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It just so happened that the Godfather himself had at the same time bought an apartment in Stockholm. On Lästmakargatan, around the corner from Stureplan, the world’s greatest DJ now spent his free time, when he was not out spinning around the world.
恰好，教父本人同时也在斯德哥尔摩购买了一套公寓。现在，全球最伟大的DJ住在Lästmakargatan街上，距离Stureplan只有一个街区，当他没有在全球各地巡演时，他在这里度过空闲时间，。
Tijs Verwest, as Tiësto was actually called, was a little unsure of where his life was going. Without really noticing it, he had become a nearly forty-year-old man, whose friends had started families while he himself still flew around for almost three hundred days a year. He had planned to marry his girlfriend, but when the wedding was postponed due to his constant travel, the relationship had gone awry.
Tijs Verwest，即Tiësto，有点不确定他的人生将走向何方。在他还没有真正注意到时，他已经成为了一个将近40岁的男人，他的朋友们已经组建了家庭，而他自己还在一年中飞行近300天。他原本计划和女友结婚，但由于他的频繁出差，婚礼被推迟后，两人的关系逐渐疏远。
Tiësto was also a little tired of Amsterdam and the Dutch dance music that had become so hard and highly strung in recent years. It was an aggressive and screaming style that could become tiresome after a while. On the other hand, he was attracted by the house music that was bubbling in Stockholm, which was more embracing and warmer in its tone.
Tiësto也有些厌倦了阿姆斯特丹和荷兰舞曲，这些年来它变得越来越硬、紧张。这是一种充满攻击性和尖叫的风格，久而久之会变得令人疲倦。另一方面，他被在斯德哥尔摩涌动的house音乐所吸引，这种音乐更具包容性和温暖感。
It was a scene with roots.
这是可以追根溯源的。
In the beginning, of course, was ABBA, the quartet that had combined soft Swedish folk music with careful harmonies and tasteful chord progressions in world hits such as ‘Dancing Queen’ and ‘Take A Chance On Me’. In the 70s many had seen the group as quirky, but history had proved their precise compositions right.
当然，在一开始，是ABBA，这个四人组合将柔和的瑞典民谣音乐与细致的和声和优美的和弦进展结合在一起，在全球热门歌曲中演绎出Dancing Queen和Take A Chance On Me。在七十年代，许多人认为这个组合很古怪，但历史证明了他们精密的作曲是正确的。
When dance music swept across Europe in the early 90s, the Swemix collective had made club tunes with a similar sense of poppiness – Stonebridge had achieved a world hit with his remix of Robin S’s song ‘Show Me Love’ and Denniz Pop had produced Ace Of Base, whose hit ‘The Sign’ had topped the US chart for weeks.
当舞曲在90年代初席卷欧洲时，Swemix collective制作了一些类似于流行的夜店音乐 - Stonebridge为Robin S歌曲Show Me Love的混音成为了一首全球热门歌曲，Denniz Pop则制作了Ace Of Base，他的热门歌曲The Sign在美国排行榜上位居首位长达数周。
Towards the turn of the millennium, Denniz Pop’s adept Max Martin had for a few years defined the entire world’s pop music. From Cheiron, their joint studio, Martin had composed hits for the Backstreet Boys, Britney Spears and NSYNC: methodically chiselled pop tunes with a heavy dose of American R&B and lyrics that followed the songs’ harmony rather than English grammar. ‘Quit Playing Games (With My Heart)’, ‘ . . . Baby One More Time’, ‘I Want It That Way’, ‘It’s Gonna Be Me’ – so many hooks that had travelled the world from the small studio in Stockholm.
千禧年之交，Denniz Pops的得意门生Max Martin在数年间定义了整个流行音乐界。在他们的合作工作室Cheiron中，Martin为Backstreet Boys、Britney Spears和NSYNC创作了一系列热门单曲：这些歌曲有经过精心雕琢的流行曲调，融入了大量美国R&B元素，并且歌词遵循歌曲的和谐而非英语语法。Quit Playing Games (With My Heart)，...Baby One More Time，I Want It That Way，It's Gonna Be Me - 这么多给人留下深刻印象的旋律从斯德哥尔摩的小工作室传遍了全世界。
Now that the 2010s had just begun, the artist Robyn made stylish electropop and Swedish House Mafia emerged with their explosive style, but also their tracks were neatly produced behind all the bombast.
现在，进入了2010年代，艺术家Robyn创作了时尚的电子流行音乐，瑞典混音师组合瑞典浩室黑手党以震撼人心的风格崭露头角，他们华丽的曲目是精心制作出的。
Clearly, they could make hits in Stockholm, a city that Tiësto experienced as amazingly clean and tidy. The inhabitants walked around smartly dressed in the latest fashion, always smelling good. The same precise efficiency was in the music, and it was a type of order that felt quite necessary for someone who had basically toured his private life to pieces.
显然，他们可以在斯德哥尔摩创作热门歌曲，这座城市让Tiësto感受到了惊人的清洁和整齐。居民们穿着最时尚的衣服，总是散发着好闻的气味。在音乐中也有同样精确的效率，这种秩序对于那些基本上已经把私人生活和巡回演出混在一起的人来说是非常必要的。
Tiësto got help finding his way in Stockholm’s nightlife from Sebastian Ingrosso of Swedish House Mafia, and in February 2010 he ran into Arash Pournouri at the club Berns. Arash gave him a USB stick with Avicii’s latest songs. Of course, Tijs already knew about the young Swede, had listened to him with interest, but track five on this stick was something out of the ordinary.
