爱尔兰音乐杂志Hotpress的2010年专访Damien Rice的部分翻译..

                
                
In 2000 he was a young musician with nothing to tie him down. The intervening decade was a remarkable one for Damien Rice, who scaled the heights with his wonderful debut album, released in 2002, and simply titled O. But far more important to him than all of that is the fact that he loved, and then lost, an extraordinary woman by the name of Lisa Hannigan.
2000年他是个年轻的音乐人，不受限于任何事。之后的十年对于Damien Rice来说是非凡的，与他非凡的首张专辑一起攀登高峰，发布于2002年，简单的专辑名O。但是对他来说，比这所有都远远重要的，是他爱过，然后失去的，一个与众不同的女人，名叫Lisa Hannigan。
 
Here we are, ten years after, and looking back. The end of the 20th century brought some serious changes to Damien Rice's life. As for the ensuing decade: towards the conclusion of this rare and unexpectedly confessional interview, Hot Press asks the reluctant star what has been his personal high point of the Noughties.
这里我们将会，十年之后，再回首。20世纪末给Damien Rice的生活带来一些重要的变化。而接下来的十年：通过这次稀有而意外地坦陈的专访所得出的结论，Hot Press询问了这位勉为其难的明星，什么是他2000到2009年的人生最高点？
 
The last ten years has seen the Kildare singer-songwriter selling truckloads of albums, repeatedly touring the globe, hearing his songs soundtrack hit movies, being romantically linked with an A-list Hollywood actress, and performed with the likes of Christy Moore and Leonard Cohen ("a wonderful, wonderful, wonderful, wonderful, wonderful, gracious, eloquent man"). You'd think that Rice must be spoilt for choice of momentous moments. But he doesn't hesitate before answering: "meeting Lisa Hannigan".
最近这十年见证了这位基尔代尔的创作型歌手卖出了一卡车一卡车的专辑，多次全球巡演，听到他的歌曲出现在电影中，和一位A级别的好莱坞女星有浪漫关联，以及和类似Christy Moore和Leonard Cohen这样的巨星同台演出("一个超棒，超棒，超棒，超棒，超棒，高尚的，动人的男子")。你会想Rice一定被重大时刻的选择宠坏了。但是他的回答丝毫没有迟疑：“遇见Lisa Hannigan”。
 
The lowest point?
那么最低点呢？
 
He smiles, wistfully: "Lisa Hannigan not wanting to talk to me anymore"
他笑了一下，愁闷地：“Lisa Hannigan不想再和我说话了”
 
And what are his hopes and ambitions for the coming decade?
那么接下来十年他的希望和抱负是什么？
 
Rice closes his eyes and thinks for a moment before answering softly: "just to be kind". He shrugs his shoulders: "I mean, I'm pretty clear at this point, looking back, I was a complete asshole on many occasions. Like, very clear".
Rice闭上他的双眼，想了一阵，然后柔和地回答：“只想对别人好点”。他耸耸肩：“我的意思是，此时我非常清楚，回顾从前，在很多情况下我是个十足的蠢货。就像这样说的，非常清楚。”
Rewind ninety minutes or so. Rice walks into the bar of a Dublin city-centre hotel to do his first proper interview in almost three years. There's absolutely no swagger about the man. With his shock of unkempt hair, patchwork shirt and holey sweater, the lightly bearded 35-year-old (he'll turn 36 in a few days) looks more like an impoverished eco-warrior than an internationally famous and possibly even wealthy musician.
倒回到差不多九十分钟前。Rice走进都柏林市中心的宾馆的酒吧，来做他这近三年来头一次正式的专访。绝对没有必要吹嘘这个男人。他那令人震惊的邋遢蓬发，拼缝衬衫以及有漏洞的针织套衫，这位留着稀疏胡子的35岁(他几天后即将变成36岁)看上去更像一个贫困的经济型斗士，而不是一位国际知名并且可能很富裕的音乐人。
 
He seems in good form, greeting publicist Dan Oggly with a hug and your correspondent with a firm and friendly handshake. "We met in Manhattan a few years ago", I remind him. "Yeah, I remember", he says, "backstage in Joe's Pub".
他好像状态很好，用一个拥抱向政治评论人士Dan Oggly，及一个有力和友好的握手向你的通讯记者打招呼。“我们几年前曾在曼哈顿见过面”，我提醒他。“是啊，我记得。”，他说，“在Joe的Pub的后台”。
 
Deciding that the bar is too noisy for recording purposed, we walk to the nearby Central Hotel. Along the way, Rice enthuses about a global warming lecture he recently attended. Ten minutes later, we're ensconced in a quiet and dimly lit room off the Central's upstairs Library Bar. The singer sips from a glass of still water and tells Oggly that there's no need to wait for him. "This could take a little while", he says.
觉得酒吧里对于录音效果太吵了，我们便走向附近的中央旅馆。在路上，Rice对于他最近参加的一个全球变暖的讲座很有热情。十分钟后，我们在一个安静的灯光朦胧的房间安顿下来，在中央旅馆的楼上图书馆酒吧。这位歌手从水杯啜饮了一口水，告诉Oggly没有必要来等他了。“这将会有一段时间”，他说。
 
There is something unusual in Damien's resolve. A notoroiusly reticent interviewee, he doesn't have a new album or tour to promote. Aside from promotional duties related to a couple of Burmese benefit gigs he championed, he hasn't spoken, on the record, to a journalist in at least three years. When his long-awaited second album, 9, was released in 2006, he declined to do any press interviews at all - much to the reported chagrin of his record label.
Damien的决定中有一些不同寻常的东西。一个众所周知的寡言的采访对象，而且他并没有新专辑或巡演要做宣传。除了他所拥护的几个援助缅甸的演唱会相关的宣传责任以外，他不曾对一个记者谈论唱片的话题，已经至少三年了。当他的让大众长久期待的第二张专辑，9，在2006年发表的时候，他拒绝做任何的访谈 - 被报道对他的唱片厂牌大为懊丧。
 
However, the singer responded positively to a Hot Press request to talk about the decade currently drawing to a close. And so it seems appropriate to start at the very beginning: where were you, Damien Rice, at millennium midnight?
然而，这位歌手对于Hot Press提出的谈论一下对最近十年作个总结的请求反响积极。所以好像以这样一个非常开头作为开始很合适：你在哪里，Damien Rice，在千禧年之夜？
 
