离题集 2026 Oracle Digressions 2026 第 07 篇 Section 07
五月 温度不足的声音 May: A Sound Lacking Warmth
返回 离题集 2026 Back to Oracle Digressions 2026四年前的这个时候，NMIXX 还在全网争议的中心。那些关于“难听”“割裂”“概念混乱”的评价，如今再回头看，时间替很多东西完成了筛选，也替很多喜欢完成了证明。于是我忽然意识到，自己喜欢 NMIXX 已经快四年了。
Four years ago around this time, NMIXX stood squarely at the epicenter of internet controversy. Looking back today on those critiques labeling them “unlistenable,” “jarring,” and “conceptually chaotic,” time has done the filtering for many things and offered proof for much of my appreciation. And so it suddenly struck me that I have been listening to and loving NMIXX for nearly four years.
这件事本身并没有多么值得炫耀。可在一个偶像、一个团体、一种审美真正变成流行符号之前，便已经与它们建立过私人关系，终究还是会让人产生一点隐秘的满足。喜欢一件尚未被广泛认可的事物，有时像是在提前为未来的自己押注。等它终于被更多人看见，那份喜欢便仿佛也被时代轻轻确认了一次。
This fact is hardly something to boast about. Yet before an idol, a group, or an aesthetic truly transforms into a mainstream cultural symbol, having established a private bond with them inevitably yields a quiet, secret satisfaction. Loving something that has not yet won widespread acclaim feels at times like placing an advance wager on one’s future self. When it is finally witnessed by the wider world, that devotion feels gently validated by the zeitgeist.
但五月这首先行曲带给我的感觉，仍然有些复杂。
Yet the pre-release single from May still leaves me with complicated feelings.
它的堆叠和声、带有温暖底色的合成器音色，让我想起 Ariana Grande 的《we can’t be friends》；那些逐渐逼近的不和谐音、留白和空拍处理，又让我隐约联想到 MEOVV 的《Toxic》。这些元素并不陌生，甚至可以说是近两年流行音乐里极常见的一套情绪装置：克制、透明、轻盈、带一点电子雾气，像是把情感放进玻璃罩里，让它在冷光下缓慢折射。
Its layered vocal harmonies and warm-tinted synthesizer tones evoke Ariana Grande’s “we can’t be friends”; its creeping dissonances, deliberate pauses, and empty-beat dynamics vaguely call to mind MEOVV’s “Toxic.” None of these elements are unfamiliar—in fact, they constitute an emotional apparatus ubiquitous across popular music of the past two years: restrained, crystalline, weightless, shrouded in an electronic mist, like sealing emotion inside a glass bell jar to let it refract slowly under cool light.
问题恰恰也在这里。它并不难听，甚至称得上精致。NMIXX 成员的音色辨识度仍然是她们最可靠的武器，尤其是 Lily 那种厚实、明亮、带有穿透力的声音，在当代女团里几乎是一种稀缺资源。但这首歌整体给我的感受，却始终差了一点温度。它没有真正把我击中，也没有让我获得那种被声音直接推开的震动。
Precisely here lies the problem. The song is not unpleasant to the ear; indeed, it could even be called exquisite. The distinctive timbral signatures of the NMIXX members remain their most formidable asset—especially Lily’s rich, luminous, piercing voice, which is almost a scarce commodity among contemporary girl groups. Yet the overall impression the track leaves on me lacks that essential trace of warmth. It fails to strike me at my core; it does not impart that physical shudder of being thrust backward by raw acoustic force.
这种“不满足”并不完全来自歌曲本身，而来自我当下的听觉状态。过去一年多，我听了太多类似的合成器质感。轻薄的铺底、暧昧的混响、带有空气感的人声、故意收紧的鼓组，它们一开始确实新鲜，久了以后却容易变成一种过度光滑的表面。所以我会怀念另一种声音。
This sense of “dissatisfaction” does not stem entirely from the song itself, but from my current auditory condition. Over the past year or so, I have consumed far too many similar synthesizer textures: diaphanous pads, ambiguous reverbs, airy vocals, deliberately tightened drums. At first, they felt genuinely novel, yet over time they tend to curdle into an excessively glossy surface. And so I find myself yearning for an entirely different sound.
比如 Florence + The Machine《What Kind of Man》里那种更接近实录乐器的冲撞感；比如 Billie Eilish《Happier Than Ever》后半段鼓声与合成器突然爆开的重量；又比如 Olivia Rodrigo《bad idea right?》里那种不加掩饰的粗粝、冲动和现场感。它们未必更高级，却更像从人的身体里长出来。声音不是悬浮的装饰，而是有摩擦、有汗水、有失控边缘的实体。
Such as a sense of collision closer to live-recorded instruments in Florence + The Machine’s “What Kind of Man”; or the sudden concussive weight when the drums and synths rupture in the second half of Billie Eilish’s “Happier Than Ever”; or the unvarnished grit, impulsiveness, and live presence of Olivia Rodrigo’s “bad idea right?”. They are not necessarily more sophisticated, yet they feel as though they grew directly out of human bodies. The sound is not a suspended ornament, but a corporeal entity of friction, sweat, and the brink of losing control.