Tiësto在斯德哥尔摩的夜生活中得到了瑞典黑手党的Sebastian Ingrosso的帮助。2010年2月，他在Berns俱乐部偶遇了Arash Pournouri。Arash给了他一个U盘，里面装有Avicii最新的歌曲。当然，Tijs已经听说过这位年轻的瑞典人，对他的音乐也很感兴趣，但这个U盘上的第五首歌曲却是与众不同的。
Tiësto himself came from a tradition of making remixes. His breakthrough had come with versions of Delerium’s song ‘Silence’ and Samuel Barber’s ‘Adagio For Strings’. He grew up cutting tapes, looping, putting one sample over another, always with an original to pick from. He could only imitate a chord when he heard it and he had only started to make his own songs when he became a star behind the turntables and needed to broaden his repertoire.
Tiësto最初遵循制作混音的传统。他的突破来自于为Delerium的歌曲Silence和Samuel Barber的Adagio For Strings制作的版本。他在成长过程中剪辑磁带、循环、将一个样本重叠在另一个之上，总是有原创作品可供选择。他只能在听到和弦时模仿它，只有在成为DJ明星并需要扩展自己的曲目时才开始创作自己的歌曲。
It was quite clear that Tim Bergling came from the opposite direction. Tiësto was a man of the booth – Avicii was a composer who had become a DJ.
很明显，Tim Bergling的出发点与Tiësto截然不同。Tiësto是一个舞台上的男人，而Avicii是一位作曲家，后来成为了DJ。
Enchanted, Tiësto listened to the song with the vibrating marimba. Avicii apparently had a sense of space, a lightness and a tender nerve that set him apart. It was easy to feel a connection with the man behind the music, as if Tim Bergling’s heart was in direct contact with his fingertips.
Tiësto听着那带有振动马林巴琴的歌曲，被迷住了。Avicii显然有一种空间感、轻盈和柔软的神经，这使他与众不同。很容易感受到与音乐背后的人产生联系，好像Tim Bergling的心直接与他的指尖相连。
Tiësto was so impressed by ‘Bromance’, as the song on the USB stick eventually was called, that he invited Tim to the island that had become the centre of European club culture.
Tiësto 对于这首最终被命名为Bromance的歌曲印象深刻，他邀请Tim前往那个已经成为欧洲俱乐部文化中心的岛屿。
A few decades earlier, Ibiza had been an obscure island in the Mediterranean, a poor farming community that could only be reached by boat from the Spanish mainland. Here was where beatniks and bohemians, war-refusing Americans and gay Spaniards gathered, the latter finding a refuge from Franco’s military regime among the olive trees. Protected from the outside world, a hedonistic club culture emerged, led not least by the Argentine DJ Alfredo, who held court at the club Amnesia.
几十年前，伊维萨岛还只是地中海上的一个偏远小岛，一个贫瘠的农业社区，只能通过从西班牙本土乘船前往。这里是垮掉的文艺青年、反战美国人和同性恋西班牙人聚集的地方，后者在橄榄树间寻找从弗朗哥军政府中逃离的庇护所。在外界的保护下，享乐主义的俱乐部文化崛起，其中最重要的领袖是阿根廷DJ Alfredo，他在Amnesia俱乐部掌权。
By the end of the 80s, a group of British friends had come to the island to celebrate a birthday. With their nervous systems rejoicing in Ecstasy, the English had danced their way through the nights to Alfredo’s magical selection of Italian disco, American house and Nigerian funk. When they came home to London, they started clubs in the same style, which made a new generation of Britons open their eyes to dance music and the parties on the small island.
到了80年代末，一群英国朋友来到伊维萨岛庆祝生日。他们在摇头丸的作用下狂欢，英国人跳着舞，度过了一个个夜晚，听着Alfredo精选的意大利迪斯科、美国电子音乐和尼日利亚放克。当他们回到伦敦时，开设了同样风格的俱乐部，让新一代英国人开始关注舞曲和在这个小岛上的派对。
Nowadays, the infrastructure was well oiled. Until six in the morning, special buses carried tourists to the clubs – in the summer of 2010, David Guetta played regularly at Pacha, Laidback Luke was every Thursday at Amnesia and, as usual, the Briton Carl Cox was the sickest with his legendary eight-hour gigs at Space.
如今，基础设施运转良好。直到清晨六点，特别的巴士会载着游客前往俱乐部——在2010年的夏天，David Guetta经常在Pacha表演，Laidback Luke每周四在Amnesia表演，而英国人Carl Cox则像往常一样在Space进行八小时的传奇演出。
Between three and six every Monday night, Tiësto performed at the island’s largest club. Calling Privilege a club was in itself an understatement. The old bathhouse was as big as an ice hockey arena and had room for ten thousand people. Behind the worn-out diving platforms was scaffolding, and the narrow corridors up in the air had been decorated with a couple of sewage-smelling carpets and a sofa.