"I was in Dublin, Stillorgan, with a friend or two at some other friend of theirs' party in their parents' house around a bunch of people I didn't really know, so it was kind of surreal", he recalls. "Because you know, you have that big build up of "What are we going to do for the millennium?". And in a way it was kind of the weirdest New Year's I'd ever had, because I hadn't planned anything because I was trying to wait until the best option came up, and then, you know... nothing much did!"
“我在都柏林，Stillorgan，和一两个朋友在另外朋友在他们父母的房子举行的派对上，周围一群我并不认识的人，所以这有些离奇。”，他回忆着。“因为你知道，你有非常大的打算关于‘我们在千禧年之日要去做什么呢？’。所以某种角度而言它有点是我经历过的最奇怪的新年，因为我没有任何打算，因为我当时试着等到最好的主意出现，然后，你知道……那并没有出现！”
At the time, Rice had just recently turned 26. Where was his head at then?
在那时，Rice刚刚步入26岁。那时他是在哪儿？
 
"I'm so blurry with the past", he admits. "The memory I have was being very free but a little naive and earnest, you know. Probably comparable to the college student who doesn't have any responsibilities yet, but doesn't really know how that might change them when the responsibilities hit".
“我对于过去非常模糊”，他承认。“我拥有的记忆非常自由但是有点幼稚和诚挚，你知道。可能可以和目前还没有什么责任的大学生差不多，但是不是很知道当责任到来的时候会怎么改变他们。”
 
Although he'd dropped out of an engineering degree at Trinity some years earlier, Rice hadn't been idle. Far from it. He'd spent much of the mid to late '90 fronting Juniper, the rock band he'd formed while still at Salesian College secondary school in Celbridge with friends Paul Noonan, Dominic Philips and Brian Crosby.
虽然他早些年在Trinity放弃了一个工程师学位，Rice并没有闲着。远不止那样。他花了大量时间在90年代中后期的Juniper上面，那是他所组建的摇滚乐队，当时还在Celbridge的Salesian第二学院时，与几个朋友Paul Noonan，Dominic Philips以及Brian Crosby一起组建。
 
The band had signed a six-album deal with Polygram in 1997, but disagreements about their musical direction led to Rice departing the fold at the end of 1998 (Juniper eventually morphed into Bell X1). Disillusioned with the music business, he moved to Tuscany in the spring of 1999 and became a farmer for six months.
这支乐队在1997年和宝丽金签了6张唱片的合约，但是他们在音乐上的方向的分歧导致Rice在1998年底离开乐队（Juniper最终变成了Bell X1）。在音乐事业上的梦想破灭，他在1999年的春天搬到Tuscany，成为一个农民，持续了6个月。
 
"I planted things to eat", he recalls. "I used to be fascinated because with my lettuce plants I could pick off a couple of leaves - I wouldn't have to take the plant up, I'd just pull off a couple leaves - and then, because the sun is so strong and the soil is so good in Italy, a few days later those leaves would be back. You know, so you could constantly just trim".
“我种些东西吃”，他回忆道。“我曾被这深深吸引，因为我的莴苣，我可以采下几片叶子 - 我不需要摘下整棵植物，我只需要采下几片叶子 - 然后，因为阳光非常强，意大利的土壤非常好，几天后那些叶子会长回来。你知道，那样你可以持续地收获。”
 
Man can't live on lettuce alone, though, and towards the end of 1999, he returned to Ireland with the intention of giving music another shot. He'd been working on some songs during his time in Tuscany, and in early 2000 he set to work demoing them in Dublin.
然而，人无法仅靠莴苣生存下来，所以1999年底，他带着再给音乐另一次机会的意图回到爱尔兰。他在Tuscany的时光他创作了一些歌，接着在2000年初，他开始在都柏林为它们做小样。
 
While many of the songs eventually ended up on his debut album O, he says he can no longer relate to the headspace he was in when he wrote them.
这些歌曲中许多都最终收录到他的首张专辑O中，他说他可以不再和他写它们时的想象空间有联系了。
 
"I had this sense about me at the time, and so if somebody did me wrong in a relationship then it was like "Grrrrr!". You know, I'd pick up the guitar and I'd write about it, and it was fairly... you know, I look back at a lot of the songs and the person who wrote them, they are nearly all coming from the point of view of victimhood. You know, "How could you do that to me?". And I just don't really relate to that any more".
“在那段时间我对于自己有这样的感觉，所以如果在情感关系中谁伤害到我，那这就像是'Grrrr!'。你知道，我拿起吉他并写下它，这是公平的...你知道，我回顾了许多歌曲以及那些创作它们的人，它们几乎都是从创伤时期的观察角度而来的。你知道，“你怎么能那样对我？”。我只是不想再涉及到那些了。
Having grown up with two sisters (one older, one younger), he tells me that he was always good with women.
和两个姐妹（一个姐姐，一个妹妹）一起长大，他告诉我他一直善于和女人打交道。
 
"I was fabulous [with women]. In one way. In that I had a lot of female friends, but that ended up being tricky in relationships as well - because I had so many female friends. I got on really well with women".
“我的女人缘很好。从某方面说。我有很多女性朋友，但是同时最终的关系都变得有些微妙 - 因为我有太多的女性朋友。我和女人相处真的很行。”
 
Were you a player?
你是玩家吗？
 
"No. Well... define 'player'."
“不是。呃……请定义一下'玩家'。”
 
Were you a 'notches on the bedpost' kind of guy?
你是一个在床柱刻字记录次数那种家伙吗？
 
"Not at all, no!" he laughs, looking aghast. "No, I was more of a relationship kind of person, yeah. I would go from one relationship into another".
“根本不是，不是！”他笑了，看上去很惊讶。“不，我更是一个倾向感情关系的人，是的。我会从一场感情再到另一场”。
 
A serial monogamist.
一个连续的一夫一妻制者。
 
"Right", he nods. "Yeah, a little bit more like that... with an enthusiastic eye for beauty. I was easily distracted, but slow to get involved as well".
“没错”，他点头。“是的，更有点像那样...用一只充满热情的眼睛去寻找美女。我很容易分心，但是进入感情也缓慢”。
 
