超級啤酒已經有10年沒有製作音樂，但是近年來，它們的聲望比以往任何時候都要快

Superheaven已經有10年沒有製作音樂了，但是近年來，它們的聲望比在一起的速度要快。

Superheaven haven’t made music in 10 years, but they’ve been gaining prestige faster in recent years than they ever did when they were together.

Superheaven已經有10年沒有製作音樂了，但是近年來，它們的聲望比在一起的速度要快。

Out of nowhere, in 2023, they hit it big on TikTok with ‘Youngest Daughter’, a track from their 2013 debut Jar, which has been streamed on Spotify 145million times. For fans of the band, this has worked out nicely, culminating in a sold-out Jar anniversary tour in 2023 and, now, a brand-new album.

在2023年，他們在Tiktok上與“最小的女兒”（Tiktok）擊中了這一曲目，這是他們2013年首次亮相罐子的曲目，該曲目已在Spotify 1.45億次播放。對於樂隊的粉絲來說，這已經很好地奏效了，最終在2023年的一次售罄的罐子週年紀念巡迴演出中，現在是一張全新的專輯。

That album might be titled simply Superheaven, but from its opening riff on the track Humans For Toys, it’s clear that this is a slightly different Superheaven. For one thing, they’ve never sounded so metallic. As on other tracks across the album like Cruel Times and Long Gone, this riff is heavy, bordering on sludgey. The production, too, is heavier-handed, with tones smoothed and made huge to drive home those big riffs.

這張專輯的標題可能是Supterheaven，但是從Track Humans for Toys上的開幕式即興演奏，很明顯，這是一個略有不同的超人。一方面，他們從未聽起來如此金屬。就像在專輯中的其他曲目中一樣，如殘酷的時代和早已消失，這次即興演奏很沉重，與污泥接壤。製作也較重，音調平滑，並使其巨大驅車回家。

The power of Superheaven’s previous records came from the immediacy and tactility that nodded to the band’s punk roots. On Superheaven, it comes from this enormity. While the new style sacrifices some fire, it creates a sense of maturity: heightened stakes, and the accrued wisdom to cope with them.

Superheaven先前唱片的力量來自於樂隊的朋克根源點頭的即時性和触覺。在超赫文上，它來自這種巨大。雖然新風格犧牲了一些火，但它會產生一種成熟感：賭注增強，以及應付智慧來應對它們。

As if to demonstrate that right off the bat, opener Humans For Toys is perhaps the most nakedly political track they’ve ever put out. “Children burned alive / Money’s everything,” vocalist Taylor Madison sings, in a rebuke of war that’s hard not to read as an observation of attacks on Gaza. On the other side of the coin, Cruel Times is a love song about long-term devotion that could just about be described as feel-good – definitely a rarity in the band’s usually dark catalogue.

彷彿要立即證明這種玩具的揭幕戰可能是他們曾經推出的最純粹的政治道路。歌手泰勒·麥迪遜（Taylor Madison）在戰爭的譴責中唱著：“孩子們活著 /金錢的一切，”這是對加沙攻擊的觀察。在硬幣的另一側，殘酷的時代是一首關於長期奉獻的情歌，它可以被描述為感覺很好 - 絕對是樂隊通常的黑暗目錄中的稀有性。

That said, the intense and doomy catharsis that the band have thus far traded in is still ever-present on Superheaven. Hopelessness and isolation are the overwhelming themes of the record. Closing track The Curtain is crushing as Madison sings, “I feel like half a human being,” while Long Gone is almost spiritual in its despair. That catharsis feels like an important throughline to the band’s identity.

也就是說，迄今為止，樂隊所進行的緊張和疾作的宣洩仍然在超赫文上存在。絕望和孤立是記錄中壓倒性的主題。麥迪遜唱著“我覺得自己就像是人類的一半”時，窗簾的閉合曲目令人沮喪，而早已消失的絕望幾乎是精神上的。宣洩感覺就像是樂隊身份的重要貫穿線。

There are lyrical glimpses throughout the album to the stakes of their reunion. When Madison sings, “We were never meant to come back,” on Cruel Times, he likely refers to overcoming the odds in his relationship, but it’s easy to imagine the double meaning that will arise when the band play it live. Likewise, on Sounds of Goodbyes, a song explicitly about Superheaven’s hiatus and reunion, co-frontman Jake Clarke sings: “It’s a spark of a new life.” This new life is different from the old one, but it’s got plenty to offer Superheaven fans.

在整張專輯中，有抒情的瞥見。當麥迪遜唱歌時，“我們從來沒有打算回來”，在殘酷的時期，他可能是指克服他的戀愛關係的機率，但很容易想像樂隊演奏時會產生的雙重含義。同樣，在Goodbyes的聲音上，一首關於Superheaven的中斷與聚會的歌曲，共同福特曼·克拉克（Jake Clarke）唱歌：“這是新生活的火花。”這種新的生活與舊生活不同，但是有很多可以為超速粉絲提供的粉絲。