“流行音乐像模因一样流行。它只需要一点火种，它可能会成为一种现象。”路面’s斯蒂芬·马尔克穆斯（Stephen Malkmus）astutely reflected in 2018. In the same interview (withEsquire）当时52岁的独立摇滚教父透露，他一直在盯着地面，在数学上剖析现代流行图表，以试图取消不断变化的胜利公式。
Little wonder that Malkmus is keen to decode the mechanics of success, his band’s unanticipated rise to the pinnacle of indie rock primacy some 27 years before wasn’t achieved via heavy major label promotion or deft chart-chasing, but by a conscious upturning of listener expectations. His breezy attitude to the recording process – and life in general – became central to Pavement’s slacker-rock appeal.
1991年，这位24岁的马尔克穆斯（Malkmus）紧张地为乐队的首张全长专辑打下了最后的效果。捕捉三个年轻人的摇摇欲坠的声音，以听众宽容的范围倾斜和迷人14条曲目可能是针对斯蒂芬后朋克影响力的90年代更新（秋天和秋季的更新我的血腥情人节in particular), but, through a combination of unkempt, dissonant chord structures, tangled, grubby riffs, tuneful, vibrant melodies and coolly delivered (but earnestly intelligent) lyrics,倾斜和迷人是一个伪造的力矩秘密。这是一种规定了几十年来独立音乐的DIY精神。
也许也许
Formed by high school friends Malkmus and Scott Kannberg (aka Spiral Stairs) in Stockton, California, the pair’s initial ideas (aside from having fun playing local open-mic nights) was that they would experiment with freeform musical expression, and write material that evaded the howling anguish of the then on-the-rise grunge scene, or the pomposity of stadium rock. Malkmus and Kannberg were middle-class, suburban kids – and that’s what they wanted their own music to reflect. “Whatever soul you have being a suburban kid like us, what can you do that’s right that way?” Malkmus explained to莫霍in 1999, “Because we’re notBlack Sabbath，，，，we’re not working-class heroes and we can’t get away with that. Luckily we’re not hanging out at Met Bar, either, we’re not New York City hipsters or anything, so that’s our earthiness.”
二重奏的早期声音摆脱了自己不是想成为自己没有的东西的压力，这些元素很快就会吸引当地的独立场景。早期的曲目，例如伤心欲绝的慢跑盒子长者或不祥的，棱角分明的尖峰她相信revealed Malkmus and Kannberg’s predilection for using their guitars as a diverse musical paintbrush. Complementing, and competing, with each other.
These songs, along with three others, were recorded at future drummer Gary Young’s ‘Louder Than You Think’ home studio in one four-hour session. The resulting first EP,Slay Tracks: 1933-1969，用Malkmus和Kannberg的Noise Guitar脉冲，有目的地以细微的触发器捕获，近传播Radio质量（这是由于EP开瓶器上的无线电噪音所强调的你这是要弄死我啊。路面的Homespun制作美学诞生了。“当我第一次听到它们时，我不明白。”年轻在接受采访时反映了副在2015年，“我会告诉我在纽约的朋友们，我刚刚制作了这个怪异的唱片，我真的不知道该如何形容它。”
这部光荣的马虎处女作EP是一次令人陶醉的聆听，在吉他的愤怒般的喧嚣之间有机地转移，而摇摇欲坠的安排几乎无法站立，然后才能腐烂成抽象的愤怒表达。偶尔会受到一个古怪（通常是即兴）的节奏的支持，这是由于Young在会议期间自发落后于Drumkit的自发决定的结果。在发育中的炖菜中，另一种关键成分是Malkmus的声带传递，它从讽刺的，空闲的凉爽转向EPS运行时间的荷尔蒙哀号。
Just 1,000 copies ofSlay Tracks…were pressed, and released to surrounding independent stores by Kannberg’s self-run label Treble Kicker. This very first Pavement release was soon recognised as a word-of-mouth, underground gem by indie rock scribes and attentive devotees of their local Stockton scene. It was enough to pique the interest of Chicago-based Dan Koretzky, who was in the process of founding his own label Drag City. Recognising Pavement’s potential, he promptly signed the outfit, and two further EPs quickly followed.
穿过拆除飞行员J7和Perfect Sound ForeverMalkmus和Kannberg有空间来发展其声音宇宙。在这一点上，加里·杨（Gary Young）全职加入了人行道船 - 从当时的鼓手杰森·特纳（Jason Turner）进行了比赛。
居住许可
Now with an ardent backbone of disciples (largely off the back of their often mesmerizingly chaotic live performances) the band resolved to lock down a full length debut album. Returning to Young’s studio, the trio stuck to the same ethos that had defined the subterranean appeal of their initial EPs.
