来源:http://www.hotpress.com/

作者:Niall Stokes

日期:25 Jan 2016

翻译:


When Enya released Watermark in 1988, it WAS the beginning of one of the most remarkable chapters in the story of Irish music. With Nicky Ryan and Roma Ryan ever-present as collaborators, 80 million album sales and dozens of awards followed. Now, after a seven year hiatus, she is back with a new record, Dark Sky Island, and a determination to take the collective’s music to the world in a different way.

Niall Stokes, 25 Jan 2016

在1988年恩雅发行专辑《水印》的时候,是凯尔特音乐历史上最引人注目的其中一章。有尼奇·瑞恩和萝玛·瑞恩作为长期合作者,恩雅售出了8000万张专辑,一堆奖项随之而来。现在,经过了七年的间隔,她带着一张全新的专辑《暗天之岛》回来了,并决心以一种不同的方式把这些音乐带给世界。

尼尔·斯托克斯,2016年1月25日

 

Nicky Ryan was wracking his brains. He had been at the helm of the Clannad ship for a few years, as live sound engineer, producer and manager. They had been productive ones too.

尼奇·瑞恩绞尽脑汁。他作为现场声音工程师、制作人和经纪人,已经为克兰纳德掌舵好几年了。他们也已经成为多产的音乐团队。


Formed in 1970, the band had released their debut album in 1973. But it was on Dúlamán, released in 1976, with Ryan in the producer’s role for the first time, that they began to refine what would become their trademark sound. That widely praised record was followed in 1978 by a live album, Clannad In Concert, recorded on the road in Switzerland. In the interim, they had gone fully professional.

建立于1970年,这支乐队在1973年发行了他们的处女作专辑。但直到1976年发行专辑Dúlamán,尼奇才第一次坐上了制作人的位置,那时他们开始斟酌什么会成为他们的标志性声音。在那张专辑广受称赞后,他们在1978年发行了一张现场专辑Clannad In Concert(克兰纳德演唱会),那是在瑞士巡演的现场录音。在此期间,他们成长为非常专业的乐队。


But Nicky was still searching for the magic ingredient that might push the band on, to the next level. He couldn’t get the idea out of his head that the rich vocal sounds and the wash of harmonies that he had been coaxing out of the collective would work as a film soundtrack. But in what movie?

但是尼奇依然寻找着能够推动乐队更上一层楼的魅力元素。丰富的人声与和声的涤荡,模仿了集体唱出的和声,能够作为电影的原声带,他不能使这个想法脱离脑海。但是用在什么电影上呢?


With that thought buzzing in his head, he and his partner Roma Ryan, who booked Clannad’s tours, started to prise open the world of film and television production. It would only take one commission to kick-start a career in film. And so, even while they were learning, they began the process of getting the band’s music into the hands of the decision-makers.

这种想法在他头脑中嗡嗡作响,他和他的搭档萝玛·瑞恩(她为克兰纳德的巡演预定行程),开始打开电影和电视节目制作的世界。这需要组织一批人马去启动这个电影上的事业,并且,当他们正在学习的时候,他们开始将乐队的音乐送到影视决策人的手中。


In terms of a strategy for going forward, well, that was part of it. But Nicky felt, with increasing conviction, that something new was also needed to freshen things up musically.

向前发展的策略,俨然是那个想法的一部分。但是尼奇感觉到,随着信念的增加,一些新的事物同样需要使原有的事物在音乐方面焕然一新。


“I felt really proud of what we were doing with Clannad,” Nicky reflects now. “Especially the fact that it was all through the Irish language. We were taking not just Irish traditional music but also the Gaelic language out into the world and playing to big audiences both in Ireland and across Europe. But I was very ambitious for the band, and I felt that if we did the right things, we could break through in a really big way.”

“我对我们现在为克兰纳德所做的事情感到很自豪,”尼奇回答说。“特别是我们都运用爱尔兰语的这一事实。我们不仅仅带上爱尔兰传统音乐,而且还把盖尔语(即爱尔兰语)带到世界,在爱尔兰和欧洲的广大观众面前表演。但是我对乐队很有雄心,我觉得如果我们做了正确的事情,我们可以得到巨大的突破。”


It took time to find the final piece of the jigsaw. But eventually, Nicky had what he thought was a brainwave. He had seen Eithne Ní Bhraonáin, the younger sister of Moya, Ciarán and Pól Brennan singing and playing. Where better to look for a potential new member of a family group than among their siblings?

找到拼图的最后一块需要时间。但最终尼奇得到了一个灵感。他注意到恩雅在歌唱和演奏,她是Moya(莫雅)、Ciarán和Pól Brennan的妹妹。物色一个潜在的家族乐队新成员,难道还有比他们的同胞更好的人选吗?


Classically trained, Eithne was a fine pianist. She also had an ethereal voice with a range that took her into a soprano space, above her sister, Moya. The way Nicky heard it in his head, it would add a whole new dimension to the sound of their harmonies.

出身于古典音乐训练的恩雅,是一个很好的钢琴演奏者。她还有一把优雅的嗓音,在高音区的音域还超过了她的姐姐莫雅。当尼奇听到了恩雅的声音,他相信这会为乐队的和声增加一整个新的维度。


At Nicky’s prompting, she played keyboards and sang backing vocals on the Crann Úll album, released in 1980. It was the way forward. He was sure of it. He approached Eithne about joining the band and she expressed an interest. And so she put it to the band. No one was jumping up and down with excitement, but Nicky prevailed. The band had a new member.

在尼奇的促使下,恩雅负责弹奏键盘乐器并在1980年发行的专辑Crann Úll中作为和唱。这是乐队未来的路。尼奇对此很确定。他和恩雅相谈加入乐队的事宜,而恩雅也对此表现出兴趣。随后她便加入了乐队。乐队里没有人对此欢呼雀跃,但尼奇还是说服了他们。自此乐队有了一位新成员。


I remember the press releases and the news stories. Eithne Ní Bhraonáin had been added to the Clannad line-up. In the photograph that was supplied to newspapers and magazines, she was seated at a keyboard, looking like the proverbial angel.

我记得新闻发布会和新故事。恩雅已经加入到克兰纳德的阵列。那张照片提供给报刊和杂志,她坐在琴键前,看起来像一位如谚语中说的天使。


1980. There was a National Stadium gig on the way and she came through that with flying colours. The dark-haired creature with the pale complexion seemed to be settling in. That was encouraging.

1980年,一个现场演奏会在国家体育场举行,恩雅来到了那里表演并取得了巨大的成功。这位有着白皙肤色黑头发的女子与看来要真正融入乐队了。这是非常令人鼓舞的事情。


The band returned to the studio quickly to record a new album, Fuaim (meaning sound). Eithne played keyboards, added harmonies and took the lead vocal on two tracks, ‘An tÚll’ and ‘Buaireadh an Phósta’. Using synthesizer for the first time, the Clannad sound was fuller. More atmospheric. And more cinematic. Nicky and Roma targeted another batch of film and television producers.

乐队很快进入录音室以录制新的专辑Fuaim(意为声音)。恩雅负责弹奏键盘乐器和在两首歌曲An tÚll和Buaireadh an Phósta中担任主唱。第一次使用了合成器,克兰纳德的声音听起来更饱满,更有空气感和影片感。这时尼奇和萝玛把目标指向又一批电影和电视制作人。


The younger sister was now an ethereal presence in the Clannad machine, as it rolled across Ireland, Great Britain and the continent. Then, within months of the release of Fuaim, came the split. Understandably no one wants to revisit now what became a battleground. It is all a long time ago. But Nicky Ryan was determined that Eithne would be treated as a full and equal member of the band. Roma agreed. The rest of the band didn’t. It was the end of the line.

