72 Minutes of Fame

【译者注：汉化翻译可能存在谬误，英文原文在汉化文本下方】

啊，怀旧之情。《72 Minutes of Fame》是我完全成为自由职业者后发行的第一张专辑。没有固定工作，也不需要早起去上班，自由自在——嗯，某种程度上吧。这是我第一张亲自实体出版并亲自寄送的专辑。那是一段非常辛苦的经历，而我显然并不擅长这些，哈哈！

好吧，不如你一边听这张专辑，一边听我来为你讲述吧。请想象我带着浓重的德国口音。我们开始吧。

我一直有种冲动，想做一张纯粹用来跳舞的专辑。但我的经验并不算丰富，因此《72 Minutes》代表了我学习如何制作浩室（house）音乐的一次尝试。我自己也不确定是否成功了，但它无疑是一次引人入胜的实验。

专辑中有一首歌时长约15分钟，并不断变换节奏，那就是《From the Window》、《Along the Busiest of Roads》和《Welcome Back to the Machine》。从技术上讲，它其实是一首完整的曲子。当我创作它时，它只是一个项目文件。

其中还有一首关于工作与死亡的诗，名为《Alive》。当时我的心理状态很明显：我刚刚辞去了工作，内心充满了恐惧。自由作曲家当然也是一份工作，但它往往并不怎么赚钱。而我之前在一家工厂做装配工，虽然工作无聊，但至少有稳定的收入。然后我却突然决定打印出辞职信，转身离开。那时候真的很可怕，但如今回头看，这已是毫无疑问的正确选择。

专辑末尾还有一段为某种未知场景而作的管弦乐编曲，名为《Stilbruch》。我想我创作它，是因为当时我深深着迷于在真实物理编曲中实现极简主义的概念。当然，我也买了一大堆新的采样库，正需要试试它们的效果。

我弟弟也特别喜欢那种出人意料、不断堆叠却最终导向“虚无”的段落设计——先让所有人感到烦躁，然后再突然引爆。你可以在《You Have to Cut the Dope》中听到大量这种手法。

《72 Minutes of Fame》这个名字，源于我当时的一种感受：觉得自己只是一个“单曲成名”的作曲家。我只会做《我的世界》的音乐，仅此而已。当然，这并不真实——我其实是一位风格多样的作曲家，我的许多专辑都风格迥异。而且也从未有人当面这么说过我。我只是预感会如此，并下定决心要彻底推翻这种“不存在的偏见”。

而我做到了。《72 Minutes of Fame》显然不是《我的世界》风格的音乐，哈哈！

Ah, nostalgia. 72 Minutes of Fame is the first album I released after I became completely freelance. No job, no need to wake up to go somewhere, freedom. Well, sort of. This was the first album I physically published and shipped myself. It was a lot of hard work and I was definitely not very good at it, ha!

Alright, why don’t you start listening to this album while I narrate it to you. Imagine a thick german accent. Let’s go.

I’ve always had the urge to make an album that is just purely meant to dance on. My experience wasn’t particularly great, so 72 Minutes represents my attempt to learn how to make house music. I personally don’t know if I succeeded. It’s definitely fascinatingly experimental.

There’s a song that lasts around 15 minutes and keeps changing pace, that’s “From the Window”, “Along the Busiest of Roads” and “Welcome Back to the Machine”. I mean, it technically is one song. When I made it, it was just one project file.

There’s a poem about working and death, called “Alive”. My mental headspace at that time was obviously me quitting my job, and being scared shitless doing it. Freelance composer IS a job, but it’s more often than not a very unlucrative job, and I did have a sort of cushy gig as an assembly person in a factory. It was boring, but I had money. And then I just decided to print out the letter of resignation and walked away. Scary back then, a no brainer to me now.

There’s an orchestral arrangement for nothing in particular at the end of the album. Called “Stilbruch”. I think I created it because I was totally into the idea of minimalism in real physical arrangements. I mean, I also bought a ton of new sample libraries and needed to try them out.

My brother was also into the idea of buildups that are unexpected and lead into nothing. Kind of annoy everyone, but then drop the bomb. You can hear a lot of that in “You Have to Cut the Dope”.

72 Minutes of Fame stands for the feeling I’ve had that I was known as a one trick pony at the time. I made Minecraft music and that was all I was good at. I mean, of course not, I am a very eclectic composer and a lot of my albums are crazy varied. Also nobody ever told me such a thing. I just had this premonition that this is the case and I was all intent to prove that specific nobody as much wrong as I possibly can.

In that I succeded. 72 Minutes is not Minecraft, lol.

把所有曲子的时间加到一起正好是72分钟