It was one of the most sonically adventurous hits of 2018.

這是2018年最有聲音冒險的歌曲之一。

This song has been described as “whacked-out and skittery” —

這首歌被描述為 "古怪的和跳動的"----。

Billboard said “there's no disguising how weird "Sicko Mode" is as a pop song.”

Billboard說："作為一首流行歌曲，《Sicko Mode》的怪異程度是無法掩飾的。"

So what made this song so bizarre to so many critics and listeners?

那麼，是什麼原因讓這首歌曲讓這麼多評論家和聽眾如此怪異呢？

For one -- its structure: Sicko Mode is essentially three songs in one, each section riding on

其一--它的結構。"病態模式 "本質上是三首歌曲合二為一的，每一部分都是在... ...

a completely different beat.

完全不同的節奏。

But even more so it's the moments before these beat switches that sounded like nothing

但更多的是在這些節拍切換前的瞬間，聽起來就像什麼一樣

else on the radio.

其他的電臺。

Take this moment, halfway through:

以此刻，半途而廢。

“Who put this shit together I'm the glue”

"是誰把這狗屎放在一起，我是膠水"

"Shorty facetimed me out the blue"

"矮子突然給我打臉"

Before the beat switches, two things happen: First, all the music drops off except for

在節拍切換之前，發生了兩件事。首先，所有的音樂都消失了，除了... ...

the vocal and what sounds like a distorted kick drum.

人聲和什麼聽起來像一個扭曲的踢鼓。

“Someone said”

"有人說"

And then, this happens:

然後，就發生了這樣的事情。

“Someone said, motherfuck what someone said (Don't play us for weak)”

"有人說，他媽的有人說什麼（別把我們當弱者玩）"

A vocal sample echoes over and over into silence.

人聲樣本一遍又一遍地迴盪在寂靜中。

These spacious interludes in the song can be traced back to a genre of music that has

歌曲中這些寬敞的插曲可以追溯到一種音樂類型，有

influenced everything from punk rock and hip-hop to pop for nearly half a century.

近半個世紀以來，影響了從朋克搖滾、嘻哈到流行音樂的方方面面。

Jamaican dub.

牙買加語配音。

Jamaicans are a people obsessed with audio.

牙買加人是一個迷戀音頻的民族。

In the 1950s, DJs in Kingston, Jamaica's capital, would load up their trucks with a

20世紀50年代，牙買加首都金斯敦的DJ們會在他們的卡車上裝滿了

turntable, a stack of American rhythm and blues records, and massive speakers, to play

轉盤、一疊美國節奏藍調唱片和巨大的揚聲器，來播放

at parties.

在聚會上。

These sound systems - the DJ and their setup - gained cult followings - each one taking

這些音響系統--DJ和他們的設置--獲得了崇拜者的追隨--每一個人都會把自己的聲音當作自己的聲音。

on their own whimsical names.

在自己的異想天開的名字上。

Like Duke Reid's The Trojan

就像杜克-裡德的《特洛伊木馬》。

Coxsone's Downbeat

考克松的低潮期

And Mutt and Jeff's Sound

還有馬特和傑夫的聲音

Named after the comic strip.

以連環畫的名字命名。

Through the 50s and 60s, the speakers got more complex, but the basic set up remained

到了50年代和60年代，揚聲器變得更加複雜，但基本的設置依然存在。

the same.

同樣的。

Deejaying was basically like one turntable, a mixer, and an echo chamber. And it was really

Deejaying基本上就像一個轉盤，一個調音臺，和一個迴音室。而這是真的

about who had the cleanest, clearest, loudest sound.

關於誰的聲音最乾淨、最清晰、最響亮。

That's Chris Leacock: He's a DJ and producer who goes by the name Jillionaire. He's part

他是Chris Leacock：他是一名DJ和製作人，名字叫Jillionaire。他是

of the group Major Lazer.