这位妹妹走遍爱尔兰、大不列颠和欧洲大陆,已经是克兰纳德乐队里优雅的存在。之后,在专辑Fuaim的发行后的几个月,恩雅却从乐队中分裂出去了。可以理解的是,没有人希望现在重新考究什么导致了纷争。这件事离现在太远了。但是当时尼奇很确定恩雅会被当作一个完整的或平等的乐队成员来对待,萝玛也赞同。然而乐队里的其他人并没有这么对待。这导致了恩雅与克兰纳德团队关系的终点。


Nicky and Roma retreated to Artane, where they lived, with the younger of the Brennan siblings as their new collaborator. Built a studio in the back garden. Started all over again.

尼奇和萝玛只好回到他们住的地方Artane,带着这位布伦南家族的年轻妹妹(恩雅),作为他们的新合作者。他们在后花园建立了一个录音室。一切从头做起。


1982. The movie connections which they had been cultivating started to bear fruit after the split. ‘Harry’s Game’ brought success for the Donegal group on a scale that was written in lights. More soundtracks followed, along with adulation and respect.

1982年,他们用心耕耘与电影的联系,在乐队分裂后开始得到回报。Harry’s Game(哈利的游戏)对多尼戈尔郡人群的销售迎来了显著的成功。更多的原声带项目随之而来,同时他们赢得了称赞与尊重。


Having been there, seen that and left, there may have been moments of anguish and doubt in Artane, as Clannad took off. But Nick, Roma and Eithne were forging a different sound. Looking to The Beatles and Phil Spector’s infamous Wall of Sound, it was bigger and more dramatic than anything that had yet come out of Ireland.

来到Artane(阿尔坦,尼奇和萝玛以前住的地方)以后,他们一度痛苦和疑虑,毕竟他们脱离了克兰纳德。但尼奇、萝玛和恩雅正在锻造一种不同的声音。放眼披头士乐队和Phil Spector那蜚声遐迩的音墙效果,比任何来自爱尔兰的音乐都要更加响亮和戏剧性。


There was the small matter of the name to think about too.

还有一个关于起名的小事情要考虑的。


Eithne. It was a hard one to get your tongue around. Nicky figured that people outside Ireland wouldn’t have a clue how to pronounce it. “I came up with the idea of a phonetic spelling,”

Eithne,是一个很难准确发音的名字。尼奇认为爱尔兰以外的人们根本不知道这个名字怎么发音。“我想到了一个表音拼写的点子。”


he smiles. “E-N-Y-A. How much easier is that to understand and to pronounce? En-ya. It was something that I felt we had to do, but it made sense in every way.”

尼奇微笑着说,“E-N-Y-A,这个名字的理解和发音容易多了吧?En-ya,这样的起名是我感觉我们不得不做的,但这十分合乎情理。”


“It’s impossible,” he adds, “to know what would have happened if we had stuck with Eithne. But what we can say, definitively, is that Enya worked. There was never any doubt about that.”

“这是不可能的,”他补充说道,“可想而知,如果我们被Eithne的发音难住了会怎么样。但我们能说什么呢,很显然,Enya这个名字才能解决问题。新名字的发音不会有任何疑问。”


That decided, Roma Ryan beavered away quietly. Among others, she sent demos to the man behind the success of Midnight Express, Chariots of Fire and Local Hero, David Puttnam. Her perseverance paid off. The great British film producer saw Enya’s potential and commissioned her to write the score for the Brian Gilbert film of which he was Executive Producer, The Frog Prince, as well as two songs for the soundtrack album. They were on their way.

恩雅的新名字决定了以后,萝玛·瑞恩继续安静又卖力地做事。其中,她送了一些录音样带给成功缔造电影Midnight Express(午夜特快)、Chariots of Fire(烈火战车)、Local Hero(本地英雄)的制片人David Puttnam(大卫·普特南)。她的坚持不懈得到了回报。这位大不列颠著名制片人看到了恩雅的潜力,并委托她为他的电影The Frog Prince(青蛙王子)作曲,他是这部电影的执行制片人,原声带专辑中还有两首恩雅亲自演唱的歌曲。一切都进展顺利。


They worked hard. The next big win was a commission to write the music for The Celts, a 1987 BBC series that set out to discover the origins of that strange tribe, which had spread from the east and ultimately came to occupy the often inhospitable lump of rock on the edge of Europe that we know as Ireland. Roma co-wrote six of the songs. The album of the music from the series, released on the BBC label, was simply entitled Enya, officially making it her first solo album.

他们努力地工作。下一个巨大的成功是被委任做1987年的BBC系列纪录片《凯尔特人》的作曲,这个纪录片的主题是去探索凯尔特人的起源,这个神奇的部落从东方开始扩散,并最终占据了我们称之为爱尔兰的欧洲边沿荒凉石块地。萝玛与恩雅合写了六首歌的歌词。来自纪录片的音乐,组成一张专辑以BBC厂牌发行,标题简单地定为“Enya”,正式地成为恩雅的第一张个人专辑。


Was it mere chance that Rob Dickins of WEA heard the record and fell in love with it? Perhaps. But he did. He met Nicky and Roma at an IRMA Awards ceremony in Dublin and they hit it off. Dickins decided that he wanted to sign the ethereal singer to a record deal. That meant signing Enya, the ‘band’: like the three musketeers, Eithne, Nicky and Roma were in this together.

这就是让华纳英国的总裁Rob Dickins(罗伯·迪金斯)听到并爱上这张专辑的一个机会?也许是。而他确实爱上了。他与尼奇和萝玛在都柏林的IRMA音乐颁奖典礼上碰面,并一拍即合。迪金斯确定他想与这位优雅的歌手签订唱片合约。这意味着与恩雅这个“团队”签约:像三剑客一般的恩雅、尼奇和萝玛。


Months of highly intensive work took place in the small studio at the back of the house in Artane. They started as they intended to go on, before relocating to Orinoco Studios in London to finish the job. And at the end of it all, they breathed a deep sigh of relief. They knew the album was good. They felt it in their bones.

月复一月的高度集中的工作,在位于阿尔坦的尼奇的房子后部的小录音室里开展。在搬到位于伦敦的Orinoco录音室完成工作之前,他们以他们所设想的方式开始工作。在所有事情都做完后,他们终于可以松一口气了。他们知道这张专辑非常好。他们是从骨子里感觉到的。


They agonised over the name and finally agreed on one that hinted at the idea of permanence amid a sea of change. Watermark. The choice of the lead single was never in doubt. ‘Orinoco Flow’ was dispatched to radio.

他们对专辑的名字煞费苦心,最终同意这个想法,在不息变幻的海洋中的永恒。水印。而领衔单曲的选择则毫无疑问。单曲“奥里诺科河”被送到电台进行广播。


1988. I remember driving to Artane on a wet and windy night to meet Enya, Nicky and Roma. I spent the evening delving into the background, finding the arc of a remarkable storyline. It felt right. Something was about to happen. Listening to the music in the car on the drive out, I had sensed it. Talking to them, that conviction grew even stronger. They had known what they were doing all along.

