其他唱片都多，但對(duì)于那些關(guān)心這一點(diǎn)的人來(lái)說(shuō)，當(dāng)他們聽(tīng)到我的作品幾乎沒(méi)有吉他時(shí)，可能會(huì)非常失望”他在那年告訴Pitchfork。作為一名制作人和錄音師，Mills擅長(zhǎng)靈活運(yùn)用這種技術(shù)魔法，并將之融匯進(jìn)?Perfume Genius的《No Shape》、Alabama Shakes的《Sound & Color》和John Legend的《Darkness and Light》等專(zhuān)輯的雕琢過(guò)程中。

“Vanishing Twin,” the first cut from Mills’ forthcoming LP?Mutable Set, lands between the aquatic layers of?Look?and his earlier two solo albums of singer-songwriter material. Though Mills co-wrote the song with?Cass McCombs, its individual pieces—hushed murmurs, a fluid little melody, airy swipes of strings and sax—bear Mills’ subtle touch and even keel. The compounded whole offers the all-encompassing warmth of sinking into an oversize couch for a nap, while displaying his ache for a distant connection in its slow-moving strokes. “Concealed between the flashing screens/there is a beam of love supreme,” he sings, offering a tempting invitation to step into the glowing void. Mills once again re-shapes the idea of what a singer-songwriter record “should” sound like. It feels good to disappear into something so gentle for a while.

“Vanishing Twin”是Mills即將發(fā)行的唱片《Mutable Set》中的第一支曲子，是介于《Look》和他早先的兩張唱作人Solo專(zhuān)輯之間的作品。盡管Mills與Cass McCombs共同創(chuàng)作了這首歌，但它的各個(gè)部分——平靜的低噪、流暢的旋律、懸在空中的弦樂(lè)和薩克斯——都有著獨(dú)屬M(fèi)ills的微妙觸感和勻稱(chēng)韻律。這個(gè)復(fù)合的整體給聽(tīng)眾一種猶如陷入超大沙發(fā)中小憩的全方位的溫暖，在旋律緩緩行進(jìn)的同時(shí)，若即若離的觸碰顯示了他對(duì)遠(yuǎn)方血親的思念。他唱道：“Concealed between the flashing screens/there is a beam of love supreme.”他為我們提供了一封誘人的邀請(qǐng)函，通向那發(fā)光的時(shí)空間隙。Mills再一次重塑了一個(gè)歌手兼詞曲作家的唱片“應(yīng)該”聽(tīng)起來(lái)是什么樣的標(biāo)準(zhǔn)。即便是暫時(shí)消失、但在如此溫柔的事物中消失感覺(jué)也不錯(cuò)。