Enraptured by the potential of alternate tunings, Malkmus refined his dabblings with open-G and open-D into some stable, characteristic tunings. Of particular note was his CGDGBE tuning, which shaped the wavering harshness of在嘴里的沙漠，，，，洛雷塔的伤疤和Jackals, False Grails: The Lonesome Era。The second ubiquitous tuning was in DADABE – responsible for the atmosphere of香水v，，，，夏季宝贝和出售导管！among others. These tunings have now become generally regarded as ‘slacker’ tuning, as a result of their heavy use through the record. “We didn’t have a bass guitar on the early recordings.” Malkmus told吉他世界“因此，调低声音较低，但声音也充满了声音。那就是我开始的地方。然后，我通过将我的G弦提升到A来简化了A。我做了很多类似的事情。”
Malkmus和Kannberg的钻机很简单，并在此期间定期进行调整倾斜和迷人会议。虽然他后来成为著名的爵士乐挥手，但在此阶段挡泥板Strat是斯蒂芬的主要声音画笔，而坎伯格将使用（并共享）挡泥板野马和GibsonSG，穿过非常最小的踏板钻机。他们的两个信号都被一对Proco Turbo Rat扭曲踏板弄乱了（偶尔使用老板DS-1失真）。
While Scott’s sound was output through a Fender Silverface Twin Reverb, Malkmus often chose to run through a small boutiqueEpiphone放大器，从他朋友的父亲那里借来。在乐队的前三个EP上厌恶低音之后，坎伯格（Kannberg夏季宝贝有了实际的低音，有些曲目继续以低调的吉他为特色，在低注册空间中填充（名望Thra例如），其他人完全没有低音（这里）
在十四首曲目中，乐队编织了各种各样的音调挂毯，这是从快节奏的，thrash朋克的曲目等职业生涯洛雷塔的伤疤，强烈吉他的爆发（Trigger Cut）更安静，更具反射性的作品，例如Sublime Tearjerker这里- 限制性的削减表明乐队的旋律能力不断增长。
The wiry pulse of opener夏季宝贝（以前是单曲发行的歌曲）是专辑的一个光荣入口，Malkmus的混乱吉他鞭子在歌词的欢乐宁静中激动。最终通过令人难忘的标题重复钩子解决了这种紧张关系。尽管没有抑制的实验是人行道的核心，但在整个记录的运行时间中流动的流行钩子用于锚固耳朵。塑造迷人的不和谐和弦在嘴里的沙漠lead us into a fine example, as growling distortion hovers over the verse, snakey hooks periodically rise to have their moment in the sun, before receding into a wash of sound.
Enviable good taste
Taking just under ten days to complete, the recording sessions were treated with a characteristically relaxed, minimal take approach. Once twenty tracks were recorded, Malkmus embarked on a leisurely international holiday, while Kannberg whittled down the results, and concocted a working album running order – and attempted to get the album heard.
Aiming for wider (but still uncompromised and independent) exposure, the band reached out to Matador Records in New York. “I was living in New York and wanted to be on a New York label, it was easy for me to go into the offices.” Malkmus recounted in Rob Jovanovic’s永远的完美声音：人行道的故事。Impressed, Matador agreed to put out the record, though it would take a gulf of fifteen months before倾斜和迷人看到了一天的光芒，终于在1992年4月20日上架。
在文中-Nevermind1992年的景观，图表突然突然欢迎使用更精美的替代音乐。倾斜和迷人’s crumbling arrangements and lo-fi production value meant it wasn’t aiming to compete in that domain. But, for the indie rock congregation, the record served as the most cogent rejection of those perceived compromises which had allowed select alt-rock artists a way-in to the arena of wider public acceptance.
作为一项反抗，自制的工作，倾斜和迷人为了艺术的缘故，巩固了摇滚音乐的想法。In the UK, the record’s status was raised as a result of notable deification by revered trendsetter John Peel – and public derision by an irked Mark E. Smith, who deplored the band’s on-the-sleeve The Fall influence by saying “It’s just The Fall in 1985, isn’t it? They haven’t got an original idea in their heads.” Nevertheless, this high-profile attention helped the record shift a respectable 100,000 copies by 1992’s end.
在他的回顾性评论中叉，克里斯·奥特（Chris Ott）总结了记录的重要性“倾斜和迷人加强并重新调整了尼尔瓦纳（Nirvana）合作的疲倦，被剥削的地下卷土重来。它向我们展示了，无论入侵我们的世界的西装和领带如何，都有足够的空间在主流雷达下进行操作。”Rolling Stonewould go on to class it as “The quintessential indie rock album”.
Thought Pavement would adopt new members, and develop a more concise indie-rock sound (best exemplified by their 1994 anthem,剪头发）在随后的几十年中，他们的处女作的摇摇欲坠的影响力严重，因为主流开始吸收越来越多的独立行为。只是听Graham Coxon’sBlur's上的半权利，未插入的吉他零件咖啡和电视，或那些在自由主义者同名专辑的后半部分中占主导地位的半身安排。还有适中的鼠标更混乱，自由流动的爆发，甚至动物集体的抒情般的抒情传递，所有这些都在有意地将其帽子脱落到人行道的价值观上。
斯蒂芬·马尔克穆斯（Stephen Malkmus）的身材是90年代“懒惰”一代的缩影，现在是流行文化传奇的坚定一部分，受到90年代庆祝的影响，如90年代的影响考特尼·巴内特（Courtney Barnett）和Beabadoobee- 出生于人行道1999年的分裂之后 - 他写了公开奉献精神，I Wish I Was Stephen Malkmus。
Reflecting on the debut last year, Malkmus was typically low-fuss about its legacy, “倾斜和迷人就像我们的参加聚会。We could finally tell our parents, ‘Mom, I’m in a band and it’s going to be okay.’ I was living in Brooklyn, or maybe Jersey City, and I went back home to Stockton, California, for Christmas break, and I just kind of bashed out the songs.” He said, toGuitarplayer.com，“我很高兴人们喜欢它。这使我的生命免于在酒吧工作。”
Infobox
路面，倾斜和着迷，(Matador, 1992)
Credits
- Stephen Malkmus - 主唱，吉他
- 斯科特·坎伯格（Scott Kannberg） - 吉他，贝斯，支持人声，主唱Two States
- Gary Young – Drums, percussion and production
- Cy Jameson – Engineering on这里
Standout guitar moment
Zürich Is Stained
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