罗伯·迪金斯:1988年。我记得在一个潮湿和刮风的夜晚,我开车去阿尔坦与恩雅、尼奇和萝玛会面。我用那个晚上去钻研背景,找到非凡的故事情节的弧线。这种感觉很好。一些事情即将要发生了。在开车前往的路上我听着她的音乐,我就已经感觉得到。和他们谈话,这种信念变得更加强烈了。他们已经知道他们一直在做的是什么事情。


There is a tide in the affairs of men – and women too it must now be said – which taken at the flood, leads on to fortune. “Omitted, all the voyage of their life is bound in shallows and in miseries,” Shakespeare had written, in Act 4 Scene 3 of Julius Caesar. There would be no sins of omission here. Warners put their strongest firepower behind the release. On such a full sea were they now afloat. They took the current when it served, and the tide swept them upwards.

“人间大小事,有其潮汐,把握涨潮,则万事无阻。错过了,一生的航程,就困于浅滩和苦楚,”莎士比亚在《裘力斯·凯撒》第4幕第3场如是写道。这里没有任何疏忽怠慢之罪行存在。在(专辑水印)的发行背后,华纳公司倾尽全力。他们正在满潮的大海上漂浮。当水流迎面而来的时候,他们把握住了,浪潮将他们推到高处。


It swept them up, up and away. They were flying. ‘Orinoco Flow’ went to No.1 all over the world. If ‘Harry’s Game’ had been a big hit, this crowning jewel was many times bigger. The album too.

潮流将他们推高,推高并推至更远。他们正在飞翔。“奥里诺科河”在世界音乐排行榜中升至第1位。如果“哈里的游戏”是一个巨大的成功,那么这一冠冕珠宝则更要大好多倍。这张专辑也是如此。


It was like a fairytale, but of course it wasn’t that. These were three lovely, decent, talented, yet grounded people. When they let their collective imaginations go, for sure, the goblins might come out to play on occasion. But there was a rich seam of naturalism too in the music and the lyrics they wrote, and in the way the music was framed by Nicky’s production, which conjured the whisper of a small stream here and the crashing of tidal waves there with equally mesmerising effect.

这就像一个童话,但当然这不是。这里是三位可爱的、可敬的、天才的,然而脚踏实地的人物。当他们让他们的集合起来的想象力自由翱翔,很肯定,小妖精也偶尔会出来玩。但他们的音乐和歌词里面也蕴含着一个自然主义的“丰富矿层”,并体现在由尼奇制作的音乐编制上,在那里召唤出细微流水般的耳语和潮汐波浪般的碰撞,伴随着一致迷人的效果。


Across the planet, people fell in love with it. Watermark went on to sell 11 million albums worldwide. By any standards, it was an astonishing achievement.

在这个星球上,人们爱上了这些音乐。专辑水印接着在全球售出1100万份。以何种标准来看,这都是惊人的成就。


2015. Very few artists have sold 80 million albums and remained so apparently elusive. How often has Enya been interviewed? What do her fans really know about her? What does anyone? At times, she has seemed like that same apparition that barely materialised at all, not just after we first heard her name in the late 1970s, but especially after that landmark album began to skyrocket up the charts.

2015年。很少艺术家能够售出8000万专辑并一直给人难以解释的印象。恩雅有多常被采访?她的乐迷真的了解她吗?到底有谁呢?很多时候,她根本就像几乎没有实体的幽灵一般,不仅仅在1970年代末我们第一次听到她的名字后,而且特别是在那张里程碑式的专辑火速升上排行榜后。


In a strange way, through the intervening five albums, she had become an enigma wrapped in a mystery. Another girl perhaps, except from another planet. Or that was how it sometimes seemed.

用一种奇异的方法,通过五张专辑的效应,她已经变成为神秘所笼罩的一个谜。她也许是另一个女孩,只是在另一个星球。有时这个秘密看起来就是如此。


And now?

现在呢?


She walks into the room. Holds your gaze. Shakes your hand. Smiles a million dollar smile. Shares a hug. And talks like the gorgeous teacher that you wished you had when you were at school, in a lovely, warm, Donegal burr.

恩雅走进房间。向你凝视,和你握手。带着露出亮丽牙齿的微笑。给我一个拥抱。恩雅带着可爱的、温暖的多尼戈尔颤音,给人一种像和漂亮的女教师交谈的感觉,让你想象着你就在学校。


The years fall away. She talks about Rory Gallagher. Enquires about Taste. And remembers phrases from that long ago interview that was steeped in images of wind and rain and hinted at the permanence of Watermark. And then we begin the formal part, the recorder placed carefully on the table between us.

多年过去了。她谈论着Rory Gallagher(洛瑞·盖勒许,爱尔兰音乐人)。询问着我的听乐喜好。记得很久以前的访谈话语,笼罩在风雨交加的印象中,暗示着水印专辑的永恒魅力。之后我们开始正式的部分,录音机稳当地安放在我们之间的桌面上。


Her voice rings out, soft and clear, the words enunciated with the careful confidence of someone who is happy in herself, in her work – and in her world…

她的声音响起,柔和而清晰,谈吐里间透露出慎密的自信,这是属于她对自己、对工作,并对她的世界感到快乐的自信。


Niall Stokes: Is there a great feeling of relief now that the album is ready to hit the shops?

尼尔·斯托克斯:现在这张专辑准备好要在唱片店热卖了,有没有感到巨大的放松?


Enya: There is. It might seem like a long time since the last album, but it has only been seven years.

恩雅:是的。上一张专辑的发行距离现在好像已经好久了,但也仅仅是七年而已。


So what was happening in your life?

尼尔:那你的生活发生了什么吗?


I took a break. It was my first long break, which was way overdue. I felt it was necessary for me and for the music. After I finished, And Winter Came... which was the winter album I always wanted to do, I didn’t know what was next. And that’s when I thought: I’m actually going to take a break. Three years of a break. And it sounds like a long break, but it was actually quite short. I mean a year can fly by really quickly. You think: I must do that – and at the end of the year have you done it? No.

恩雅:我让自己放假休息了。这是我第一个长时间的休假,这其实早该发生。我感到这对于我和我的音乐来说都是有必要的。当我完成了我一直总想创作的冬季主题专辑《冬季降临》后,我不知道接下来该做什么。三年的假期,这听起来像一个长假,但它实际上也是很短的。我的意思是一年的时光我可以飞快地度过。你想想:我必须继续工作——而到了那一年的末尾我开始工作了吗?没有。


Was it a case of thinking: I really want to go parachute jumping or to take up horse riding?

尼尔:是否有这样的考虑:我要去跳伞还是骑马呢?


Travelling! I’ve always loved travelling and the fact that I do travel, you know, with promotion – I enjoy that. But this time it was my own travelling. I always wanted to go back to Australia for longer, and then I bought a house in the south of France, as you do. I got into huge renovations and was just taking time between Ireland and France. And then, three years later, I wanted to get back to the studio. I had that yearning, which was lovely.

恩雅:旅游!我总是热爱旅游,而且事实上我也的确,你知道的,带着越来越强的信念去旅游,我乐在其中。但是这些时间是我个人的旅游。我总是希望回到澳大利亚再待久一点,并且之后我在法国南部买了一间房子,像你一样。我对房子进行了巨大的翻新,并且把时间花在爱尔兰和法国。接着,三年之后,我想返回到录音室。我有这种渴望,这很有趣。


I’m sure Donegal is always calling too…

尼尔:我很肯定你也经常回去多尼戈尔看看……


Well, my mom and dad, you know, you want to see them as often as you can. Sometimes it’s not possible. But they would come to Dublin or we would go abroad. So it was nice to have time with the family.