集團Major Lazer的。

For the most part you know you have a subwoofer, You have a midrange speaker, and then you

在大多數情況下，你知道你有一個低音炮，你有一箇中音揚聲器，然後你有一箇中音揚聲器，然後你。

have a horn or tweeter which is your high end.

有一個喇叭或高音喇叭，這是你的高端。

Certain frequencies you will hear out of certain boxes. Whether

某些頻率你會從某些盒子裡聽到。無論是

it's a drum, the bass, the piano, the hammond organ - it all goes in somewhere along the

這是一個鼓，貝斯，鋼琴，哈蒙德風琴 - 這一切都去的地方沿。

line on the sound system.

音響系統上的線路。

This is Mikey Dread, he's one-third of Channel One, a UK based sound system that's been around since 1979.

這是Mikey Dread，他是Channel One的三分之一，Channel One是英國的一個音響系統，自1979年以來就一直存在。

When the sound system drops the bass you feel it from your feet right up to your belly.

當音響系統降下低音時，你會感覺到它從你的腳下一直到你的腹部。

Competition between the sound systems was fierce - deejays would scratch the labels

音響系統之間的競爭非常激烈--DJ會在標籤上劃傷。

off of their most popular r&b tunes so other sound systems didn't know what they were

他們最流行的R&B曲調，所以其他的音響系統不知道他們是什麼

playing.

玩。

And when American r&b was taken over by rock & roll, Jamaicans looked to their own musicians

當美國的R&B音樂被搖滾樂取代時，牙買加人就開始尋找自己的音樂人。

for a new sounds - that led to Ska which became Jamaica's first form of pop music.

新的聲音 - 這導致了Ska，成為牙買加的第一種流行音樂形式。

Through the 1960s, Ska evolved into the slower tempo Rocksteady, and then Reggae.

經過20世紀60年代的發展，Ska演變為節奏較慢的Rocksteady，然後是Reggae。

By the 1970s there were a handful of highly prolific recording studios across Kingston

到了70年代，金斯頓各地出現了一些高產的錄音室。

churning out reggae hits that blasted across those sound systems.

攪動出雷鬼音樂，在這些音響系統中爆炸。

It's at Treasure Isle Records, though, where things started to shift into new sonic territory.

不過，在寶島唱片，事情開始進入新的聲音領域。

This is King Tubby -

這是國王Tubby -

A radio repairman turned music engineer who would radically change the sound of reggae.

一個無線電維修工變成了音樂工程師，他將從根本上改變雷鬼音樂的聲音。

He worked at Treasure Isle and was tasked with stripping the vocals out of songs to

他在Treasure Isle工作，任務是將歌曲中的人聲剝離出來，以。

produce instrumental versions that would show up on the b-sides of singles.

製作的器樂版本會出現在單曲的b-sides上。

Through this process, he realized he could produce unique versions of songs if he added

在這個過程中，他意識到，如果他在歌曲中加入

and subtracted different aspects of the track.

並減去了軌道的不同方面。

In doing so, he created a new genre called dub.

由此，他創造了一個新的流派，叫做配音。

Dub - in its most basic form - is taking a song, stripping out the lead vocals, pumping

Dub--最基本的形式--就是把一首歌，去掉主唱，用泵把它泵出來。

up the bass and drums, and adding effects like echo and reverb.

提高貝斯和鼓的音量，並加入回聲和混響等效果。

That sounds simple enough, but King Tubby and other legendary dub producers like Lee

這聽起來很簡單，但King Tubby和其他傳奇的dub製作人，如Lee。

Scratch Perry, Augustus Pablo, and Scientist made this an art form.

Scratch Perry、Augustus Pablo和Scientist讓這成為一種藝術形式。

Their studios were laboratories filled with gear that they pushed far beyond their supposed

他們的工作室是實驗室，裡面裝滿了他們推崇的設備，遠遠超出了他們的預期。

limits.

限制。

The best way to understand how dub works is by listening to a song's original version.

理解配音的最好方法就是聽一首歌的原版。

Since you likely won't have time to build a wall of custom speakers to feel the bass,

由於你很可能沒有時間去建造一堵定製音箱的牆來感受低音。

you should probably put on your headphones.