But presumably quite intense once you were involved?
但是我猜你曾卷入过一次很强烈的感情？
 
"Yes, very!", he guffaws. "Incredibly, yeah. But then, isn't it hard to gauge what you do relative to somebody else? I mean, I'm saying "yes, very!" because people told me I was very intense, but I don't know that I was intense. Just people said, 'Oh, you're very intense'."
“是的，非常！”他大笑。“难以置信地，是的 。但是那样的话，估量你和别人关系如何是不是困难了？我的意思是，我说‘是的，非常！’因为人们告诉我那时我显得非常强烈，但是我不知道那时我是强烈的。但是人们说，‘噢，你是非常强烈’。”
He first met the beatiful and waifish Lisa Hannigan at a gig in Whelan's in September 1999 (she'd just moved from her native Meath to study art history at Trinity). Sharing similar musical tastes and a whimsical sense of humour, they soon became friends and she began helping him with the recordings - providing a fragile and ethereal vocal foil to Rice's bittersweet lyrics.
他第一次遇到那个美丽的无家可归的Lisa Hannigan，是1999年九月在Whelan的一次巡演中（她刚从她家乡Meath搬到Trinity去学习艺术史）。分享相近的音乐品位和古怪的幽默感，他们很快成为朋友，她开始帮他一起录制音乐 - 提供一种脆弱的飘逸的人声，衬托Rice悲喜交加的歌词。
 
"She very quickly became my favourite human being", Damien says unselfconsciously.
“她很快成为我最喜爱的人”，Damien下意识地说。
 
Back when Juniper had been offered a record deal, Rice had contacted his second cousin David Arnold. "My grandmother, when she heard I was recording, told me about this second cousin I had who was a film composer", he recalls. "I just called him for advice on something, and we got on really well, and then he said 'Keep in touch'."
回到当Juniper拿到一张唱片合约的那时，Rice联系他的二堂兄David Arnold。“我的奶奶，当她听说我在录唱片，告诉我有个二堂兄，是个电影配乐人”，他回忆着。“我就给他打电话咨询些事情，然后彼此谈得非常好，然后他说‘保持联系’。”
 
Sometime in 2000, as the songs for O began coming together, Rice did just that. "Basically I had recorded a couple of demos and - because he was curious about what I was doing - I sent them over to him. And he said, "Well, if you want, I can get you some recording equipment". And so he did - he bought me a couple of mics and some pre-amps, and gave me a couple of grand for expenses, and off I went".
2000年的某个时候，为O创作的歌曲开始汇总到一起，Rice就那样干的。“基本上我录了一些样品 - 因为他很好奇我在做什么 - 我把它们寄给他。然后他说，‘嗯，如果你要的话，我可以给你一些录音设备。’。然后他照做了-他买给我一些麦克风和一些前置放大器，然后给我一些钱作为经费，然后放手让我干。”
 
Now that he had a mobile studio, Rice set about recording the songs properly. "We recorded all over the place. Which I liked: I was really particular at the time about where to record things. Like, I knew I wanted to record Eskimo in my friends' apartment in Paris because they loved the song so much. So I took my little mobile studio and went to Paris. I went through the metro with all of these microphone stands hanging off me and recording gear, sweating by the time I got to their house, and just recorded it there, and then came home. So it was recorded in lots of bits and places, but basically houses, places I was living or friend's houses. Dublin, mostly".
现在他有一个移动工作室，Rice开始适当地着手录制歌曲。“我们到处录制。就像是：那时候我对于在哪里录制东西非常挑剔。比如，我知道我想在我巴黎朋友的家里录制Eskimo，因为他们非常喜欢这首歌。所以我带着我的移动工作室去巴黎。我穿过地铁站，带着所有这些麦克风挂在我身上，还有录音设备，我一直汗流浃背直到他们家，然后在那里录下它，接着就回家了。所以它录了很多地方，但是基本上是我居住的房子住所或者朋友的房子。都柏林，主要地。”
 
Did you have any sense then of just how powerful the album was going to be?
你有任何感觉到这张专辑将会多么强大吗？
 
"No, not at all. And, it's so funny, even going 'no, not at all' almost means that I'm agreeing with you that it was powerful. I don't, 'cos I don't even have a notion about it being anything - except that at the time I felt like I was just making one record, that I just wanted to get this out of my system, make a record and then leave it at that, you know".
“没有，一点都没有。而且，很有趣，即使说‘不，一点都没有’也几乎意思是我同意你说它很强大。我不同意，因为我从来都没有它会变成怎样的想法 - 除了那时候我觉得我在做一张唱片，我 只想让它从我的系统中诞生，做一张唱片，然后把它放在那里，你知道。’”
 
What, make one album and then finish with music forever?
什么，做一张专辑然后永远地结束做音乐？
 
"Yeah, just leave the music - just make one record and be done with it. Because I felt like I didn't fit within the music scene. And, at the time I remember noticing that the bigger songs didn't work because I was recording at home in bedrooms and stuff - big songs didn't sound good on the little studio. So the songs that came up as sounding good were all these slow, acoustic, mellow songs.
“是的，就离开音乐- 就做一张唱片然后就与它结束。因为我感觉我不能融入音乐情境中。那时候我记得注意到较大的歌曲无法完工，因为我在家的卧室录制 - 大歌在小录音室中没法听上去好。所以诞生的那些听上去不错的歌就都是这些缓慢，原声，柔和的歌曲。”
 
One day I remember I was sitting with Lisa and I discovered this new thing on the little recorder - it was an 8-track thing and I discovered a new function on it where you could play one song after another. So I lined up a bunch of songs, pressed play, and myself and Lisa sat in the garden and listened, you know. We were chatting with a friend or something, I remember not paying that much attention to it, but just realising that I had really enjoyed listening back to what had been coming out of the speakers. And that was the first moment that I realised "oh, we have a record".
记得有一天我和Lisa坐着，我发现小录音机的新玩意 - 它是一个8音轨的东西，我在它上面发现一个新的功能，你就可以一首接一首放歌。所以我把一堆歌曲串在一起，按下播放，然后我和Lisa坐在花园里聆听，你知道 。我们谈论一个朋友或者其他事情，我记得并没有太关注话题，但是就意识到我真的享受聆听从喇叭出来的声音。接着我头一次意识到“哦，我们有一张唱片了”。
 