恩雅:噢,我的妈妈和爸爸,你知道的,我很想尽量多点去探望他们。有时候这是不现实的。但是他们会去都柏林,或者我会去国外。所以有时间和我的家庭在一起是很好的事情。


Finally, it was back to business…

尼尔:最后,回到了工作上……


You know how we work. It takes three years to make an Enya album, and that’s been the same from Watermark to Shepherd Moons to The Memory of Trees. That’s something that we asked for. We had worked on the soundtrack to The Celts with the BBC, and then the record company approached us for a solo album. I was an unknown artist at the time, and we were establishing a way of working, and so we felt that it was important to the music – so we said to Rob Dickins of Warners: it will take three years between each album. And he said that’s fine.

恩雅:你知道我们是怎么工作的。制作一张恩雅专辑需要三年的时间,而且从《水印》到《牧羊人之月》再到《树的回忆》也一直如此。这是我们的特别要求。我们之前负责为BBC的《凯尔特人》创作原声带,之后BBC的唱片公司找到我们并为我们发行个人专辑。我在那时候是一个不知名的艺术家,我们也正在建立一种工作方式,所以我们感到这对于音乐来说是很重要的——所以我们跟华纳公司的罗伯·迪金斯说:每张专辑需要花费三年的时间。而他说这好极了。


Did you find it hard to get back into it?

尼尔:你会觉得重新返回工作状态有困难吗?


No, I was really excited. Because there was such a gap, there was an element of it being like our first album again! So what am I bringing into the studio? What am I going to write about? What is inspiring me? It was a real sort of feeling of yearning to get back to the music. I missed it. I really missed it (laughs).

恩雅:不难,我还觉得很兴奋。因为有着这样一个间隔,某种程度上让我们找回第一次创作专辑的感觉!所以我要把什么带进录音室呢?我将要写什么曲子呢?将要给我带来灵感的是什么呢?回到音乐创作给了我一系列的渴望。我挂念着它。我真的挂念着呢(大笑)。


Were you bringing anything different?

尼尔:你带来了什么不同吗?


I had to wait and see. For three years, I had to wait and see! It’s only when you finish the eleven songs – the eleven stories and what are they saying – that you know. You understand how I work with Nicky Ryan. I write a song. We work on it for a while and then we leave it. You mightn’t go back to that song for three months or six months. You’re writing other songs. So when you go back, that’s where you try and see what the emotional feeling was, what was in the melody, are you still enhancing that or have you lost a sense of what you’re trying to say. That can happen, where the embellishment, the arrangement, everything is taking over. Or on the other hand, you feel, no this really needs more work. So with each song it’s different. So that’s the element of not knowing properly until towards the end.

恩雅:我只能够等待和观望。连续三年,我只能够等待和观望!只有当你完成了十一首歌曲——那十一个故事和它们的内容以后,你才知道。你明白我是如何与尼奇·瑞恩工作的。我写歌。我们为这首歌工作一段时间然后又离开一段时间。你也许不会在三个月或六个月内回到那首歌曲的创作中。你正在写其它的歌曲。所以当你回到那首歌曲的时候,你需要努力弄清的地方是,歌曲的情绪感觉是什么,哪些东西存在于旋律中,你是否还要继续增强它,还是你已经失去了当初你想努力表达的感觉。这是可能发生的,在那些地方的装饰音、编曲、所有的东西都要有所接替。或者反之,你感到,不需要为这首歌曲做更多工作了。所以对每一首歌而言,这些都是不同的。所以这是直到工作完结都无法准确知道(新的音乐会怎么样)的一个因素。


Roma’s lyrics are based on a series of poems…

尼尔:萝玛的歌词建立在一系列的诗歌上……


Yeah, in particular there’s the title track, ‘Dark Sky Island’. She continued writing poetry and she was writing about islands – and in particular she was writing about Sark Island, which is off the Channel Islands. It was the first island to be designated a ‘dark sky area’. She started to explain that the only way to get there is by boat – you can’t fly there – and they don’t have cars. They took the designation as a dark sky area very seriously, and they decided to lessen light pollution as much as they could. So she was reading me the poetry – and ‘Dark Sky Island’ was the first melody I wrote, the inspiration being the poem about Sark Island. It is a fascinating thought: we all like to view the sky but she said that it’s quite unrecognisable because of the vastness of the amount of stars that you can see when it is dark enough. That conjures up wonderful imagery.

恩雅:是的,特别是标题曲“暗天之岛”。她继续写着诗歌,而且她写的是有关岛屿的——特别是她在写萨克岛,这个岛在海峡群岛开外。这是被指定为“暗黑天空区域”的第一个岛屿。她开始解释,到达那里的唯一方法是坐船——你不能够坐飞机到那里——而且他们没有车。他们对当地被指定为暗黑天空区域非常重视,而且他们决定尽他们的能力去减少光污染。所以她把那首诗歌读给我听——而“暗天之岛”成为我写的第一支旋律,灵感来自关于萨克岛的诗歌。这是一个迷人的想法:我们都想看看那里的天空,但是她说那几乎不像天空(指萨克岛天空与平常见到的天空差别太大——译者注),因为当天空足够黑暗的时候你能看到的星星数目巨大。这唤起了精彩的想象。


Nature is important generally in your work…

尼尔:一般来说,大自然在你的作品中是很重要的元素……


We deal a lot with nature and the universe and that was certainly one of the inspirations behind Dark Sky Island: this ongoing cycle that happens. That’s what ‘The Humming’ is about. It’s going on all around us: the water evaporates, becomes clouds, the trees fall, fungi takes over, winds come and go. But when I wrote that song there was a part that I hummed. It just felt right: this had to be the humming part! And then, it turns out Roma has a story that the earliest sound of the universe was a humming sound, which was inaudible to us until scientists took the information and they compressed it and that was what came out: a humming sound. That’s the way we work: everything starts to link up. It’s not a case of overnight you have the lyric and that’s the song. It’s a case of taking your time and asking: what do we need for this? This humming part, what’s the theme of it? The humming, that’s a great title! ‘The Humming’: it’s the sound of the early universe.

恩雅:我们做过很多自然和宇宙话题的歌曲,而且它们是专辑暗天之岛背后的其中一部分灵感:这里发生着一个不间断的循环。这是歌曲“嗡嗡”所要表达的。这个循环在我们的所有事物中运作:水蒸发成云,树木倒下,真菌取而代之,风吹来又去。但是在我写这首歌的时候,有一个部分我是发出嗡嗡声的。这种感觉很对:这不能不当成是嗡嗡的部分了!之后,结果是萝玛有一个关于宇宙中最早的声音是嗡嗡声的说法,这种声音我们是听不到的,直到科学家提取出里面的信息并压缩它(横向压缩信号的波形以提高频率至人耳可识别范围——译者注),而出来的声音就是:一种嗡嗡声。这是我们的工作方式:每一样事物都开始连接起来。我们并不是一夜里就有了歌词并得到了这首歌曲。而是花时间去询问:我们需要里面的什么呢?这个嗡嗡的部分,它的主题是什么呢?嗡嗡,这是一个绝好的标题!“嗡嗡”:这是早期宇宙之声。


Where do you stand on the warnings about climate change and the feeling that we may be on the path to global destruction?