你應該戴上你的耳機

Here's a few seconds of ”I Admire You”

這裡有幾秒鐘的 "我很欣賞你"

“Hey, girl, I admire you”

"嘿，姑娘，我很欣賞你"

On the flip side is “Watergate Rock,” King Tubby's dub version

另一邊是 "水門石"，Tubby王的配音版。

The first thing you'll notice is that the vocals are stripped out and the bass line

首先你會注意到，人聲被剝離出來，低音線

has been pushed to the foreground. You also might have noticed this sound right

已經被推到了前臺。你可能也注意到了這個聲音，就在

here:

在這裡。

That weird snare hit didn't show up in the original, but it was a King Tubby staple,

那個怪異的小節拍在原作中沒有出現，但它是King Tubby的主打歌。

likely achieved with this piece of gear right here:

很可能實現與這塊裝備就在這裡。

The Fisher Space Expander.

費舍爾太空探索者號。

Released in the early 60s, the Space Expander was a spring reverb unit originally meant

60年代初發布的Space Expander是一個彈簧混響裝置，最初的目的是為了讓你的聲音更清晰。

for home hi-fi systems and even cars.

用於家庭高保真系統，甚至汽車。

The idea was that you'd connect it to your home turntable, and with the slight twist

我的想法是把它連接到家裡的轉盤上，只要輕輕一轉

of a knob, soundwaves bouncing through the spring would simulate “the natural reverberation

聲波通過彈簧的反彈可以模擬 "自然迴響"。

of a well designed auditorium.”

的一個精心設計的禮堂"。

In King Tubby's hands, this machine did more than its makers intended. He used it

在國王Tubby的手中，這臺機器的作用超過了它的製造者的預期。他用它

in subtle ways to make an old fashioned snare drum sound otherworldly.

用微妙的方式，讓老式小鼓發出別樣的聲音。

But he also found a whole other way to create effects that were anything but subtle.

但他也找到了另一種方式來創造效果，但並不精妙。

The only way this effect right here:

唯一的辦法，這個效果就在這裡。

could have been achieved is if King Tubby physically shook the spring, and that's

本來可以實現的是，如果King Tubby物理上搖動彈簧，而這是。

exactly what he did.

正是他所做的。

He turned the gear into an instrument.

他把裝備變成了樂器。

The effect became a King Tubby trademark and would go down as one of the most discordant

這種效果成為了King Tubby的商標，並將作為最不和諧的一種

sounds in dub music.

在dub音樂中的聲音。

Among the thumping bassline, wobbly snare hits, and the clanging of metal springs is

在怦然心動的基調、搖搖晃晃的小鼓敲擊和金屬彈簧的鏗鏘聲中，是

another quintessential effect in dub, and my personal favorite: Echo.

另一個典型的效果在配音， 和我個人的喜愛。回聲

Tape delay, which creates that echo sound, was developed in the 1950s.

產生那種回聲的錄音帶延遲，是在20世紀50年代發展起來的。

It's the process of recording sound to magnetic tape and using the distance between the recording

它是將聲音記錄到錄音帶上的過程，並利用記錄之間的距離來實現。

head and playback head to create audio feedback.

頭和回放頭以產生音頻反饋。

By the 1970s tape delay had been used on dozens of iconic recordings, albeit in very

到了20世紀70年代，錄音帶延時已經被應用於幾十張標誌性的唱片中，儘管是在非常有限的情況下。

subtle ways.

微妙的方式。

From Elvis Presley

來自貓王

“Oh baby, baby, baby”

"哦，寶貝，寶貝，寶貝。"

To The Beatles

致甲殼蟲樂隊

"Well they took some honey from a tree Dressed it up and they called it me"

"他們從樹上摘下一些蜂蜜，把它打扮得漂漂亮亮的，他們叫它我"

"Everybody's trying to be my baby"

"每個人都想成為我的寶貝"

Dub artists used tape delay like their lives depended on it.