This works.
成了。
 
"Yeah, 'this works'. And I remember being nearly finished so many times. I don't know how many album celebration shows we had in the Temple Bar Music Centre", laughs. "And eventually, the only song that was actually finished was 'The Blower's Daughter' so we put that out as a single in September/October, something like that, and then the album came out in February afterwards".
“是的，‘成了’。我记得有好多次几乎完成。我不知道我们在Temple酒吧音乐中心举行了多少场专辑庆祝会”，笑着。“接着最终，唯一一首真正完成的是The Blower's Daughter，所以我们在九/十月作为一支单曲推出，差不多就像那样，然后专辑在后来二月诞生”。
 
Released on Rice's own independent label DRM, the raw, angry and bittersweet O came out on the first day of February, 2002. To everyone's surprise, it immediately debuted at No 7 in the Irish charts. It came out in the UK four months later, and in the US the following year. To date, the album has sold well over two million copies worldwide. Given that there was no record label creaming off the profits, it made Rice a wealthy man.
在Rice自己的独立厂牌DRM下发表，这张原始的，愤怒的，悲喜交加的O在2002年二月的第一天出现。出乎每一个人的意料，它立刻首次露面便登上爱尔兰榜单第七位。四个月后它出现在英国，接着下一年出现在美国。至今，这张专辑在全世界已经销售出超过两百万。由于没有唱片厂牌来分这块利润，这使得Rice成为一个有钱人。
 
The singer still seems somewhat bemused at O's massive success.
这位歌手似乎对于O的巨大成功仍然有点困惑。
 
"Well, yeah, obviously it went a lot bigger than any of us had thought. Because I do remember a funny scenario where I was trying to figure out a payment for the band, you know, and I said to them 'Do you want to get a percentage, or do you want to get payment?' and so we sat down and tried to calculate how many copies we thought we'd sell. So we tried to figure out if I paid ￡100 a song, or something, would that be fair.
“对了，是的，很明显它大到超过我们任何人的想象。因为我确实记得一个有趣的场景，在我正试着为乐队算费用的时候，你知道，我对他们说‘你们想要拿份额，还是想要拿酬劳？’，所以 我们坐下来，试着估算我们可以卖出多少唱片。所以我们试着搞清是否我该为每一首歌支付100英镑，或者其他什么的，那样才做到公平。”
 
And Shane [Fitzsimmons], the bass player, who had been used to doing sessions for a number of different bands around Dublin, he said "I'll take the money" [laughs]. And I was like, "Okay". And then everyone else went on the percentage, and it was very funny... but we put him on percentage later one, as a token gesture. It was funny. So, nobody had any idea".
“接着Shane [Fitzsimmons]，贝斯手，他已经习惯为都柏林周围一些不同的乐队做演出，他说‘我想拿酬劳’ [笑]。然后我好像说，‘好的’。随后其他每个人都拿份额，然后这非常有趣……但是我们之后把他放入份额中，象征性的。这非常有趣。所以，没有人有过想法。”
 
What were your feelings at the time, watching your little indie album go multi-platinum?
你那时的感受是什么，看着你的小独立专辑成为多白金专辑？
 
"I wasn't really thinking about it. I was so busy because I was the record label at the time, I was my manager at the time, I was doing everything - from organising the in-stores around the country to calling the CD manufacturer to make sure there were enough albums".
“我其实并没有想过这个。我那时非常忙碌，因为那时我是唱片厂牌，那时我是我自己的经纪人，我要做每一件事情 - 从管理国内的加盟店到打电话给CD制造商确保那里有足够的专辑。”
Was there a lot of high emotion?
那时候是不是情绪高涨？
 
"You know what, it was a lovely time because it was just exciting. It was new to us all. We had all put a lot of time into it. It started flowering, and we just got to play shows, and it just started building. And when it started building then people started being able to get a bit of money out of it, so people were able to give up their pub gigs and stuff. Everybody started getting really excited about the idea that they could perhaps make a living out of playing music.
“你知道的，那是一段可爱的时光因为就是很兴奋。对我们所有人都是新鲜的。我们在上面投入了大量的时间。它开始开花时，我们就去开现场，然后它就开始成形。当它开始成形时，大家开始能够从它那里拿到一些钱，所以大家可以放弃他们的pub驻唱等。每个人开始对于这个主意开始兴奋，他们也许能够不用靠玩音乐来生活。”
 
And it was beautiful - it was a really exciting time. Really exciting, you know. Even though I didn't realise what was to come. And had I, I might have prepared myself better, but I couldn't. From what I remember, it was brilliant! [laughs]. But I could be just having these fond memories; I have the tendency to forget bad memories".
“那是美好的 - 那是段非常兴奋的时光。真的很兴奋，你知道。即使我没有意识到什么会到来。而且也许我应该更好地准备好自己，但是我没有做到。从我所记得的，它真棒！[笑]。但是我可以只留下这些美好的记忆；我有忘记坏记忆的趋势。”
 
Within about 18 months, Rice was being widely touted as the first Irish musical success story of the Noughties. He had a manager, foreign record labels and a permanently full tour diary. Not that he necessarily welcomed these developments.
在大约18个月之内，Rice被广泛地宣传作为2000年十年内第一个爱尔兰音乐的成功故事。他有一个经纪人，一些外国唱片厂牌，以及一个持久排满的巡演日记。他并没有必要欢迎这些发展。
 
"I didn't really want a manager, and I didn't want a record label. I just didn't want any of that. But when I did the first couple of shows in the UK I had a few promoters approach me, and I didn't know who was the best. And then KCRW started playing it in America, and once KCRW started playing it, it started going into Hollywood. And then it just started spreading and spreading - and spreading".
“我真的不想要一个经纪人，而且我不想要一个唱片厂牌。我就不想要任何那些东西。但是当我在英国做最初几个现场的时候，有一些宣传人员接近我，我并不知道谁是最好的。然后KCRW开始在美国播放歌曲，当KCRW开始播放的时候，它就开始打入好莱坞了。然后它就开始一直传播传播 - 又传播。”
 
His first sour experience was when his new UK label requested remixes of 'The Blower's Daughter' and 'Cannonball'.
他第一次的发酸体验是当他的新英国厂牌请求“The Blower's Daughter”和“Cannonball”的混音。
 