尼尔:关于气候变化的警告和我们可能处在全球毁灭的道路上的感觉,你站在什么立场上?


Well, that’s something that’s ongoing. But what my message is: don’t lose sight of what’s there. Sometimes we forget about waking up and thinking ‘What is the sky like today?’ I say: ‘Go for a walk, look at a tree, be alive to everything’. I just feel that to focus too much on climate change tends to panic people. The situation is being dealt with as much as it can be. It’s a very political situation. But I feel that it’s really important to just live your life right now as well. You never know what tomorrow will bring. There are terrible moments that have happened which are worse than anything they’re educating us on. I’m thinking of what’s happening in Syria or 9/11 or things like that. So it’s best not to think too much of tomorrow.

恩雅:这个,这是一些正在发生的事情。但是我的观点是:不要失去对目前的事实的判断。有时我们忘记了起床并想着“今天的天空会是怎么样呢?”,我说:“去走走,看一看树,对任何事物保持活力。”我仅仅感觉太过聚焦气候变化会吓坏人们。实际情况是这些问题正在被尽力处理。这是一个非常政治化的情况。但是我觉得过好我们目前的生活也是非常重要的。你从来不知道明天会给你带来什么。这是一个已经到来的可怕时刻,比任何我们领教过的日子还要糟糕。我想起了叙利亚发生的事情或者911事件,或者其它像这样的事情。所以最好还是不要对明天想太多。


Some people look fifty years on and think: what sort of world are we bequeathing to our children?

尼尔:一些人展望五十多年后的世界并思考:我们将要继承给孩子的是怎样的一个世界呢?


But let them enjoy what’s happening in the here and now as well. There is fear, but there’s always been. You go back through history and there’s an element of a traumatic moment that could change everything very rapidly. So what I’m saying is: that is ongoing and it is important to look into it – but I’m also giving the message, educate them to, you know, go for a walk. Look around you. Take a moment. That’s really important as well.

恩雅:但也让他们享受当下。忧虑的确存在,但这从来如此。回顾历史,你会发现,一些构成伤痛时刻的因素可以迅速地改变一切(指突如其来的劫难可以迅速破坏美好的事物——译者注)。所以我要说的是:这些事情都在发生着,并且正视它是很重要的——但我也给出这样的看法,也要教会他们,你知道的,出去走走。看看你周围的事物。花点时间。这也真的很重要。


Do you enjoy the process of recording?

尼尔:你享受录音的过程吗?


I wouldn’t be able to do what I do if I didn’t enjoy it. Especially having had taken a proper break, I realised that being creative, being passionate about the music, writing a new song – all of these things are so important to me. Just because you’ve had success doesn’t make it easy to write the song you want. I have been classically trained so I go into the studio with a disciplined approach. But you still need to see what’s going to evolve. You have to work at it. This word keeps cropping up for me: time. It is lovely just to have the time in the studio, where there is no clock against me. You are sometimes caught up in the newness of an idea: you write a melody and you think ‘Wow! This is great, it’s very complex’. You come in the next day and you don’t feel any sort of passion for it. It’s like my own little journey, trying to find something that you feel strongly about, so that you know: this is the one.

恩雅:如果我不享受所做的事情,我是不可能去做的。特别是经过了一段时间的休息,我意识到创造性地、热诚地对待音乐、写新歌,所有的这些东西对我来说都是很重要的。只因为你成功了也不会使你更加容易写出自己想写的歌。我经历过古典音乐的训练,所以我带着严格的规矩方法走进录音室。但是你仍然需要看见什么东西在发展。你不得不对此用功。这个词时刻出现在我耳边:时间。有时间待在录音室是很有趣的,那里没有反对我步伐的时钟。你有时沉浸在一个想法的新颖性中:你写下了一个旋律并且你觉得“哇!这很棒,这非常复杂”。第二天你过来,你却再也没有感受到对它的一丝激情了。这就像我自己的小小旅程,努力去找到一些让你感受非常强烈的东西,以使你知道:嗯,就是这个了。


You’ve achieved remarkable things without ever touring in the way that most musicians do. Are you tempted by the prospect of doing live work?

尼尔:你从来没有像多数艺术家那样巡演,却在这种情况下取得惊人的成就。你会被现场表演的设想吸引吗?


I would love it. Just to go back to the launch of Watermark, in 1988, the record company said, ‘We see you on stage with a piano, you know, maybe two or three synthesiser players and that’s it’. We were thinking more in terms of having a string section because a lot of the parts that I play are like real-time strings, which are then layered. The same with my voice, so I thought we had to have a small choir. So we didn’t see eye to eye with the record company. Before we could work all of that out, what happened was the success of ‘Orinoco Flow’, which, as you pointed out yourself, was a song that would cross over – and which led to the success of Watermark. So I had surpassed the sales the record company had hoped for from a debut album and they were concerned that it would be three years before the next one. So once I finished promotion, they wanted me to go in and start on the next album – and that’s really what we’ve done ever since.

恩雅:我会爱上它。仅仅回溯到1988年专辑《水印》的发行,唱片公司说,“我们看见你和钢琴在舞台上,你知道的,也许有两到三个合成器演奏者,并且就是这样”我们在打算拥有一个弦乐组方面想得更多,因为很多我演奏的部分很像实时的弦乐演奏,其实是之后被叠加进去的。我的声音也一样,所以我想我不得不拥有一个小型合唱队。所以我们和唱片公司意见不一致。在我能够做完所有的工作之前,发生的是“奥里诺科河”的成功,其中,如你所指出的,这是一首会跨越的歌曲——并且导致了专辑《水印》的成功。所以我已经超过了唱片公司对第一张专辑的期望销量,并且他们所关心的是在下一张专辑到来之前需要三年的时间。所以每当我完成宣传,他们都想我快点回去并开始创作下一张专辑——而且从那时起我们的确那样做。


But the world has changed hugely and live performances are far more important now…

尼尔:但是世界已经发生了巨大的变化,现在的现场表演更加重要了……


Live music is very different now. In 2015, you can have the choir; you can have the orchestra. There are wonderful productions now. On the three year break, we weren’t under pressure to work on the next album and so we talked about what we would do live, how many people we’d need on stage, and so on. So Nicky has this idea of recording all the hits live, with a choir and an orchestra. He’s a big Beatles fan, so he’d love to do it in Abbey Road, but there are lots of options. It’s going to be a very different rendering of the music. But it will give us a real sense of how we could do things in live performance.

恩雅:现在的现场音乐大大不同了。在2015年,你可以拥有一个合唱队,你可以拥有管弦乐队。现在有很精彩的演出产品。在三年的休息时间里,我们并不为创作下一张专辑背负压力,因此我们谈论着我们能够做的现场表演是什么,舞台上需要多少人,等等。所以尼奇有一个这样的想法,与合唱队和管弦乐团一道,录制所有主打歌的现场表演。他是披头士乐队的忠实粉丝,所以他很喜欢去艾比路录音室做这样的事,但实际上我们有很多选择。音乐的演奏将会非常不同。但是它会给我们一个如何做现场表演的真正意识。


Like Kate Bush, you could also do twenty dates in the one venue, so you’re not carting a huge production all over the world.