每周一晚上的三点到六点，Tiesto都会在岛上最大的俱乐部表演。将Privilege称为俱乐部本身就是一种低调的表述。这座旧浴室的面积堪比一个冰球场，可以容纳一万人。在破旧的跳水平台后面是脚手架，高空的狭窄走廊上铺着几张散发污水味的地毯和一张沙发。
There sat Tim Bergling waiting to go up on stage.
Tim Bergling坐在那里，等待上台。
It was incredible really.
真的太不可思议了。
Barely two years after he had sent his first songs to some Swedish blogs, Tim would be the opening act for fucking Tiësto, in Ibiza, several Mondays in a row.
仅仅两年前，他把自己的第一批歌曲发在了一些瑞典博客上，如今他已成为在伊维萨岛每个星期一为Tiesto演出开场的表演嘉宾。
Tim laughed and drank as topless girls got ready for their dance numbers out on stage. Next to him on the piss-smelling sofa sat another young Swede who, funnily enough, had also gone to Östra Real and had the same first name as Philgood.
Tim笑着喝着酒，一旁的舞台上，赤裸上身的女孩们正在为她们的舞蹈表演做准备。在臭气熏天的沙发上，坐着另一个年轻的瑞典人，有趣的是，他也曾就读于Östra Real学校，并且和Philgood拥有相同的名字。
Filip Holm was a year younger than Tim but already saw himself as a veteran on the club scene. He had grown up with a father who worked for the booking company EMA Telstar and had been running around arenas with laminated VIP tiles around his neck since he was a kid. In the short time since graduating from Östra Real, Filip Holm had made a name for himself in Stockholm’s nightlife by running house clubs at Laroy as well as F12 and Café Opera. One night he had stumbled upon Tiësto outside one of the clubs, they had smoked a few cigs and discussed music and the rest was history. Now the twenty-year-old Swede was buddies with Tiësto, despite the big age difference.
Filip Holm比Tim年轻一岁，但在俱乐部现场已经视自己为老手。他的父亲在预定公司EMA Telstar工作，自小就在竞技场周围奔波，脖子上挂着镶嵌VIP标识的证件。在Östra Real毕业后的短暂时间里，Filip Holm通过在Laroy、F12和Café Opera经营house俱乐部，在斯德哥尔摩夜生活圈中声名鹊起。有一天晚上，他在其中一家俱乐部外面偶遇了Tiësto，他们一起抽了几支香烟，讨论了音乐，剩下的就是历史。现在，这位20岁的瑞典人已经和Tiësto成为了朋友，尽管年龄差距很大。
‘How weird that I never saw you at Östra,’ Filip said to Tim when they finally got to know each other.
“真奇怪，我在Östra从来没有见过你，” Filip在他们终于彼此认识时对Tim说道。
‘But I was, like, kind of never in school, so it’s not that strange,’ Tim laughed in response.
”但是我好像从来没怎么上过学，所以这也不算奇怪，”Tim笑着回答道。
The busloads of people poured into the old bathhouse. The music made the scaffolding shake and the sofa vibrate. Back here the bass sounded muffled and cracked, and even though Tim and Filip shouted at each other, it was almost impossible to hear what the other was saying. They downed Jägermeister instead. Tiësto loved the thick black German liqueur. Tim Bergling poured another glass.
人们从大巴车上涌进了旧浴室。音乐让脚手架颤动，沙发震动。在这里，低音声音沉闷而破裂，即使Tim和Filip互相喊叫，也几乎听不清对方在说什么。他们喝下了Jägermeister。Tiësto喜欢这种浓稠的黑色德国甜酒。Tim Bergling又倒了一杯。
It was serious now, show time, necessary to calm the nerves.
现在情况很要紧，演出时间到了，必须冷静下来。
Up in the booth, Tim continued to have shots and bubbly. Some evenings he got really drunk, but the fact that he sometimes missed a transition didn’t matter – the tourists had come to the island to party, very few cared about a perfect beat mix.
在DJ台上，Tim继续喝酒和香槟。有些晚上他会喝得很醉，但他偶尔错过歌曲之间过渡的事实并不重要——游客来到这个岛屿是为了狂欢，很少有人在意完美的节奏混音。
Afterwards, as the sun rose, they drove along roads flanked by huge hoardings covered with Tiësto’s face. A gravel road wound up the mountainside at Sant Jordi, a gate was pushed to the side, revealing a salmon-pink stone villa surrounded by red rocks. This was Tiësto’s house, and this was where the parties that really mattered were held.
随着太阳的升起，他们沿着路行驶，路两旁高耸的广告牌上印着Tiësto的面孔。一条石子路蜿蜒上山，通到圣乔迪，一扇推开的大门后，露出一座鲑鱼粉色的石头别墅，周围是红色的岩石。这就是Tiësto的家，也是真正重要的派对举办地。
Above the pool with tiled dolphins on the bottom was a terrace where they had installed DJ decks. As the morning ferries from Barcelona became visible on the horizon, Tim, Tiësto and the other guests took turns choosing songs. In front of the stone wall with the waterfall was a bar counter, girls were pole dancing and laser lights coloured the living-room walls in neon.