"They came to me and said 'Are you open to people doing remixes of your songs?' and I thought 'cool'. To me, a remix was a really artistic interesting take on the song, you know. And I was like, 'Yeah, absolutely'. So they sent me back some remix from somebody in the States, and I was like, 'This is terrible. It just sounds cheesy'. So then, they said 'Oh we'll try somebody else'. After about ten different remixes of different songs, I was like 'This is awful, can you just stop this? Who is paying for this?'. You know, probably me. So I was like 'Stop!'.
“他们来找我并说‘你开放你的歌曲给别人混音吗？’我就想‘酷’。对我来说，为一首歌混音来说是种很艺术的兴趣，你知道 。我就说，‘好啊，绝对没问题。’然后他们寄给我一些在美国的人做的混音，然后我就说，‘这太糟了。听上去低劣的。’所以然后，他们说‘哦我们会试试别人’。然后大约十个不同混音的不同歌曲之后，我就说，‘这太糟糕了，你能就停掉吗？谁在为这个付钱？’。你知道，或许是我。所以我就说‘停掉！’。”
 
"And I remember my management at the time going, ‘Will you just give us something that we can get on radio, because we just can't sell this unless we can get it on radio’. And I remember at the time I wrote a contract with them, and I said, ‘Okay, if you never mention the word 'remix' to me again, then I will let you use this one remix’. And so myself and my manager wrote a little contract. And so they used the ‘Cannonball’ remix. But I remember there was a bit of fighting, you know, it took a bit of clashing before getting to a comfortable place with that, because it drove me nuts. I felt like, ‘Why are people trying to change this? What's wrong? Trying to sell it? Sell what? Why?’. To me it had already sold more than I had ever dreamt it would sell. And so I didn't have a concept of beyond 5,000."
“我记得那时我的管理团队说，‘你能不能就给我们一些东西我们可以放到电台去，因为我们没法就这样卖出歌曲，除非我们能把它弄到电台去’。然后我记得那时我和他们写了一张合同，然后我说，‘好吧，如果你们不再对我提起‘混音’这个词，那么我就会让你们用这个混音’。所以我自己和我的经纪人写了一个小合同。然后他们用了'Cannonball'的混音。但是我记得有些纠结，你知道，在感到舒服之前有点不协调，因为它让我发狂。我就像，‘为什么人们要试着改变它？有什么问题？试着卖它？卖什么？为什么？’。对我来说它已经卖出了远远比我所梦想的多。所以我没有超过5000张的概念。”
 
How many albums had you sold by then?
之后你卖出了多少张专辑？
 
"It was probably a couple of hundred thousand. So that was the first time that... [pauses] I remember the band were really with me, and it was me and the band against the management and the label. There was a bit of that going on. But then slowly over time, I guess the management learned how to work with me, and me with them. We just learned to be clear with each other. And then the band problems started happening after that, you know."
“大概有几十万张。所以那是第一次...[停顿]我记得乐队站在我这边，所以我和乐队对抗管理层以及厂牌。有一些像那样的事情发生。但是接着时间慢慢推移，我猜管理层学会如何和我合作，我也是。我们就学会对彼此开诚布公。接着之后乐队的问题开始出现，你知道。”
 
What were the band problems?
那乐队问题是什么？
 
Rice shifts uncomfortably in his chair and grimaces. "It's a very tender subject. Okay, so... I'm trying to remember where they first... I think where a lot of it stemmed from was that myself and Lisa were very, very, very, very, very close."
Rice在他的座位上不舒服地动了一下，面部扭曲。“这是一个很敏感的话题。好吧，所以...我试着回忆第一次发生在哪里...我想很多问题都起源于我自己和Lisa非常，非常，非常，非常，非常亲近。”
 
So you were actually in a relationship?
所以你们实际上是恋爱关系？
 
"Yeah."
“是的”。
 
When did that begin?
那从何时开始的？
 
"That had just kind of happened through the making of O. And so the record felt like a record of creativity and love, and just that whole sense of coming together with a bunch of people - and in particular with Lisa. We just worked really well together. I loved her taste. Whenever I'd do something and she'd comment on it, most of the time I'd just completely agree. We just were very, very compatible: in the studio, on the stage. But when that relationship changed it just made it very difficult because we never had the space from each other, to get used to the change."
“差不多是在制作O的过程中发生的。所以这唱片感觉是创作和爱的唱片，一群人走到一起的整个感觉 - 尤其是和Lisa。我们在一起工作非常棒。我爱她的品位。无论何时我做出点东西，她对它点评，大部分时间我就完全同意。我们就非常，非常合得来：在录音室里，在舞台上。但是当这关系改变的时候它就变得困难，因为我们从没有彼此空间，来适应这种变化。”
 
Needless to say, there were numerous pressures on the couple's relationship. Having toured the world almost non-stop for three years, the label began pestering Rice for a follow-up. He and Lisa began to seriously fight during the recording of 9.
不用多说，众多压力施加在这对情侣的关系上。已经几乎没有停顿地在世界巡演了三年，厂牌开始纠缠Rice下一张唱片。他和Lisa在录制9的过程中开始严重的争执。
 
"As I said, I had only planned to make one record, so then at the end of the three-year touring period since O had come out and - we were nearly four years, actually, and then we took a break, and then naturally everybody is going 'Another record?' and in my head I was like - I had written a few new songs, but I hadn't recorded in such a long time I didn't really know what I wanted to do."
“正如我说的，我只计划做一张唱片，所以自从O发行来三年巡演时期的结尾那时 - 我们已经接近四年了，实际上，然后我们休息了一阵，然后很自然每个人都在问‘另一张唱片？’。而我的脑子里想的是 - 我已经写了一些新歌，但是我已经那么久没有录制了我真的不知道我想要干什么。”
 
"But we booked a few sessions, here and there, we went to a little house somewhere in the country and tried a few things out. None of it was good enough. It was good, but it wasn't good enough. So after time with me kind of not being happy with what we were doing, that made me a bit frustrated, and then the band got frustrated because they thought, 'When are we going to make another record? When are you going to finish?". There was a sense of 'You are never going to finish'."
但是我们预约了一些演出，这里那里，我们到国内某个地方的一个小房子里，试着弄出一些东西出来。没有一个是足够好的。是不错的，但它不是足够好的。所以之后我对于我们正在做的有点不开心，让我有点沮丧，然后乐队也开始沮丧因为他们想，‘我们打算什么时候做另一张唱片？你打算什么时候搞完？’。有种感觉是‘你从没打算搞完’。”
 
