翻譯：thesweetescape

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-best-songs-of-the-1990s/

Bj?rk: “Human Behaviour” (1993)

Bj?rk is not an alien, despite the extraterrestrial terms in which she is often described. But as a human woman who, at the time of her 1993 solo debut, baffled journalists simply by?being?from Iceland, to say nothing of her avant-garde sensibilities, she was well-positioned to offer an outsider’s perspective on “Human Behaviour.” On the surface, her thesis—that we definitely (definitely, definitely) lack logic—is a warning to other interlopers preparing for contact. Really, it names our vagaries, our capacity for misunderstanding and being misunderstood, as essential to the human condition, reframing these isolating experiences as shared ones. Furthering the song’s sense of universality, Bj?rk reached across time and geography to?borrow?its rattling percussion and commanding timpani riff from the Brazilian composer Ant?nio Carlos Jobim. The result, the throat-clearing opening of Bj?rk’s foray into experimental dance-pop, is strange and welcoming; it invites you to sit with the unfamiliar. –Olivia Horn

Bj?rk不是外星人，但外界言論卻時常這樣嘲諷她。但這位人類女子，在1993年發(fā)行個人出道專輯《Debut》時，她來自冰島的身份便足以讓記者一頭霧水，更不用說她前衛(wèi)先鋒的藝術(shù)鑒賞了，她在歌曲“Human Behaviour”中完美描繪出一個外星生物的視角。從歌詞表面含義看，她的立場是——我們?nèi)祟惤^對（絕對，絕對）缺乏邏輯——對想接觸人類的外星人發(fā)出警告。但實(shí)際含義是，歌曲將我們?nèi)祟惙磸?fù)無常的狀態(tài)，我們對誤解和被誤解的接受能力，視作人類的基本構(gòu)成要素，將這些零散的感受都整合在一起。為了增添歌曲的浩瀚無垠感，Bj?rk超越時間和地域的限制，從巴西作曲家Ant?nio Carlos Jobim那里借用了響亮的打擊樂和抑揚(yáng)頓挫的定音鼓樂段。最終，該歌曲成為Bj?rk首次涉足實(shí)驗(yàn)流行舞曲領(lǐng)域的開嗓之作，怪誕卻愜意；邀約你接納陌生事物。 –Olivia Horn