尼尔:像凯特·布什一样,你也可以在一个场地做二十天的演出,这样你就不用拖着大批的人马往全世界走。


We talked about using The Metropolitan in New York as a venue to just to do even one concert: that can be screened all over the world now. But to hear it first is the most important thing: to hear ‘Orinoco Flow’ or ‘Caribbean Blue’ as they would sound live. We’ve done some really great TV shows for Japan and you have the string sections – ten cellos and twenty violins – playing the music and you hear all the parts and the choir and you get an inkling what it might sound like. So it’s time to experiment with getting the sound on stage.

恩雅:我们谈论着把纽约的大都会歌剧院作为演出场地甚至做一个演唱会:现在这里的演出可以放映到全世界。但是先听听最重要的事情:要听到“奥里诺科河”或“加勒比海蓝”用作现场表演所应有的声音。我们已经为日本做过一些很棒的电视演出,而且你拥有弦乐组——十个大提琴和二十个小提琴演奏者——音乐演奏着,会令你听到所有的部分还有合唱队的声音,并且你对这听起来像什么是心里有数的。所以是时候去试验一下在舞台上得到这些声音了。


On record, with Nicky’s production, there is a real Phil Spector ‘wall of sound’ thing going on.

尼尔:在录音里,尼奇的制作,使得真正的Phil Spector式的“音墙”正在展现。


The Beach Boys, Phil Spector, The Beatles, those are his main musical inspirations in the studio. When I play a melody, I’ll sort of hum the song and I hear a totally different arrangement to what Nicky hears. But what we like to do is to try everything. Now there are sparks that will happen: my idea is better than your idea and all of that! But what’s really good is to let the other person try things. What evolves makes it very exciting. You can be a critic to your own music. You can listen to it and go ‘Oh well I knew that wasn’t going to work’, or else there’s the shock, ‘Oh it does work!’ We’ve always given each other the freedom to bring in any idea.

恩雅:Beach Boys、Phil Spector、披头士乐队,他们是尼奇在录音室里的主要音乐启发者。当我弹奏一段旋律的时候,我会哼唱这首歌,并且我会在尼奇那里听到完全不同的编曲。其实我们想做的是尝试每样事物。现在我们将会擦出火花:我的点子比你的点子好,所有的这类感慨!什么才是真的好,只有让其他人来尝试才会明白。事情的进展是十分让人兴奋的。你可以作为你自己的评论家。你可以聆听它并感到“啊我知道了,这没有发挥作用”,或者是另一种震惊,“啊这发挥作用了!”我们总是给予对方带来自己想法的自由。


What were the biggest disagreements about?

尼尔:你们最大的分歧是什么?


There’s quite a few that we would have about, say, mixing a track, or where a riff would sit. It’s really personal, you know. You must remember that when we spend so much time on an album, we hear absolutely everything. So if a part disappears you can be anxious: why has my idea disappeared? Did you take that fader down by any chance? So that’s where the sparks fly!

恩雅:有很多分歧的地方,说话、混音,或者重复段在哪里。这是非常个人的,你懂得的。你必须记住当我们在一张专辑上花费了很多的时间,我们能够听到每一样的东西。所以如果一个部分消失了,你会很紧张:为什么我的点子消失了?你是不是碰巧把它做了渐隐了?所以这是火花飞出的时候!


The production values are crucial. What did you feel when you first heard that The Fugees had sampled ‘Boadicea’ for ‘Ready Or Not’?

尼尔:产品价值是至关重要的。当你第一次听到乐队Fugees在他们的歌曲Ready Or Not上使用你的歌曲Boadicea的采样时,你感觉如何?


First, it would be nice to have been asked. But it is a compliment. When you write music, you have no idea what people from other genres will think about it. We had an encounter with Puff Daddy a few years back, where he also did ‘Boadicea’ with another singer. Rihanna also had a track.

恩雅:首先,如果我被问过,事情会很好办。其实这是对我的一种赞赏。当你写歌的时候,你不会对其他流派的艺术家怎么看待这首歌有任何的把握。多年前我们遇到歌手Puff Daddy的歌曲,他和另一个歌手合作的歌曲也使用了Boadicea。歌手Rihanna也有一首歌是这样。


Did you ever imagine that your music would be in the middle of a huge hip-hop hit? It’s one of the biggest selling singles of all time.

尼尔:你曾经想象过你的音乐(指Boadicea——译者注)会在嘻哈音乐(由美国黑人兴起,包括说唱和电子乐器演奏)中流行吗?这是一直以来销量最好的单曲。


That was from The Celts, which was a wonderful project. But you thought you were confined to a TV programme for BBC so there was no expectation that it would crossover in that way.

恩雅:这首歌是从凯尔特人纪录片中来的,那是一个精彩的项目。但是你想你只是为了BBC做电视节目,所以毫无预料这首歌会以这种方式跨界。


Barack Obama named ‘Ready Or Not’ as his favourite song of all time.

尼尔:奥巴马说Ready Or Not是他一直以来最喜爱的歌曲。


I didn’t know that! Thank you for that information.

恩雅:我不知道呀!谢谢你告诉我这个信息。


When you were starting out, did you have any sense that you might sell 80 million records?

尼尔:当你事业刚刚开始的时候,你有预感会售出8000万张唱片吗?


No, no, no. Again the focus is always on what am I writing. The studio is all about focussing on the music. Being successful doesn’t make it any easier putting the music together or writing a song. The longevity of the career – that’s incredible. But I focus on the music side of it. When people talk about sales, I think: ‘Oh that’s wonderful’. But it’s a very short-lived moment.

恩雅:不,不,不。我总是在专注着写歌。录音室就是关于专注音乐的一切。成功并不使创作音乐更加容易。事业的长青——是不可思议的。但我关注着其中的音乐的一面。当人们谈论销量的时候,我想:“哇,这是极好的”。但这只是很短的一刻。


The use of Loxian…

尼尔:洛仙语的用法……


We have a whole movie coming out with Loxian (laughs). Sorry I interrupted you, but it’s another example of the freedom we have in the studio. On Watermark I was singing in Gaelic and Latin. And on Lord of the Rings I sang in Elvish. When we worked in Elvish, I felt very comfortable singing in Tolkien’s fictional language. Then, when we were working on Amarantine, there was a track called ‘The River Sings’ – and everything was working on the song but the language didn’t suit it. We tried so many different languages and we listened back and said, ‘It’s not working, it’s not working’. That’s when Roma said ‘I think I’ll write a fictional language’.

恩雅:我们有一整部关于洛仙人的电影(大笑)。抱歉我打断了你的话,但这是另一个我们在录音室里拥有自由的例子。在《水印》专辑里,我用盖尔语和拉丁语演唱。在《指环王》里,我用精灵语演唱。当我们在精灵语上花功夫时,我对使用托尔金的假想语言进行演唱感到非常舒服。之后,当我们为《永恒之花》专辑工作时,有一首歌叫做The River Sings(河流的歌唱)——所有的东西都到位了,但是没有找到合适的语言来演绎。我们尝试过很多种不同的语言,当我们回过头来听,只能说,“这没有发挥作用,这没有发挥作用”。这就是萝玛说“我想我将要写一种假想语言”的时候了。


A lot of people would say: ‘Are you off your rocker’?

尼尔:很多人会说:“你是疯了吗”?


(Laughs) We went: ‘Great’! You just don’t go ‘Excuse me?’ That’s not the way we work together! When you have an idea you just follow it through. She worked on the sounds I was making and created the Loxian language, using very soft sounds. We did three songs on Amarantine. On And Winter Came... there was no song that suited it: I never impose an idea on a song. It is never ‘I must do this’. It has to evolve very naturally within the music. So there was no Loxian. On this album there’s two tracks.