Under increasing pressure from the label, his band and his fanbase, Rice reluctantly capitulated and more or less threw the second album together.
在日益增长的来自于厂牌、他的乐队以及他的歌迷团的压力下，Rice不情愿地屈服了，多少有点把第二张专辑拼凑抛出。
 
"I kind of got bullish about it then, and just finished the thing, like, 'What song do you like?' 'Okay, this one'. 'What do you like?' 'This'. And so there was just this thing of: one person liked this song, one person thought we should do this. So I just listened to everybody - the guy from the label liked one song, the manager liked another song - and just did these songs. And then it was like, 'Okay, everybody, you said I wouldn't finish the record. There you go, the record's finished'. There was a little bit of that to it."
“我对于这样的埋怨有点过于在乎了，然后就这样搞定它，像是，‘你喜欢什么歌？’‘好吧，这首’。‘你喜欢什么？’‘这首’。然后事情就像这样：某人喜欢这首歌，某人想我们应该这样做。所以我就听从每一个人 - 来自厂牌的家伙喜欢某一首歌，经纪人喜欢另一首歌 - 那就做这些歌。然后它就像，‘好了，各位，你们说我没法完成唱片。现在你们看，唱片完成了’。对于它就有点像是那样。”
He gets visibly agitated at the memory.
他对回忆很明显的不安。
 
"It was a bit childish, but it was also a bit desperate", he says. "It was that I was desperate to hold onto people's love, you know? I was going, 'Don't think I'm bad' or 'Look - here's an album. There it is, is everybody happy? Now we can go on tour! We can make some more money, and everybody can pay their mortgages, and everybody can be happy where we can go and work, you know, you don't have to sit around and wait for me'. And, of course, now I regret that because I would take half of the songs that are on 9 off. I just don't think it's as good a record as it could be."
“有点幼稚，但是也有点绝望”，他说，“那是我绝望地想抓住人们的爱，你知道吗？我当时说，‘不要认为我是坏人’或是‘看 - 这就是一张专辑。就它了，大家都开心了吧？现在我们可以继续巡演了！我们可以赚更多的钱，然后大家可以支付他们的贷款了，然后每个人可以对我们可以去的感到开心，你知道，你不必坐着等我了’。然后，当然，现在我后悔了，因为我应该把9中的一半歌曲拿下来。我只是认为它没有达到一张专辑所能的那样好。”
 
I listened to it twice last night. It's a very good album.
我昨晚听了两遍。它是张很好的专辑。
 
"Yeah, but just skip - skip - skip - skip. There's a couple of songs that there's no - it's like, why did I put that song on?"
“是的，不过就跳过 - 跳过 - 跳过 - 跳过。有一些歌曲是不行的 - 这就像，为什么我要把那首歌放在里面？”
 
Is that why you refused to do any press interviews to promote the album?
这就是为什么你拒绝为宣传这张专辑做任何媒体采访？
 
"I was a bit angry. Yeah. And just a bit... I had become quite self-obsessed because - I wasn't used to this thing where all these people around me were working for me, so if Damien wanted anything, then Damien got it... And if Damien this then Damien that... And after a while of that, it's very uncomfortable. You try to keep your feet on the ground, but at the same time the whole thing was just going, going, going. And so I had gotten to the point where I didn't want to talk about myself anymore. When 9 was released I fount it really difficult to deal with being what people wanted me to be."
“我有点生气。对的。就有点... 我已经变得蛮自恋了由于 - 我不习惯这样，所有这些人围着我工作，所以如果Damien要任何东西 ，那Damien就得到了... 如果Damien这个Damien那个... 那一段时间之后，就非常不舒服了。你试着保持你没有飘飘欲仙，但是同时整件事情就一直继续，继续，继续。所以我明白我到了不再想谈论我自己的地步了。当9发行的时候我发觉非常难以做到人们期望我所成为的那样。”
 
What did you feel they wanted you to be?
你觉得他们想让你成为怎么样？
 
"A musician who is super-happy to go out and promote himself and his music, and sell his music to the world. And be a bigger musician, and more famous, you know, and more money. And the more money I got, the more uncomfortable I got. The more fame that came along the more uncomfortable I became, and I am not famous! I mean, I can walk around anywhere. I'd be at one of my own shows watching the opening act and have a conversation with somebody about Damien Rice because they don't recognise me. But even still, even with the little bit that I had it was uncomfortable - like the idea of signing an autograph to me, is just uncomfortable. I just don't get it! I'm like, 'I'm not that guy. Sorry'. I'm just not that guy."
“一个音乐人，他对于出去宣传他自己和他的音乐感到巨开心，并向全世界贩卖他的音乐。然后成为一个更大的音乐人，并更有名，你知道，并更有钱。然而我赚的钱越多，我感到的不舒服越多。名声越多带来的是我变得越不舒服，我不是有名的！我意思是，我可以在任何地方闲逛。我喜欢在我自己的一场演出里看着开场表演，然后和某个人谈论Damien Rice因为他们不认识我。但是即使，甚至我有一点名气，就不舒服了 - 就比如要我签名，就不舒服。我就不想这样！我就像是，‘我不是那个人。抱歉 ’。我就不是那个人。”
 
Who are you then, Damien?
那你是谁呢，Damien？
 
"I'm not the guy that wants to be famous and make loads of money and sell loads of records. I'm not that guy." he repeats. "I don't want that. I just want to be true. I want to be... I want to serve music. I want to be honest. I want to write stuff that's honest, that inspires, that people can take comfort from, or fuck with, or, you know, whatever. And so any of the things that were the classic things you are asked to do on the road, which is like, meet-and-greets with people, and signings, and photo-shoots, and interviews, it's just not me. It didn't seem genuine. And I knew that I was in the head space at the time that if people started asking me questions I would just be a real... [pauses] I wouldn't be polite. I knew I wasn't in a polite phase, and I didn't want to insult anybody so I thought it better not to do things."
“我不是那种人，想要成名，赚成堆的钱并卖出成堆的唱片。我不是那种人。”他重复道。“我不想那样。我只想真实。我想要...我想服务音乐。我想要真挚。我想写出的东西是真挚的，是能启发人的，是人们可以从中得到安慰，或者愤怒，或者，你知道，无论什么。所以任何那些你在路上请我做的经典的事情，比如说，和人们见面寒暄，签名，拍照，做采访，那就不是我。它看起来不那么真诚。我知道那时我在头脑的情绪中，如果人们开始问我问题我就真的……[停顿]我会不礼貌。我知道我不在一个礼貌的状态，并且我不想侮辱谁，所以我想还是不要做什么事情。”
 
