一支缓拍，Crustation
选自97年的那张幽闭牛碟 Bloom
Purple的单曲在更早的时候就发过EP
Bristol，又是Bristol
到底有多少好声音？
嗯（牛奶煮香蕉，值得记一笔，刚吃完好暖和）
上歌词，占版面

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     伴随一把五弦琴和印度雄蜂声音，邦尼' 王子'比利的"Idumea"的版本迎接下一种行为。 这在"Idumea的下一个版本之前随后有两个更多的西藏唱歌的标准。 "婴儿迪伊认为是作为下巴下降的为差不多任何的她自己的竖琴录音，只通过一把安静的中提琴伴随。 "捆你乌龟嘴"遵循，完美结婚在6 器官和当今的93的各自样式之间。 声学同当今的93比赛清楚是Chasny和谈到上帝的巴罗克风格的诗节和小猫错不了是热情的着迷。 安东尼"Idumea"或许在一是我不完全击倒的记录在案的唯一事情的的以当天气越来越漂亮时， 它是简短的并且只以他的multitracked声音而并非我非常崇拜的演奏的他的美丽的钢琴为特色。

     老战士爱尔兰folkstress和孩子明星Clodagh西蒙兹(成熟的蜡烛，麦克·奥德菲尔德)为她的"Idumea"的难以置信的版本用小风琴给她自己伴奏， 作品迎接微小的那些11 +"布莱克船，按下沉。 "这里是它好像斯特普尔顿接受的史蒂文在哪里，把线，声乐演唱切成碎片，向后纺事情是， 在Fanni Cosey之前并且在外伸展他们就时间伸展的合奏呈现"Idumea"无缝而安静继续从那些混乱到安东尼的第2 捐款， 歌"跳灰尘。 "一架钢琴和声音片"， 跳灰尘"的确是集子的最精彩场面之一，但是，在少于一分钟，它太短！ Pantaleimon"Idumea"象美丽安慰催眠曲一样遵循母亲在在象他们入睡的那样时，袭击头发孩子时唱歌将，并且那些宁静结束。
     下一次表演基本上是恶梦三部曲和高潮： "Vauvauvau的忿怒的不谐和"，象使歪曲的噪音起泡的那样与西藏和声音的吉他战斗； 大卫西藏的"Idumea"的痛苦直接的版本，我们实际上最后相信处理歌手的自己的死亡率的抒情诗； 用发出突突声完成，金属给的"布莱克船吃天空"镶边， 当大卫取出它全部的努力工作的摇滚乐吉他，因为朋友的死，messiah 与破坏者的两重性的教义尖声喊叫； 作为主角的大卫，在为答案尖声喊叫时失去控制： "谁将使我脱离自己"？ 它是完全吓住和导泻的踪迹。

    和平与最后的歌一同寄去， 在"凯撒为什么正燃烧II"上的西藏的反射和决定， 以雪莉·科林斯的"Idumea"的版本结束，这恰当是那声音大多数喜欢一个结局的版本。

    似乎一切事情有成为第93 电流的希望： 好象他们的时间最后已经来了。 现代人们的音乐的趋势已经随着当今的93年代控制类型顺序按照普及爆炸。 大卫西藏和当今的93是真实的领导人并且已经给树立几乎不可能榜样遵循。

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     上面的字都是用译点通全文翻译功能，花了大概20多秒的时间完成
     看过凯鲁亚克的desolation Angle之后，对这种接近碎片的文字都有了种亲切的感觉。英文原文里那些经过思考的匠气荡然无存，取而代之的是“象美丽安慰催眠曲一样遵循母亲在在象他们入睡的那样时，袭击头发孩子时唱歌将，并且那些宁静结束”这样混乱的语法。
     现在领会到，与其让那些精心排列的形容词在眼前匆匆带过，不如将它们点燃，那些飘零的火花才是真实的源头。
     该注释的还是要注释：当今的93＝current 93；布莱克船，按下沉＝Black Ships Were Sinking（今年5月的专辑）；西藏＝唱歌或者配乐诗朗诵的那个人。
     举个例子而已～

