by Jeremy D. LarsonReviews Editor
ROCK
MAY 6 2019

The third album from the Brooklyn quartet is an intimate and surreal experience, a true masterpiece of folk music from a band working together at the highest level.
布鲁克林四人组的第三张专辑是一次亲密并且超现实的体验，是一部真正的高水平的民间音乐杰作。

PART 1
Big Thief are their own small ecosystem: Guitarist Buck Meek, bassist Max Oleartchik, drummer James Krivchenia, and Adrianne Lenker, the singer and oxygen of the Brooklyn quartet, whose lyrics can, among other things, bind all that is living and has ever lived together at the cellular level.
吉他手Buck Meek，贝斯手Max Oleartchik，鼓手James Krivchenia和主唱Adrianne Lenker共同组成了Big Thief这一小型“生态系统”，而Adrianne Lenker不仅是这个布鲁克林四人组的主唱，同时她也是此乐队的“氧气”，既能作词，也能够参与其他部分的音乐创作，她将生活与创作紧密相连。
Their music is a network of wood and wire, uncanny in its ability to sound undiscovered, like you’re stumbling upon a new species of folk rock with every song.
他们的音乐就像是由木头和金属丝组成的网络，其神秘之处就在于它能发出未被发现的声音，就像你在每首歌中都会偶然发现一种新的民谣摇滚风格。
And because they work so well as an organism, the band has a way of giving value to things that hang damp and wrinkled in our world.
并且它们作为一个“有机体”在工作中非常和谐，这个乐队用他们独特的方式赋予那些在世界上皱巴巴的物品价值。
In the hands of Big Thief, emotion, dreams, nature, memory, even acoustic guitars are artifacts of immense size and power.
在Big Thief手中，情感、梦想、自然、记忆，甚至是原声吉他，都是巨大而有力的人工制品。

PART 2
This power that Big Thief give to the natural (and supernatural) defines their third and undoubtedly best album, U.F.O.F., a mesmerizing flood of life filtered down into a concentrated drip.
Big Thief赋予自然（和超自然）的力量使得他们的第三张专辑《U.F.O.F.》毫无疑问是最好的专辑，一股迷人的生命洪流过滤后浓缩为璀璨的水滴。
It’s weird in the literary new weird sense: fantastical, alien; it is an unknown presence.
在文学上这种新奇的感觉是很怪异的：奇异的，外星人; 这是一个未知的存在。
Spend time with this album and soon there is no tempo but Big Thief’s trot, no voice but Lenker’s whisper, you are in a now-but-then, a here-but-there.
在倾听这张专辑的过程中，你会发现自己很快会忽视音乐的节拍，音乐逐渐带你进入到Big Thief制造的“马蹄声”中，虽然真正的“马蹄声”，但是Lenker的低语会让你觉得它若隐若现，忽近忽远。
Guitar lines are Mobius strips, basslines lead you off the map, and the drums feel less like Krivchenia is hitting them and more like he is lifting sounds out of them.
吉他线是默比乌斯条带，贝司线引导你离开地图，鼓声感觉不像Krivchenia正在敲击它们，倒更像是他们自己发出的声音。
A dazzling record, no doubt, but the boundless joy comes from its glacial restraint, from sensing all that lies beneath its surface and all that goes unsung.
毫无疑问，这是一张令人眼花缭乱的唱片，无边的喜悦来自于它冰冷的克制，来自于这种感觉表面下的一切以及一切未被歌颂的事物。