Were you drinking heavily at the time?
那时候你酗酒吗？
 
"No, I don't really drink. I don't really do drugs."
“不。我不喝酒。我不吸食毒品。”
 
Do you find that you obsess much about things?
你发现你着迷于某些事情吗？
 
"I obsess, yeah. I process, yeah... [draws deep exaggerated breath] I do that a lot. And probably how I escape is - I wented a lot on stage, and again, going back, was an asshole with the people that I love the most."
“我着迷的，是的。我度过，是的...[非常夸张地深深吸了口气] 我经常那样做。也许我逃离的方式是 - 我经常到舞台上，然后再次，回来，是个我至爱的人的混蛋。”
 
By the time the 9 European tour began (the album was released to mixed but generally positive reviews in November 2006), he and Hannigan's relationship was more or less totally on the rocks.
那个时候9的欧洲巡演开始（专辑发行褒贬不一，但是通常正面评价在2006年11月），他和Hannigan的关系多少是完全在不平静上。
 
"I can't remember, because it was a little on-and-off and on-and-off, it was like a classic scenario of... we were in each other's company all the time, working together, resting together. You know, and then when we came off the tour we were hanging out together, so it was just like full-on all the time. And so it was on-and-off as well. So, that just created a natural discomfort for the other band members. Whenever there was any fire with myself and Lisa, everybody felt this."
“我记不得了，因为那是一点起伏再起伏，这像一个经典的场景...我们所有时间都在彼此的公司，一起工作，一起休息。你知道，然后当我们结束巡演我们一起出去玩，所以这就像全天候的粘在一起。所以也就会有起伏。所以，那样子对于其他乐队成员自然地形成了不适。每当我和Lisa有点不和，每个人都能感觉到。”
 
Things came to a head before a show in Munich at the end of March 2007. Following an argument backstage, Rice reportedly fired Lisa minutes before they were due to perform (he released a tersely worded press statement the following day announcing that their creative partnership had run its course). So what actually happened?
事情降临了，在2007年3月底慕尼黑一场演出之前。随着后台的一场争论，据传闻Rice开除了Lisa，就在他们要去演出前几分钟（第二天他发布了一条简短声明，宣布他们创作合作关系完成了它的使命）。那么到底发生了什么？
 
He takes a sip of water before replying: "Her and I just weren't getting on, and I wanted everybody to get on again. I was such an idealist, in a way, that I just wanted everybody to be happy. I wanted to please everybody. Her and I weren't getting on, there were certain issues, so I called a band meeting and said 'Let's have a band meeting, let's sort this out', because I'm a big sorter-out-er."
他回答之前抿了一口水：“她和我就是没有达成一致，而我想让每个人都再次达成一致。我是这样一个理想主义者，换种说法，就是我只想让大家都开心。我想让大家都满意。她和我没有达成一致，有一些问题，所以我通知了一次乐队会议，说‘让我们开一次乐队会议，让我们整理出头绪’，因为我是个整理控。
 
"But then I think a lot of the band had grown kind of tired of, 'Oh God, another meeting to sort some shit out', you know. And even though I didn't like having the meetings, I felt better sorting the thing out than leaving it lie. And so that was all good, but then we had the meeting and I felt that... I just felt that Lisa didn't contribute to the meeting at all and just... and I had held the meeting so that she could say whatever she wanted to change, or whatever."
“但是接着我想乐队很多人产生了一种厌倦像是，‘噢天啊，又一个会议来整理出个狗屁’，你知道。即使我不喜欢开这样的会议，我觉得整理出头绪总比把问题搁置着好。所以都还算好，但是接着我们开会了，我感觉到...我只是感觉到Lisa一点都没有投入到会议中来...然后我停止了会议，那么这样她可以说出任何她想要改变的，或者任何事情。”
 
"So I went into her dressing room before the show, just after the meeting, and asked her what was wrong, why didn't she contribute to the meeting? And she said, 'Well, what's the point? You are just going to do what you want anyway'. At which point I just lost my head. I lost my head, you know."
“所以演出前我走进她的化妆室，就在会议之后，问她出了什么事，为什么她不投入到会议中？她说，‘好吧，什么想法？无论如何你就打算做你想要做的事情’。那刻我就失去了理智。我失去了理智，你知道。”
 
He shakes his head, regretfully.
他摇着头，懊悔地。
"Instead of whether she was right or wrong, you know... there was probably an element of truth in what she said because at the end of the day there had to be one of us who made the decision. And, inevitably, it was me. But at the same time, you know, I felt like I was very open, but the problem I had at the time was just this explosive head, where I just COULDN'T HANDLE A FUCKING PROBLEM! You know? It was that energy. It was like, 'WHAT IS WRONG, NOW?' You know? 'WHO IS NOT PLEASED NOW?' It was that energy in me at the time. So I just had an allergic reaction to it if there was something wrong with somebody. It just drove me nuts."
“不管她是对与错，你知道...可能她说的包含一个事实，因为那天结束之前我们之间不得不有一人作出决定。然后，不可避免地，就是我。但是同时，你知道，我觉得我非常开明，但是我那时的问题只是爆炸的脑袋，我就不能搞定他妈的一个问题！你知道吗？就是那种能量。它就像，‘哪里有问题，现在？’你知道吗？‘现在还有谁不满足？’那时就是我身上的这股能量。所以我就对它有了一种过敏的反应，如果有人存在问题。它就让我抓狂。”
 