Dub藝術家們使用錄音帶延遲，就像他們的生命依賴於它。

Mikey Dread: The word echo, alone, is represented in reggae music. So if you really don't

Mikey Dread:回聲這個詞在雷鬼音樂中就有代表性所以如果你真的不

have echo something is missing.

有呼應的東西是缺少的。

While there were dozens of different types of units that could create echo - two that

雖然有幾十種不同類型的裝置可以產生回聲--有兩種裝置可以產生回聲。

found their way into many dub tracks of the 1970s were the Roland Space Echo and Maestro

在20世紀70年代，它們被廣泛應用於許多杜比音樂中，如Roland Space Echo和Maestro。

Echoplex. If you open the tops of both - you'll see

蝕刻片。如果你打開兩個的頂部--你會看到。

that there's not much to it: A single magnetic tape spinning in an infinite loop.

這沒什麼好說的一條錄音帶在無限的循環中旋轉。

But when the knobs of these machines were turned to extreme combinations - the results

但是，當這些機器的旋鈕被旋轉到極端的組合時--結果是...。

were trippy.

都是三腳貓。

Take a listen to Jacob Miller's song "Baby I Love You So"

聽聽雅各布-米勒的歌曲 "寶貝，我如此愛你"

That melodica you hear is being played by Augustus Pablo, the producer of the track. He was a

你聽到的那個旋律琴是由奧古斯都-巴勃羅演奏的，他是這首歌的製作人。他是一個

protege of King Tubby and mixed the dub version of this song at his studio.

King Tubby的門徒，並在他的工作室混合了這首歌的配音版本。

The result is one of Dub's most celebrated tracks: "King Tubby Meets the Rockers Uptown"

結果是Dub最著名的曲目之一。"King Tubby遇見Rockers Uptown"

A heavy dose of echo applied to the slivers of vocals and melodica make the song feel

濃重的回聲應用於人聲和旋律的片斷，使這首歌的感覺是

like it's floating in outer space.

就像它漂浮在外太空一樣。

When King Tubby left Treasure Isle to build his own studio, he did that not just

當King Tubby離開金銀島建立自己的工作室時，他這樣做不僅僅是為了

to have his own space to experiment, but to produce unique dub versions for his own sound

有自己的實驗空間，但要為自己的聲音製作獨特的配音版本。

system: Tubby's Hometown Hi-Fi.

系統。Tubby's Hometown Hi -Fi.

The story goes that the first time he played a dub version, the

據說，他第一次玩配音版的時候，。

crowd went wild.

人群瘋狂了。

Today, we've come to expect a heavy bass line, reverb, and echo, because dub's influences

今天，我們已經開始期待一個沉重的低音線，混響和回聲，因為dub的影響。

have made their way into nearly every genre of music.

幾乎進入了所有音樂流派。

But sometimes those sounds still surprise us:

但有時這些聲音還是會讓我們感到驚訝。

Whether deliberate or not, Sicko Mode's production mirrors the sonic themes

無論是否刻意，Sicko Mode的製作都反映了聲音的主題。

that Jamaican dub music pioneered decades ago.

牙買加dub音樂在幾十年前開創的。

It is a very typical kind of like King Tubby, Lee Scratch kind of production

這是一個非常典型的那種像管子王，李抓撓那種製作方式

in terms of one song going in you know two or three completely different directions.

就一首歌而言，你知道兩個或三個完全不同的方向。

Dub music has evolved with every generation

每一代的Dub音樂都在發展

but its spirit of sonic experimentation has always stayed the same.

但它的聲音實驗精神一直沒有改變。

In our sessions it's like a spiritual movement,

在我們的課程中，它就像一場精神運動。

makes your mind go into your own - no matter who's

讓你的思想進入你自己的--不管是誰的

around you.

在你身邊。

We don't stop playing reggae music. Rastafari.

我們不會停止播放雷鬼音樂。拉斯塔法裡。