恩雅:(大笑)我们那时接着说:“好极了”!你不用说“打扰一下?”,我们一起工作时不是这样的!(指萝玛可以直截了当地提出观点,无需客气——译者注)当你有一个想法,你尽管顺着思路去做。她为我制造的声音进行工作,并创造了洛仙语,用的是很柔和的声音。我们为《永恒之花》专辑创作了三首洛仙语歌曲。在《冬季降临》专辑里,没有歌曲适合使用洛仙语:我从不对一首歌强加想法。从不会有“我必须做这个”。音乐只能按照非常自然的方式发展。所以那里没有洛仙语。在这张专辑(暗天之岛)里,有两首洛仙语歌曲。


Is there a back-story to Loxian?

尼尔:有洛仙语背后的故事吗?


It goes back to The Celts. The director of the TV series, David Richardson, was really wonderful. He said ‘You’re a Celt, so what would Celtic music be like in the future?’ And I wrote ‘Aldebaran’ in response. He actually said at the time: ‘I don’t think the Celts will exist in the future, they’re actually going to leave earth and they’re heading to Aldebaran’. So that was the last we saw of The Celts!

恩雅:这得回到《凯尔特人》纪录片的时候。电视节目的导演大卫·理查森,是非常出色的人。他说“你是一个凯尔特人,所以凯尔特音乐在未来会像什么呢?”然后我写了Aldebaran(毕宿五)这首歌作为回应。他确实在那时说:“我认为未来凯尔特人不会再在地球上存在,实际上他们将要离开地球并且朝着毕宿五飞去”。所以这就是我们最后所见的凯尔特人。


Explain!

尼尔:请解释一下!


It was a leap of the imagination, but Roma said ‘These have now become the Loxian people’. So the song ‘The Forge of the Angels’ is the Loxian people passing by Aldebaran. At the Forge of the Angels there are big ships – they are called the Angels –and they’re forging past Aldebaran. And then on the other song, ‘The Loxian Gates’, that is their planet, surrounded by the Loxian Gates. But Roma said ‘We don’t know the name of the planet because it’s in the future’. So it’s like: ‘Wow’. There’s a story in it.

恩雅:这是飞跃的想象,但是萝玛说“他们现在已经变成洛仙人了”。所以歌曲The Forge of the Angels(天使号的前进)是洛仙人路过毕宿五的一幕。在The Forge of the Angels中,有很多巨大的飞船——他们叫做天使号——而且他们正在稳步前进经过毕宿五。然后在另一首歌The Loxian Gates(洛仙之门)中,他们的星球,由洛仙之门(指星球的光环——译者注)围绕着。但是萝玛说“我们不知道这个星球的名字,因为那是未来的事情”。所以这就像:哇,原来里面有这样的故事。

 

Do you think of that as a fairy tale?

尼尔:你把它想象成童话故事吗?


No, it’s very futuristic, and connects with what’s happening. A lot of people are hoping to get to space. So when I’m performing Loxian, you know the language, it does conjure up the image. That’s what I’m singing about. I ask a lot of people: ‘Does it not bother you that you don’t understand the language that I’m singing’. But they say that they can sense in the song what I’m singing about. That’s the most important thing.

恩雅:不,这是非常未来主义的,而且连接着现在所发生的事情。很多人都希望上太空。所以当我演绎洛仙语的时候,你知道的,这一语言,正唤起这种图象。这就是我所唱的东西。我问过很多人:“你不能够明白我所唱的语言,这会使你烦恼吗?”但是他们说自己能够感受到我所唱的东西。这是最重要的。


Mouth music would not be a million miles away from it: the sounds are not about meaning, but about something sensual and atmospheric.

尼尔:口技音乐也跟这差不多:声音与意思无关,但与感受和氛围有关。


That’s it. There was a documentary done on me. I don’t know if I agreed with it or not, but it highlighted the element of melancholy that is within Irish music – and that it’s in my music. It has, I think, to do with the minor key because a lot of Irish traditional music is in a minor key. It’s incredible. There’s a few songs of mine that are in minor keys or that use a minor, major, minor, major sequence. So it’s something that I use a lot in my music. If it’s not a minor key I keep going from major to minor a lot and I think that’s the influence of traditional Irish music coming through.

恩雅:对。有一个记忆的烙印作用在我身上。我不知道我是否认同它,但是它突出了蕴藏在爱尔兰音乐中的忧郁元素——并且它就在我的音乐里。我想,这与小调音阶有关,因为很多爱尔兰传统音乐都是用小调的。这是不可思议的。我有一些歌曲是用小调的,或者按小调、大调、小调、大调的序列。所以这是我在自己的音乐中用得很多的东西。如果不是小调的,我就会保持从大调到小调往复多遍,并且我认为这是传统爱尔兰音乐带给我的影响。


You were classically trained. But growing up you listened to traditional music and to pop music as well. Was one element more important than the other?

尼尔:你受过古典音乐的训练。但是随着成长你也听了很多传统音乐和流行音乐。其中一个元素会比另一个更重要吗?


They’re all there. They all lend themselves to feeling comfortable in any genre of music. It’s a natural sort of progression to try to get this emotional feeling into notes, into a song and into lyrics. It’s kind of like a journal.

恩雅:它们的影响都在。对任何一个流派的音乐而言,它们都能做到使音乐听起来更舒服。努力把这些情感带进音符、歌曲和歌词中,是一种自然的进程。这就像在写日记。


When you were growing up, you got into music and you imagined yourself as a musician. But did you also imagine yourself having a different life, where you’d have kids and family?

尼尔:当你正在长大的时候,你走进音乐并且想象力自己是个音乐家。但你也想过自己拥有一种不同的生活吗,例如你有孩子和家庭?


For me, it was always inclined to be the journey. Whatever the journey I’ve done – that’s where the journey took me. When I was three and a half years of age, that’s the first time I was on stage. It was in a pantomime. All the fairy tale characters came out – the Snow Queen, Santa Claus, the Easter bunny and Little Red Riding Hood – and I spoke to the audience and I sang a song and you know, I didn’t feel this was a strange thing to do.

恩雅:对我来说,我总是倾向于把它看作一个旅程。无论我走过的旅程是什么——那都是我走过的旅程。当我还是三岁半的时候,我第一次走上舞台。那是在一个童话剧上。所有的童话故事角色都出来了——冰雪女王、圣诞老人、复活节兔子和小红帽——而我向观众说话,并且唱了一首歌,并且你知道的,我并不觉得这样做很奇怪。


Was there any other vital formative influence?

尼尔:还有哪些至关重要的影响吗?


At eleven years of age, I went to boarding school and that made me very independent. Because, being in a big family, of four brothers and four sisters, it was very difficult to hear my voice. And all of a sudden I’m at boarding school. I don’t have to ask anybody. I answer for myself. I remember the first assembly we were at. The music teacher came in and she said ‘Who here would like to be in the choir’ and of course, I was like, ‘Yeah’. And then ‘Who would like to study piano’ – and I was already up to grade two at that stage and I was like ‘Yes’. And then she said ‘Now, who’d like to do music as a subject’? I’d never known that you could do music as a subject and my feeling was: they’ll think I’m really greedy here, but it was just like Christmas and my birthday had come together.