水池底部铺有海豚瓷砖，在上方，有一个露台，他们在那里安装了DJ设备。当来自巴塞罗那的早晨渡轮在地平线上变得可见时，Tim、Tiësto和其他客人轮流选择歌曲。在石墙的前面有一个酒吧柜台，女孩们在跳钢管舞，激光灯将客厅的墙壁染成了霓虹色。
Surrounded by newfound friends, Tim was finally able to relax, and the more alcohol went in his body, the happier he became. Laughing, he passed around the green bottle with the red deer on it, inciting everyone around to drink right from the bottle. It was as if he wanted to share his experience; he tried to get everyone into that same soft state of mind.
被新结交的朋友们包围着，Tim终于能够放松了，在喝下更多的酒后，他变得越来越开心。他笑着递给大家一个绿色瓶子，瓶子上有一只红鹿，（译者注：即野格利口酒，酒精浓度为35%）他鼓励大家直接从瓶子里喝。仿佛他想要分享他的经历，他试图让每个人都进入同样柔和的心态。
Around lunchtime, he usually just leaned against something, still taking sips. Then he stumbled past ferns and fig trees and nodded off in one of the guest rooms under the pool.
在午餐时间，他通常只是靠在某个东西上，仍然在喝酒。然后他踉跄着穿过蕨类植物和无花果树，最后在游泳池下的客房里打起了盹。
One of these mornings, however, Tim had to travel on; it was around eight o’clock, the party in full swing. Tiësto’s tour manager had made it his task to get the guests going to a gig in Stockholm.
然而，有一天早上，Tim必须离开；当时已经八点左右，派对正在如火如荼地进行着。Tiësto的巡演经理已经开始策划如何让客人们前往斯德哥尔摩的演出。
‘Tim, you have to go!’
“Tim,你必须出发了！”
‘I don’t want to.’
“我不想去。”
‘You have to.’
“你必须去。”
When Tim laughingly ran away, he stepped straight on a drinking glass. A shard was pushed up into the sole of his foot, blood pumping out over the tiles by the pool.
当Tim大笑着跑开时，他直接踩在一个饮料杯上。碎片刺入了他脚底，鲜血喷涌在泳池旁的瓷砖上。
After half a day in the hospital in Ibiza, Tim met Filip Holm at the airport. His injured foot was wrapped in gauze and a small piece of glass was still inside, a doctor in Stockholm would have to pull it out. Tim was hungover and happy, wonderfully resilient.
在伊维萨岛医院待了半天后，Tim在机场遇到了Filip Holm。他受伤的脚用纱布包裹着，还有一小块玻璃残留在里面，需要在斯德哥尔摩找医生取出。Tim有点宿醉，但很开心，完美地适应了现状。
‘What the hell happened?’ asked Filip.
“我去发生了什么？”Filip问。
‘Uh, I stepped on some glass.’
“呃，我踩到了玻璃。”
‘We have to find a wheelchair or something.’
“我们得找一把轮椅或者什么东西。”
‘No, jeez, grab one of those luggage carts and I’ll get on that.’
“不，天啊，拿一个行李车，我会上去的。”
That same summer, record company manager Per Sundin sat inside Pacha, a white stone building of several floors in Ibiza’s port area. The club had become an institution of European party life – already in the airport’s arrival hall, Sundin had passed a souvenir shop filled with the place’s famous cherries printed on sweaters and ashtrays.
同年夏天，唱片公司经理Per Sundin坐在伊维萨岛港口区域的白色石建筑Pacha里。这家俱乐部已经成为欧洲派对生活的一个机构——在机场的到达大厅里，Sundin路过了一家纪念品商店，里面摆满了毛衣和烟灰缸，这里著名的樱桃标记印在这些东西上。
Dance music was a world that Per Sundin knew very little about in that summer of 2010, northerner and rock guy that he was. But now a friend was turning forty and wanted to celebrate by seeing Swedish House Mafia, a trio from Sweden that was said to offer spectacle and smoke.
在2010年那个夏天，舞曲是Per Sundin所知甚少的世界，因为他是个北方的摇滚乐迷。但现在，他的一个朋友即将迎来40岁生日，他想要庆祝一下，去看来自瑞典的三人组合Swedish House Mafia，因为据说他们能带来有浓烟效果的视觉盛宴。
Sundin was one of the major figures on the Scandinavian music scene, even though the last few years had not been particularly cheerful ones. Illegal downloading had punctured the record industry and Sundin had been forced to lay off more than two hundred people. When even the Prime Minister, during a televised debate, had shown understanding for the kids who downloaded illegally, Sundin’s mother had called and begged her son to switch industries.
Sundin是斯堪的纳维亚音乐界的重要人物之一，尽管最近几年并不是特别愉快。非法下载已经刺穿了唱片行业，Sundin不得不解雇了两百多人。当连国家首相在电视辩论中都对非法下载的孩子们表示理解时，Sundin的母亲打电话求儿子转行。
Instead, he had advanced to become head of the record label Universal and done his best to escape the crisis. Per Sundin had a career goal, as easy to formulate as it was difficult to achieve: to sign, from the office in Stockholm, a Swedish artist who eventually got a number one on the Billboard charts in the USA. That would be as far as a Swedish record exec could take it.
