Dief

【译者注：汉化翻译可能存在谬误，英文原文在汉化文本下方】

《Dief》是一张创作时间不到两周的短专辑，专为Teddy Dief在GDC（游戏开发者大会）上的演讲“Still Grooving: Game Dev Life Set to Live Music”（仍在律动：以现场音乐呈现的游戏开发人生）所制作。

顺便一提，专辑封面是由游戏设计师、艺术家、音乐人多栖才子Ben Swinden创作的。

顾名思义，这张专辑是我为Teddy朗诵一首关于他人生的诗时所创作的背景音乐。这场演讲的实际效果比我们预想的还要好！我们准备的时间非常有限，主要原因在于Teddy正忙于在Square Enix执导一款新游戏——天知道这会占用他多少时间。

整张《Dief》的节奏都稳定保持在90BPM，主要是为了确保所有曲目节奏一致，这样我就能随时快速切换到任何我想演奏的歌曲。不过，专辑版本当然不会进行过于花哨的过渡处理，它更像是一张传统风格的节拍音乐专辑。我希望它能很好地作为背景音乐播放，适合放松聆听。

《Texture Prayers》是整张专辑的简约开场曲，大约三分钟的时间里几乎只由弦乐和弦构成，别无其他。它旨在营造一种宁静的氛围，为接下来更活跃的段落做铺垫。

《Work Life Imbalance》听起来既带有乐观色彩，又略显沮丧。这首曲子试图表达踏上新冒险旅程时的期待，同时也带着对过去生活的淡淡怀念。你可能会注意到，从这首开始，大多数曲目都共享相似的乐器音色和鼓点基础——这并非偶然。我有意让整张专辑听起来具有一致性，但又确保每首歌仍保有其独特个性。

《Imaginary Interlude》是少数几首在实际演出中并未使用的曲目之一。它本身氛围阴暗而忧郁，运用了钟铃、破碎的鼓点以及强烈的压缩效果。

《Smooth Fall》可能是整张专辑中最酷的一首。它以极简的几个基础和弦开场，随后逐渐展开节奏，最终由钢琴主导整首曲子的走向。这首我也没有在演出中使用，因为实在难以在不破坏整体流畅性的前提下完成过渡。

《Blank Cubicle》，嗯……我似乎每次想表现格子间里忙碌的工作生活时，总会用上808鼓组。不知道为什么……好吧，不管怎样。我在这首曲子里尝试加入了人声歌词，不确定是否成功，但至少我觉得没有因此毁掉这首歌。希望如此，哈哈。

《Keighley》是整张专辑中最具迷惑性的一首。我试图传达出“很多事情同时发生”的情绪，但又不能让音乐本身太过喧闹，毕竟这些音乐最终是要配合Teddy的现场叙述的。我觉得效果尚可，但也许脱离演出语境后，这首可能是最不那么令人享受的曲目。

《Match Cut》是整张专辑的终曲。它以一段乐观却谨慎的旋律与律动开始，仿佛在告诉你：不必为即将到来的一切感到难过，但也要保持警惕，清楚自己正在承担什么。最后，这首曲子也像整张专辑的开头一样，以弦乐和弦缓缓淡出，归于寂静。

我对在不到两周内完成的这张专辑感到相当满意。当然，它非常简单，无法与我耗时数年打磨的作品相提并论。但至少，它很 chill，对吧。

“Dief” is a short album created in under two weeks for Teddy Dief‘s GDC Talk “Still Grooving: Game Dev Life Set to Live Music”.

The artwork by the way is made by game designer artist musician multitalent Ben Swinden.

As the title implies, I’ve created backing music as Teddy read a sort of poem about his life. The talk itself worked better than we anticipated! We had very little time working on it, mostly because Teddy is a busy boy directing a new game at Square Enix, which, who knows how much time that swallows.

Everything of “Dief” runs at a smooth 90BPM, mostly because I had to make sure the BPM was the same all across the board so I could quickly switch over to any song that I desire. However, the album version of course doesn’t do any crazy transitioning, it’s more of a normal traditional breakbeat style album. I’m hoping it works really well with just playing it in the background and chilling to it.

“Texture Prayers” is the simplistic intro to the entire piece, mostly consisting of string chords and pretty much nothing else for about 3 minutes. It’s supposed to be a tranquil intro before things get more active.

“Work Life Imbalance” is both supposed to be optimistic and sort of discouraging, as the piece was supposed to describe the feeling of moving onwards to new adventures, yet mournfully missing your past life. You’ll probably start to notice with this piece that most songs seem to share the same instrument and drum base, and that’s not a mistake. I wanted everything to feel sort of similar, but still far away enough to make every song unique.

“Imaginary Interlude” is one of the few songs I didn’t actually use for the performance. In on itself it’s very dark and melancholic, with the use of bells, broken drums, and heavy compression.

“Smooth Fall” is probably the coolest of them all. It starts extremely minimalistic with only a few base chords, but then starts breaking out into rhythm, until the piano dictates the entirety of the piece. I also didn’t use this song in the performance. I just couldn’t transition to it without muddying the performance too much.

“Blank Cubicle”, huh. I seem to always use 808 drums whenever I want to describe busy work life in cubicles. I wonder why… well, anyway. I tried putting lyrics into this piece, and I’m not sure if I was quite successful at it, but I don’t think I ruined the song with it. I hope, lol.

“Keighley” is supposed to be the most confusing piece. I tried to give the emotion of a lot of things happening, but without making the piece itself too loud, since I did write all of this with the afterthought of Teddy having to narrate stuff on top of it. I think it worked, but ultimately this is maybe the least enjoyable piece to listen to outside of our performance.

“Match Cut”, the ending of the entire piece. It starts with an optimistic, but cautious melody and groove, telling you to don’t feel bad about what’s to come. But also, be careful and always make sure you know what you’re signing yourself up to do. Finally, the song ends the way this album started, which string chords, fading into nothing.

I’m pretty happy with what I’ve managed to accomplish in less than two weeks. It’s of course SUPER simple and you can’t really compare it to the works I’ve spent years on. Still, it chill, ok.

[钟情]已上传：C418 - Dief 专辑整体很棒，安静去享受！

这个专辑好像是作一个演讲的BGM，b站有人搬：http://www.bilibili.com/video/av13307270

我基友说这个不是游戏配乐，不好听，我反手就是一巴掌

这个专辑的曲子只有耐心听下去才能感受到它们的美妙之处吧[大哭]这个专辑的曲子，刚开头可能都有点别扭。如果没耐心听下去可能在开头就放弃了

可这和c418的新专辑又有什么关系呢

翻译整理自C418官网：《Dief》由C418为独立游戏设计师Teddy Dief创作，用作2017年游戏开发者大会(GDC)演讲“Still Grooving: Game Dev Life Set to Live Music”的配乐，创作历时两周。封面由游戏设计师、艺术家、作曲家Ben Swinden设计。

md这么优秀的电子音乐制作人居然没什么人听！不要只顾着我的世界的背景音乐啊[流感]