中午刚在米饭里吃出一条小强腿

晚饭鱼丸里又漂起来一条毛毛虫

damn

    While research was underway on this edition of NME Originals, the estimable DJ and cool music connoisseur Mr. Sean Rowley was busy compiling an album called ‘Guilty Pleasures’ full of songs generally considered naff. The phenomenal response to Mr. Rowley’s project – celebrities and fans alike swamping his radio shows with calls confessing previously hidden affections for the likes of Barry Manilow and Boston – begged only one question: where was all the Goth?!

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    If the experience of creating NME Originals: Goth has taught me anything it’s that, although we seldom dare mention its name, there’s a little bit of Goth in all of us. Cranking up the soundtrack to the months of research – the Sisters’ ‘This Corrosion’, Siouxsie’s ‘Happy House’ and, of course, the Bauhaus classic ‘Bela Lugosi’s Dead’ booming off the CD in our tiny office – caused many a passer-by to stop at the doorway and sheepishly grin, “Fuck me, I haven’t heard that in ages. You ain’t gota copy of ‘Dawnrazor’ have you?”

    Why, of all musical genres, Goth should be among the last to be rehabilitated by history probably has something to do with the fact that it is a determinedly adolescent pleasure. Goth makes all the sense it’s ever going to make almost exclusively in those teenage years when you suddenly realise that everything you’re being taught, everything you’re being groomed for, everything about everything, in fact, is an utter waste of time and effort because we’re all going to die. Goth wallows in this eternally darkest of jokes and provides a suitably doom-laden soundtrack to this monumental morbidity. As we grow older and closer to the inevitable, we understandably tend to fill our time with stuff to avoid such thoughts and slough off Goth as a ridiculous phase we grew through. Well, that and the fact that if you’re still wearing the widow’s weeds and bog brush hair as you exit your thirties, you’re either a treasured rich eccentric like Robert Smith or you tend to look like some sad kind of escapee from the nuthouse. 

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    That said, like most things rooted in our adolescence, we are fiercely protective of its memory. Hence the incredible arguments that ensued over the compilation of the volume you’re now reading. There was no dissent over the roots of Goth. The first usage of the term referred to a tribe of ancient Germans that the civilised Romans regarded as barbaric. Later the term was applied to a particularly brutish form of medieval architecture. And then, in the early 1980s, it was used by music critics to describe the emerging black-clad movement of bands and their fans who, out of the ashes of punk, were determined to revel in the misery of human mortality. So far so good. But when it came to actually deciding who was Goth enough to feature in this magazine and who was merely Peripheral Goth, all hell broke loose. Numerous phone calls ended with colleagues or acquaintances (ex-Goths all) vowing not to buy the issue if Echo & The Bunnymen were in it or if Sex Gang Children weren’t. Killing Joke? Some said yea and some nay. Psychedelic Furs? Mostly nay. And so on it raged until it was decided, for sanity and space's sake, to deal with the species that I guess we might term Stadium Goth. In other words, the big, influential bands that, for better or worse, have influence on and can claim some responsibility for all of today's dark stuff, from Marilyn Manson through Mortis to Dashboard Confessional.

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    So, a quick apology to those faithful few who hung around the Batcave and to those who’ll throw a hissy fit because Virgin Prunes, Danse Society or Red Lorry Yellow Lorry just didn’t make the cut. And a big welcome to the rest of you. Goth, it seems to me, is in the ascendancy just now. The Cure are being honoured by MTV and name-dropped by The Strokes et al, while Interpol are reinventing Joy Division for a new generation. Gloom is back big time. So time to climb out of the closet. Buy this issue – go on, you know you want to! – wrap it inside your copy of NME if you must, hurry it home, dim the lights, spark up the candles and, as the great Nick Cave once so gruesomely hollered, release the bats!

by Steve Sutherland