相反，他已经晋升为唱片公司环球音乐的负责人，并尽力逃避危机。Per Sundin有一个职业目标，很容易表述，但很难实现：从斯德哥尔摩的办公室签下一位瑞典艺术家，最终在美国的公告牌排行榜上获得冠军。这就是一个瑞典唱片公司高管所能达到的最高水平。
But tonight was hardly the night when this dream would come true. The birthday celebrators had been drinking wine since lunchtime and were now sitting on one of Pacha’s terraces, waiting for a show that never seemed to start. The day was obviously turned upside down on this island – breakfast for dinner, lunch at midnight, the clubs full of people who swallowed pills and did lines right off the backs of their hands. Per Sundin had to fight to stay awake before pop queen Kylie Minogue finally took to the stage around half past two in the morning.
但是今晚并不是这个梦想实现的夜晚。生日庆祝者们从午餐时开始就一直在喝酒，现在他们坐在Pacha的露台上，等待一场似乎永远不会开始的表演。这个岛上的日夜显然被颠倒了——晚餐变成了早餐，午夜时分才吃午餐，俱乐部里挤满了吞药物、从手背上吸毒的人。Per Sundin不得不努力保持清醒，直到流行天后Kylie Minogue终于在凌晨两点半登台。
It was a great show with plumes and glitter. The record company manager wondered how three Swedes at some computer screens would top this.
这是一场盛大的演出，有烟花和闪光。唱片公司经理不知道三个瑞典人在电脑屏幕前如何完成这一切。
When Swedish House Mafia finally thundered up into the booth, it was like a blow to the stomach. From the roof, a cloud of dry ice shot out as the audience pumped their hands in the air to ‘One’, a hard electro track that was the group’s latest single.
当瑞典浩室黑手党最终登上DJ台时，就像被一记重拳击中了肚子。从顶部，一团干冰云喷射而出，观众们挥舞着手臂，跟随着他们的最新单曲One的强劲电音节奏。
Bloody hell, this was some heavy shit.
该死，这是一些很不一般的东西。
Per Sundin went down to the dance floor to study the audience. Contrary to what he had expected, people were not here to dance. They were here to worship a band. This situation was familiar – it was just like a gig with Coldplay or Metallica, or Sundin’s own favourite Bruce Springsteen. Artists who had all sold quite a few records, to put it mildly.
Per Sundin下到舞池观察观众。与他预期的相反，人们来这里不是为了跳舞，而是为了崇拜一个乐队。这种情况很熟悉——就像与Coldplay或Metallica 或Sundin自己最喜欢的Bruce Springsteen一起演出一样。这些艺术家都卖出了相当多的唱片，这只是委婉的说法。
Sundin stumbled out into the dawn light with goosebumps on his arms and a revelation in his skull.
Sundin走出门外，被清晨的阳光照得起了鸡皮疙瘩，同时他的脑海中也闪现出一个颇有启示性的想法。
He would find a new Swedish artist who resembled Swedish House Mafia.
他会发现一个新的瑞典艺术家，他就像瑞典浩室黑手党。
When Per Sundin came home and asked around the record company, he was tipped off about the song ‘Bromance’, by an artist who called himself Tim Berg.
当Per Sundin回到家并询问唱片公司时，他得知了一位名为Tim Berg的艺术家创作的歌曲Bromance。
Tim Berg also performed under the name Avicii, and Avicii sometimes called himself Tom Hangs, it seemed to depend a little on the mood of the songs. Sundin did not really understand the difference but when he reached out to Arash Pournouri he was immediately impressed by the manager’s cocksure confidence. Arash seemed genuinely convinced that this quiet and spotty Swede would take over the world, and that any record company that was invited to take that journey with them should be grateful.
Tim Berg也以艺名Avicii表演，有时候 Avicii会自称为Tom Hangs，这似乎取决于歌曲的情绪。Sundin并没有真正理解其中的区别，但当他联系Arash Pournouri时，他立刻被这位经理人的自信所打动。Arash似乎真诚地相信这个文静的，脸上长痘的瑞典人会征服世界，而任何被邀请与他们一起踏上这段旅程的唱片公司都应该感到庆幸。
Now Sundin cycled the short distance from Universal’s office to Styrmansgatan, a street that sloped down towards the bay, with the lush island of Djurgården glistening on the other side of the blue. This was where Arash Pournouri had set up an office for his management company, which he had named At Night. It was from here in Östermalm that Avicii was to be catapulted out towards the stars.
Sundin现在从环球公司骑车短途穿过Styrmansgatan街，这条街坡度向下通往海湾，蓝色湾水另一边是翠绿的Djurgården岛。这里是Arash Pournouri为他的管理公司设立办公室的地方，他将这家公司命名为At Night。从Östermalm的这里，Avicii将被发射向星际。
The address sure sounded lavish, but to get to At Night’s location, Sundin had to walk through a long stone corridor, before a white-painted space opened in front of him.
这个地址听起来很豪华，但是为了到达At Night的地点，Sundin必须穿过一条长长的石头走廊，然后才能走进一个白色的空间。
He looked around the basement. The bright red carpet and the equally red leather armchairs were probably meant to give the place the air of a luxurious lounge at warmer latitudes, but together with the light walls made the room look more like a cheap beauty salon.
他环顾了一下地下室。明亮的红色地毯和同样鲜红的皮革扶手椅可能是为了给这个地方营造出温暖纬度的豪华休息室的氛围，但是在浅色的墙壁的衬托下，这个房间更像是一家廉价的美容院。
‘Take off your shoes!’