"And, of course, when I went nuts then people went, 'Oh my God, what is wrong with him? He is such an asshole'. So I just lost the head with Lisa that night, and shouted at her and sent her home, said I was sick of working with her, which, of course, now I realise - it was just frustrated love. I mean, I loved her and just didn't know how to be around her and... just be friends, you know. Just be friendly. So, again it was a very sort of sad situation."
“然后，当然，当我发狂的时候人们想，‘噢我的天，他是怎么了？他真是个混蛋。’所以那晚我就对Lisa失去了理智，对她咆哮，把她赶回家，说我讨厌和她一起做事，那个，当然，现在我意识到 - 这是受挫的爱。我的意思是，我爱她，只是不知道如何和她相处...做普通朋友，你知道。只是友好。所以，再一次那是个非常悲哀的状况。”
 
How was the show that night?
那晚的演出怎样？
 
"Terrible." he laughs. "The worst one on the tour, probably. It was awful. The band were uncomfortable, everybody was uncomfortable, I was uncomfortable. The audience, then, were uncomfortable."
“可怕。”他笑了。“巡演中最糟糕的一次，大概吧。非常可怕。乐队不舒服，每个人都不舒服，我不舒服。观众，然后，一样不舒服。”
 
Although the couple had had many arguments before, this one was different.
虽然这对人以前曾有过很多争吵，但这一次不一样。
 
"Whenever it happened before, Lisa just left the tour," he explains. "It happened numerous times, her and I would just get to an explosive place and we just needed space. Like I said, we never had the space to get over things. We never had the space to be away from each other and just appreciate each other and learn how to be friends. And so, that night the frustration came out kind of uncontrollably. Lost my head, as usual. Overreacted to something, as usual. But after the show I was very calm again. Very, very calm."
“以前每当争吵发生时，Lisa就离开巡演”，他解释道。“发生过好几次，她和我到达了一个爆炸的地步，我们就需要空间。就像我说的，我们从没有空间去处理事情。我们从没有空间来和彼此保持距离，就互相欣赏，学习怎么成为朋友。所以，那晚沮丧的事情发生得有些失去控制。失去我的理智，和往常一样。对于事情反应过度，和往常一样。但是演出之后，我再次变得非常冷静。非常，非常冷静。”
 
"Lisa was the one who was mad after the show. And very clear that, you know, and I told her clearly that I loved her and, 'Let's just take some space. We are not getting on right now'. And I just wanted to save our friendship rather than fighting ourselves every day on tour, and end up hating each other. Because it was a long tour we had ahead of us. But she didn't respond to any of that, and hasn't spoken to me since. So..."
“Lisa是演出之后生气的人。非常明显，你知道，我清楚地告诉她，我爱她，以及‘让我们就留点空间。我们现在没有达成一致。’我只想挽救我们的友谊，而不是我们自己在巡演的每一天都争吵，导致最终讨厌彼此。因为我们面对的是一个漫长的巡演。但是她没有对那些有所反应，而且至今都没有同我说话。所以……”
The 9 tour came to a close six months later, in November 2007. At the end of that month, Rice attended a nine-day seminar at something he calls "The School" in Los Angeles. He'd gone for counselling before, but this was different: "I don't want to talk too much about it, but it was like a school for questioning your thinking. Like, a nine-day school, and it was the most incredible thing I've ever done, and I came out of that totally different."
9的巡演在六个月之后临近尾声，2007年11月。在那个月的末尾，Rice在洛杉矶参加了一个九天的关于某事的研讨会，他称之为“学校”。他曾有去咨询过，但是这次不一样：“我不想对此谈论太多，但是它就像一个学校来询问你所想的。就像，一个九天的学校，而且这是我所做过的最不可思议的事情，我从那里出来以后彻底不同了。”
 
In what way?
在什么方面？
 
"Let's just say I went in the door cynical, frustrated, feeling like a victim to the things that had happened to me, even though I had been so fortunate in so many ways. A classic scenario for me would be somebody that I didn't know going, 'Oh congratulations on all the success. It's so brilliant, you must be so happy!'. And I was miserable, you know, and didn't really know why, and didn't really know what to do about it."
“就这样说，我走进门时是愤世嫉俗，受挫地，感觉事情发生在自己身上的受害者，即使我在很多方面已经非常幸运了。一个对我而言经典的场景就是有不认识我的人说，‘噢恭喜你获得那些成功。那太棒了，你一定非常开心！’。而我却是悲哀的，你知道，并真的不知道为什么，真的不知道对此该做什么。”
 
"So, basically, I went in the door feeling like I was a victim to whatever had happened in my life. And then I played the victim because I didn't know what to do about it. I didn't know how to feel better, I didn't know how to be better, I didn't know how not to be angry, I just didn't know how to be the guy that I felt I was before it all happened. And I came out the door of the school completely transformed, so clear that I had brought it all on myself, that I had done it all. That I was responsible for, essentially, pretty much everything, and could have changed it at any moment had I really wanted to."
“所以，基本上，我进门时感到我是不管什么发生在我生活中的不幸的受害者。然后我就扮演了这个受害者，因为我不知道对此该做什么。我不知道如何感觉好些，我不知道如何做得更好，我不知道如何不去生气，我就不知道如何做回我感觉的所有这些发生前的自己。然后走出学校的大门时，焕然一新，非常清楚我已经带给我自己所有一切，我已经全完成了。我有责任的，必须的，基本上每一件事情，以及过去我非常想的可以在任何时候去改变的事情。”
 
"And I took responsibility, came out the door with responsibility for absolutely everything I had done, and with a very clear mind. Just a very clear mind. And yeah, just came out changed. But at that point it was... that bit too late."
“我承担责任，带着绝对每一件我所做事情的责任出门，还有一个非常清楚的头脑。就非常清楚的头脑。是的，就是出来改变了。但是在那时候它……有点太晚了。”
 
Did you try to contact Lisa when you came out?
你有没有尝试去联系Lisa当你出来的时候?
 
"Yeah, yeah. yes, I mean, tried. Attempted, but..." [shrugs helplessly]
“是，是。是的，我是指，试过。努力尝试过，但是……” [无能为力地耸肩]
Hell hath no fury, I joke.
地狱没有愤怒，我开玩笑说。
 
"Yeah," he laughs. "And not so much, because I didn't want to bug her. I got a pretty clear message that she didn't want to... she hadn't replied to any of the texts or emails, or whatever. I knew she was angry so I didn't want to call her and put her under pressure, so I just sent her another email, and then something else, and then invited her to come back and do whatever shows she wanted to do
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