恩雅:在我十一岁的时候,我进入了寄宿学校,而这让我变得非常独立。因为,在一个有着四个兄弟和四个姐妹的大家庭里,要听到我的声音是非常难的。而突然地我处在寄宿学校。我不能够依靠任何人,我只能依靠自己。我记得我们的第一个集会。音乐老师进来了,她说谁想加入唱诗班?”,理所当然地,我回答“嗯”。接着老师说“谁想学习钢琴呢?”——而我已经达到钢琴二级了,我就说“好的”。然后她又说“现在,谁想把做音乐作为一个科目呢?”我从来不知道可以把做音乐作为一个科目,而且我的感觉是:他们会觉得我在这里非常贪婪,但这就像圣诞节和我的生日一起到来了一样。


Was the feeling of independence important?

尼尔:独立的感觉很重要吗?


I was the one that sat in learning, when everybody was playing outside. So what boarding school did for me was that every step I took I really sort of thought about it and I thought about me as a person. Even now, I don’t think in haste: ‘Oh that sounds great let’s go for it’. I always think, ‘Are you happy with this now, this is a big change’. And everything I’ve done I’ve been really happy with.

恩雅:我是那个坐着学习的孩子,而其他人都在外面玩耍。所以寄宿学校对我的作用是每一步我都经过自己的真正的考虑,而且我吧自己看作一个独立的人。即使是现在,我也不会着急地想:“噢,这听起来很棒,让我们去行动吧”。我总是想,“你现在对此感到快乐吗,这是一个巨大的变化”。并且所有我做过的事,我都确实是乐在其中的。

 

You joined your brothers and sister in Clannad – and then split in controversial circumstances…

尼尔:你加入了你兄姐的乐队克兰纳德——然后在充满争议的情况下和乐队分离了……


It was actually Nicky who asked me to join Clannad. I was about to go to university to study music and I got the call and I was quite surprised when I said: ‘Yes’. Because, I wasn’t the next in line. I’ve older brothers and sisters who weren’t in the group. And I found it sort of strange. I talked about that – and then I decided: ‘I’m going to try this’. But, for me, it was a sort of trial period. I wanted to write music and I enjoyed the experience on stage – but I found, talking to Nicky, that he had a lot of musical ideas, like the wall of sound and he wanted to try one voice and to use it as an instrument. And I thought this was fascinating because I knew harmony; I knew melody; I wanted to write. But it wasn’t going to happen straight away. The first things I wrote were instrumentals. It was Roma who said: ‘This feels very visual’. She said it really tells a story – and that’s why the lyrics work with Roma doing the poetry side of a lyric. Because she was able to see the visual side of the melody I had written. And then we thought, ‘Well let’s go to film, let’s go to TV’ – and that’s where we started.

恩雅:实际上是尼奇请求我加入克兰纳德。我当时正打算进入大学学习音乐,但我接到了他的电话,感到非常意外,并回答“我是(恩雅)”。因为,我不是按着辈分顺序的下一个(人选)。我还有并不在乐队里的哥哥和姐姐们。对此我感到很奇怪。我和他谈论了一下——随后我决定了“我打算尝试一下”。但是,对我来说,这是一个试用期。我想写音乐,并且享受着在舞台上演出的经验——但是我发现,和尼奇谈话,他有很多音乐上的想法,例如音墙,还有他想尝试把嗓音当作一种乐器使用。而我认为这是非常有吸引力的,因为我懂得和声;我懂得旋律;我想要写这样的音乐。然而这并没有马上发生。我写下的第一样东西是器乐曲。正是萝玛对我说:“这感觉很视觉化”。她说这的确诉说了一个故事——而这就是为什么萝玛所写的歌词充满诗意的原因。因为她能够看到我写的旋律那视觉化的一面。之后我们想,“好的那就让我们(的作品)上电影,让我们(的作品)上电视”——这就是我们的起点。


But before you became successful there were tough times, when it was hard to put food on the table…

尼尔:但在你变得成功之前你经历了艰难的时段,那时连温饱都难以解决。


Absolutely. But I gave piano lessons, which I enjoyed for a short time. But when you do something that you really believe in and really love there is a really big driving force. You don’t feel the cold. You’re not hungry. You’re really driven towards writing an album. I remember thinking: ‘It’ll be amazing when I have twelve pieces written’. I’d have written six pieces and I kept thinking: will I ever finish twelve? You know now the number of songs I’ve written – part of me didn’t believe I could do it. But part of me had the driving force of ‘Why don’t you push yourself and see what happens?’

恩雅:确实。但我教钢琴课,我享受那段短暂的时光。但是当你做一些你确实相信和确实喜爱的事情时,你会有巨大的推动力。你不会觉得冷。你不会觉得饿。你确实朝着写一张专辑的方向奋发努力。我记得我当时这样想:“当我写出十二首曲子的时候会是多么的惊喜”。我已经写了六首曲子,并且继续想:我能完成十二首吗?你知道现在我写过的歌曲的数目——我有点不敢相信我能写出那么多来。但是我也有点这样的推动力:“你为什么不推一把自己并看看会发生什么呢?”


There have been a lot of huge occasions, and awards and moments of adulation and all that – but has there been anything that stands out as a pinnacle moment so far?

尼尔:你经历了很多隆重的场面,还有颁奖和称赞的时刻,所有的这些——但是到目前为止你觉得顶峰时刻是哪个呢?


The Oscars! What they did for the songs that year was amazing. Usually during the award ceremony you perform a song and then they present awards, then the next song will be performed – and so on. What they did the year I performed was that we were all on stage at the same time. So there I am, on stage with Sting, Faith Hill, Randy Newman and Paul McCartney. It doesn’t get any better than that, does it? (laughs)

恩雅:奥斯卡!当年他们为歌曲所做的事情是令人惊喜的。通常在颁奖典礼的过程中你演唱一首歌曲,随后他们颁奖,之后是下一首歌曲的演出——如此类推。然而他们当年的做法是,当我演出的时候,我们(获奖者)都同时站在台上。所以我和Sting(斯汀)、Faith Hill(菲丝·希尔)、Randy Newman(兰迪·纽曼)和Paul McCartney(詹姆斯·保罗·麦卡特尼)同在台上。没有事情会比这个更棒了,是吗?(大笑)


Are there musicians, or is there a band, at the moment that you listen to and that you feel: ‘This is really special?’

尼尔:有没有音乐家,或乐队,在某个时刻你听了他们的音乐,并觉得“这很特别”?


I’d have to say Adele. Sam Smith is wonderful too, but I think she’s quite unique. She has the most beautiful voice and writes the most wonderful melodies.

恩雅:我不得不说Adele(阿黛尔)。Sam Smith(萨姆·史密斯)也很棒,但我想她(阿黛尔)真的很独一无二。她拥有最美的嗓音又能写出最精彩的旋律。


A final question: we talked about the great moment at the Academy Awards, but have you any regrets at this stage?

尼尔:最后一个问题是:我们谈论着奥斯卡奖的伟大时刻,但你是否在这个时刻留有遗憾呢?


Regrets? None whatsoever. I was asked recently, in passing, would I change anything? And the truth is that I wouldn’t change anything whatsoever. It’s nice to be able to say that. Yeah, that there is nothing really that speaks to me of ‘Oh I wish I had.’

恩雅:遗憾?一点儿也没有。顺带提一下,最近我被问到,(如果事情可以重来)我是否会作出某些改变?而真相是,我不会改变任何的做法。能够这样说是很好的。是的,真的没有东西可以让我说“噢,但愿我拥有”。


(Dark Sky Island is out now on Warner Music)


2016年01月25日

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