“脱下你的鞋子！”
Arash’s nasal voice echoed in the small room. He was sitting behind his desk in the far corner, in an armchair that dwarfed him. Sundin had to kick off his boots before he was shown around.
Arash的鼻音在小房间里回响。他坐在远角的桌子后面，一把扶手椅让他显得非常矮小。Sundin必须踢掉鞋子才能被带着参观。
It was all a bit unusual that the country’s most powerful record company executive would visit the artist and not the other way around. But that seemed to be part of Arash Pournouri’s whole attitude: he wanted to point out that Universal could come to him if they were so interested.
这有点不寻常，因为国内最有权势的唱片公司高管要拜访艺术家，而不是相反。但这似乎是Arash Pournouri的整体态度的一部分：他想指出，如果他们感兴趣，环球唱片公司可以来找他。
Sundin was enticed by the cockiness.
Sundin被他的傲慢自大所吸引。
‘Do you wanna have a listen?’ asked Arash.
“你想听听看吗？”Arash问。
Per Sundin sat down in one of the red leather armchairs, Arash turned up the volume and played him song after song.
Per Sundin坐在红色皮革扶手椅上，Arash调高音量，一首又一首地给他播放歌曲。
The first single that Sundin wanted to release was a given. Avicii should do what Swedish House Mafia had done with ‘One’ – the trio had invited the star Pharrell Williams to sing over the beat and released the song again under the name ‘One (Your Name)’. If ‘Bromance’ got some nice vocals added, it would even be able to reach outside house music circles.
Sundin想要发布的第一首单曲是显而易见的。Avicii应该像瑞典浩室黑手党制作One一样，他们邀请了明星Pharrell Williams跟着节奏演唱，并将歌曲以One (Your Name)的名义重新发布。如果在Bromance中加入一些不错的人声，它甚至可以走出浩室音乐圈子。
The preparatory work for an updated version had actually already been done. The French duo Alviin & Da Frenchy had mixed Tim’s beat with the singing on Samuele Sartini’s track ‘Love U Seek’. Tim had played the version with vocals during the summer and it had worked out well, so it was easy to build on the same idea. Singer Amanda Wilson was simply asked to record her vocals once more, so that they would sit nice and tight over Tim’s production.
升级版的前期工作实际上已经完成了。法国二人组Alviin＆Da Frenchy已经将Tim的节拍与Samuele Sartinis的歌曲Love U Seek混合。Tim在夏季演奏了带有人声的版本，并且效果很好，因此很容易沿用同样的想法。歌手Amanda Wilson只需再次录制她的人声，以便它们可以紧密地配合Tims制作。
The new version was presented as if Avicii had remixed a song by Tim Berg and thus got the rather elaborate title ‘Seek Bromance (Avicii Vocal Edit)’. Per Sundin signed an initial contract with Arash and Tim to have Universal release the song in Sweden, Norway and Finland.
新版本的呈现方式就像是Avicii重新混音了Tim Berg的一首歌曲，因此得到了相当复杂的标题Seek Bromance (Avicii Vocal Edit)。Per Sundin与Arash和Tim签订了一份最初的合同，让环球唱片在瑞典、挪威和芬兰发行这首歌曲。
‘Seek Bromance’ gained momentum very quickly, climbing up the charts in Norway, Denmark, Hungary, Poland, England and even the United States in the autumn of 2010. The tempo, which had already been high, was cranked up even more. In the Avicii Twitter feed, fans could follow as Tim burned CDs in hotel rooms, slept three hours in as many days and, after the accident with the glass, hopped around on his crutches in a frenzy of gigs back and forth across the continents.
Seek Bromance很快就获得了势头，在2010年秋季攀升至挪威、丹麦、匈牙利、波兰、英格兰甚至美国的排行榜上。势头接着攀升。在 Avicii的Twitter账户上，粉丝们可以关注Tim在旅馆房间里刻录CD，几天只睡了三个小时，在玻璃事故之后，他拄着拐杖跳着在各大洲之间的演出中疯狂穿梭。
It was exactly how it should be in this world. The old rock guys may have had a predictable routine where they made a record one year, toured the next, before they went into the studio again. Neatly organised tours and a somewhat loose schedule. For a DJ, the culture was completely different. House music was based on a constant stream of new singles, very few fans cared about albums, and if you got big enough, there was always a party somewhere in the world that needed some great music. Carl Cox had become an industry hero when he first performed at a party in Australia on New Year’s Eve, then threw himself on a plane, flew across time zones and arrived at a new party in Hawaii, playing alongside the fireworks there as well.
这就是世界应有的样子。老派摇滚音乐人可能有一个固定的流程，一年制作一张唱片，下一年巡演，然后再进入录音室。整齐有序的巡演和相对宽松的时间表。对于DJ来说，文化完全不同。浩室音乐基于不断涌现的新单曲，很少有粉丝关注专辑，如果你足够出色，世界上总会有一个需要好音乐的派对。当Carl Cox在澳大利亚的一个新年派对上首次表演，然后跳上飞机，飞越时区，到达夏威夷的一个新派对场地，与那里的烟花一起演出时，他已经成为业界英雄了。
Two New Year’s Eve celebrations in one night: that’s how a real DJ worked.
一晚上举办两个跨年庆祝活动：这就是一个真正的DJ的工作方式。
Tim had also started doing several shows a day – at the end of August 2010 he did a festival in the Netherlands at the beginning of the evening and a club in Germany that same night. In each place there was vodka and Red Bull, champagne and Red Bull, and Tim’s eternal doubt about whether his songs were good enough.
Tim开始每天做好几场表演——2010年8月底，他在荷兰参加了一个音乐节，晚上在德国的一个俱乐部表演。每个地方都有伏特加和红牛、香槟和红牛，以及Tim永恒的怀疑，他的歌曲是否足够好。
‘Did it work or not?’ he asked Filip Holm.
“这起作用了吗？”他问Filip Holm。
They were on their way to the backstage area at the Dutch festival Lief.
他们正前往荷兰音乐节Lief的后台区域。
Filip Holm had now started working for Arash and At Night, the old school friend from Östra Real travelling with Tim as tour manager. Holm was the link between artist, booker and promoter, and during the gigs he crouched under the booth to keep Tim company.
Filip Holm现在开始为Arash和At Night工作了，他是Tim的巡演经理，也是Tim在Östra Real的老校友。Holm是艺人、预订者和推广人之间的纽带，在演出期间，他蹲在展台下陪伴着Tim。
On stage in Utrecht, Tim had just played his rendition of Eurythmics’ classic ‘Sweet Dreams’, and was unsure of the audience’s reaction.
在Utrecht的舞台上，Tim刚刚演奏完他版本的Eurythmic的经典歌曲Sweet Dreams，他不确定观众的反应。
‘Ooh, are you joking?’ said Filip Holm. ‘People died for it!’
“哦。你在开玩笑吗？”Filip Holm说，“人们愿意为这首歌献身！”
‘Meh, I didn’t get that at all.’
“嗯，我完全没听懂。”
‘What are you going on about? They went bananas, man!’
“你在说什么？他们疯了，伙计！”
Filip showed a video he had filmed from his spot under the DJ booth. Over by one of the speakers was the Italian producer Benny Benassi and he was surely digging it.
Filip展示了他从DJ舞台下拍摄的视频。在音箱旁边，意大利制作人Benny Benassi正在享受音乐。
‘Look, even he loved it! It was awesome, Tim!’
“看，连他都喜欢它！太棒了，Tim！”
‘Yes. Fuck, it looks pretty good when you film it like that.’
“是的。该死，从那个角度拍看起来很不错。”
This was a recurring discussion. Tim was so incredibly self-critical, nothing mattered but that the audience liked what he was doing.
这是个一再出现的讨论。Tim总是自我批评，唯一重要的事情就是观众是否喜欢他所做的。
That’s why he was always working.
这就是他一直在工作的原因。
Tim prepped for his gigs up until the last minute, often longer than that. To organise his sets he used Rekordbox, software that Pioneer had recently launched. There he arranged his songs in groups of three or four that he had already mixed together into a composite block. That way, he had ready-made transitions that were safe and sounded good. But he still wanted to mix it up, so that there was no risk of anyone hearing the same gig twice – each performance was filmed with hundreds of mobile cameras and ended up on YouTube, each setlist dissected by the fans.
Tim经常在演出前一直准备，有时甚至更长时间。他使用Pioneer最近推出的软件Rekordbox来组织他的演出曲目。他将已经混音成组合块的三到四首歌曲分组排列。这样，他就有了安全、好听的即兴过渡。但他仍然想要混搭，以免有人听到同样的演出 - 每场演出都会用数百个移动相机拍摄，并最终上传至YouTube，每场演出曲目都会被粉丝们剖析。
He played by ear night after night, constantly putting new vocals over the instrumentals in so-called bootlegs, and had begun to be known for bold combinations. Some versions were a reflection of the music he grew up with on Linnégatan, such as the rendition of ‘The Tracks Of My Tears’, Smokey Robinson & The Miracles’ soul ballad from 1965, or the slamming electro version of The Temptations’ ‘Papa Was A Rollin’ Stone’. But Tim also made his own house bootlegs of the hip-hop group Beastie Boys and the classic rock band The Doors, played around with indie pop and mixed his fierce instrumental ‘Abow’ with Kings of Leon’s howling pop vocals.
他每晚都靠听觉演奏，不断在所谓的bootleg中加入新的人声，开始因大胆的组合而出名。有些版本反映了他在Linnégatan长大时所接触的音乐，比如1965年Smokey Robinson & The Miracles的灵魂抒情歌曲The Tracks Of My Tears的演绎，或是The Temptations的Papa Was A Rollin' Stone的电子摇滚版本。但Tim也制作了自己的嘻哈组合Beastie Boys和经典摇滚乐队The Doors的bootleg，尝试了独立流行音乐并将他凶猛的器乐Abow与Kings of Leon的嘶吼流行歌曲混合。
Photographer Marcus Lindgren let his camera film in the darkness of the hotel room, where Tim was leaning over the desk, preoccupied with a small drum sound that no one in the audience would notice anyway.
摄影师Marcus Lindgren用他的相机在酒店房间的黑暗中拍摄，Tim俯身在桌子上，专注于一个小鼓声，而观众们根本不会注意到。
‘When were you going to start playing then?’ Marcus asked.
“那你打算什么时候开始播放呢？”Marcus问道。
‘Midnight,’ Tim replied happily.
“午夜”，Tim开心地回答。
Lindgren filmed the clock’s green digits.
Lindgren拍下了时钟的绿色数字。
It showed 00:26.
钟显示00:26
These images would be perfect on YouTube.
这些图片在YouTube上非常完美。
Marcus Lindgren was another of the additions to At Night, a twenty-four-year-old who with his agile Canon was able to film in high quality.
Marcus Lindgren是At Night的另一位新成员，他是一名24岁的年轻人，凭借其敏捷的佳能相机能够拍摄高质量的视频。
Arash Pournouri understood the value of posting clips to the fans on Facebook, and Marcus quickly learned the tricks. By framing the audience closely, he was able to give off a feeling that the club was packed even when there were some thin spots on the dance floor. Intense editing created the feeling of an ever-growing success. The optimal angle was in the middle of the dancefloor: there Marcus caught Tim’s movements up on stage, and at the same time he could capture the feeling of a crowd that adored Avicii. With waving hands in the foreground, a focused DJ who looked out over his congregation.
Arash Pournouri意识到在Facebook上向歌迷发布片段的价值，Marcus很快学会了这些技巧。通过近距离拍摄观众，即使舞池上有些空荡，他也能营造出俱乐部已经挤满了人的感觉。强烈的编辑创造了一种不断增长的成功感。最佳的拍摄角度是在舞池的中央: 在那里，Marcus能够捕捉到Tim在舞台上的动作，同时也能够捕捉到一群崇拜Avicii的人群的感觉。在前景中挥舞的双手，一位专注的DJ俯视着他的信众。
As 2010 drew to a close, Tim had done over three hundred gigs during the year, a schedule that even Carl Cox could hardly match.
随着2010年接近尾声，Tim在这一年里已经完成了超过300场演出，即使是Carl Cox也难以匹敌的日程安排。
He kept the fear of flying in check by ploughing through books. On one trip, he was deeply immersed in The Dirt, Neil Strauss’s biography of the heavy metal band Mötley Crüe. The quartet had survived fatal car crashes, overdoses and internal strife, but after ten years they fired their manager, one of the few people who could handle all the idiotic quarrels. There had been fights over money, meetings with greedy lawyers and their seventh album had ended up as a confused concoction that none of them could stand.
他通过阅读大量书籍来克服自己的飞行恐惧。有一次旅行，他深深地沉浸在Neil Strauss的传记《The Dirt》中，这本书关于重金属乐队Mötley Crüe。这个四人组经历了致命的车祸、过量用药和内部纷争，但是十年后，他们解雇了经纪人，这是少数几个能够处理所有愚蠢争吵的人之一。他们之间曾经因为钱而争吵，与贪婪的律师会面，他们的第七张专辑最终变成了一个混乱的东西，他们中没有一个人能够忍受。
Tim looked up from the book.
Tim从书本上抬起头。
‘I’ll never fucking change my manager!’
“我绝对不会换经纪人！”
It went without saying that Arash Pournouri delivered. Leading up to Christmas 2010, ‘Seek Bromance’ had sixteen million views on YouTube and was on heavy rotation on the BBC. Tim had performed at the festival Sensation and had remixed a Daft Punk song. The Frenchman Bob Sinclar had bowed to him in respect, Chuckie called him this year’s breakthrough in DJ Mag. He had bought a used Rolex, in sapphire crystal and gold with eight diamonds on the dial, and there was still over twenty thousand euros in the company account.
毫无疑问，Arash Pournouri做到了。2010年圣诞节前，Seek Bromance在YouTube上的观看次数已达1600万次，并在BBC频道上热播。Tim已经在Sensation音乐节上演出，并重新混音了一首Daft Punk的歌曲。法国人Bob Sinclar向他表示敬意，Chuckie在《DJ Mag》杂志上称他为今年的突破人物。他买了一只二手劳力士蓝宝石水晶金表盘，上面镶有八颗钻石，公司账户上仍有超过二万欧元的余额。
The most important thing for Tim himself, however, was that he had finally started to get a treatment for his spots that actually worked.
然而，对于Tim本人来说，最重要的是他终于开始接受了一种真正有效的治疗来治疗他的痘痘。
The medicine was called Tetralysal and consisted of red-yellow capsules that contained an antibiotic that inhibited the growth of bacteria in the pores of the skin. Of course, there were some potential side effects: the medicine could upset the body’s bacterial flora and should not be taken on an empty stomach, the patient could get headaches or feel nauseous. In rare cases, the treatment could lead to inflammation of the pancreas. But after just a few weeks, Tim had started to see results.
这种药叫做Tetralysal，是一种红黄色胶囊药物，含有一种抗生素，可以抑制皮肤毛孔内细菌的生长。当然，这种药也有一些潜在的副作用：可能会扰乱身体的细菌菌群，不能空腹服用，患者可能会头痛或者恶心。在极少数情况下，治疗可能会导致胰腺炎。但是仅仅几周后，Tim就开始看到了治疗效果。
The intruders had retreated, the assault to his face had ceased.
入侵者已经撤退，对他脸部的攻击也停止了。
It was starting to go really well, indeed.
事情确实开始进展得很顺利。
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