这也许正是我在毕业前夕越来越在意的东西：温度。不仅是音乐里的温度，也是生活里的温度。
Perhaps this is precisely what I have come to care about more and more on the eve of graduation: warmth. Not merely warmth in music, but warmth in life.
过去我常常迷恋概念、符号、风格和审美标签。喜欢一个团体，喜欢一张专辑，喜欢一种穿搭，喜欢某种文化气质，仿佛这些东西能够替我搭建出一个更完整的自己。可临近毕业，我开始意识到，符号并不能自动转化为生活。审美也不是单靠收藏、命名和归档就能真正拥有的东西。就像一首歌不能只靠漂亮的音色成立，一个人也不能只靠丰富的兴趣显得完整。真正支撑生活的，仍然是那些更朴素、更具体、也更难伪装的部分：稳定的作息，真实的关系，完成事情的能力，能够持续行动的身体，以及在热闹退去后仍然不至于塌陷的内心秩序。
In the past, I was endlessly captivated by concepts, symbols, genres, and aesthetic markers. Following a group, obsessing over an album, curating an outfit, adopting a certain cultural demeanor—it was as though these tokens could piece together a more complete version of myself. Yet as graduation nears, I have come to realize that symbols do not automatically translate into living. Taste is not something one can possess simply by collecting, naming, and archiving. Just as a song cannot survive solely on pretty timbre, a person cannot become whole merely through an eclectic catalog of interests. What truly anchors a life remains the humbler, more tangible, and far less easily faked realities: steady routines, authentic relationships, the competence to see things through, a body capable of sustained action, and an internal order that refuses to collapse once the festive din has died down.
从这个意义上说，我对这首歌的苛刻，或许也是我对自己近几年审美生活的一次审视。再动人的歌，如果没有被生活接住，最终也只是耳机里几分钟的杂音。NMIXX 对我而言，某种程度上正是这样一个时间标记。
In this sense, my harshness toward this song is perhaps also a reckoning with my own aesthetic lifestyle over recent years. No matter how moving a song may be, if it is not caught and grounded by everyday life, it remains in the end merely a few minutes of noise in one’s headphones. For me, NMIXX has in some ways served as precisely such a temporal marker.
她们从争议里一路走到今天，而我也从大一走到了本科的尾声。她们在一次次回归中调整方向、磨合概念、寻找更适合自己的声音；我也在这四年里不断改写自己的审美，三个月一变，半年一轮，从 K-pop 到欧美流行，从合成器到摇滚，从女团小嗓到拉美音乐和爵士。表面上看，这只是听歌口味的变化，实际上却是我不断试图重新理解自己的方式：如今我想听见更真实的鼓点，更具体的乐器，更有重量的人声。
They have journeyed all the way from controversy to where they stand today, just as I have walked from my freshman year to the closing chords of undergraduate life. Across their successive comebacks, they have readjusted their direction, refined their concepts, and searched for a voice that truly fits them; and across these four years, I have constantly overhauled my own aesthetics—shifting every three months, cycling anew every half-year, from K-pop to Western pop, from synthesizers to rock, from girl groups’ lighter voices to Latin music and jazz. On the surface, this was merely a shifting palate of musical tastes; in reality, it was my relentless attempt to re-understand myself. Today, I long to hear more grounded drums, more tactile instrumentation, and vocals laden with genuine gravity.
这并不是对 NMIXX 的否定。相反，我依然期待她们的主打，期待她们在新的曲风里继续尝试，也期待 Lily 的声音能被更充分地释放。一个团体能够不断调整方向，本身就是值得尊重的事。只是对我而言，这首先行曲更像一个提示：我已经不再满足于“好听”本身了。
This is not a dismissal of NMIXX. Quite the opposite: I still eagerly anticipate their title tracks, looking forward to seeing them experiment across new genres, and hoping Lily’s voice will be granted even freer rein. For any group to continually adapt its course is inherently worthy of respect. It is just that for me, this pre-release single functions more as an alert: I am simply no longer satisfied with being “pleasant-sounding” alone.
我开始要求声音拥有重量，要求审美落到身体，要求喜欢能够穿过符号，最终抵达生活。如果当我开始厌倦漂浮的声音，也许说明我终于开始厌倦漂浮的自己了吧。
I have begun demanding that sound carry weight, that aesthetics take root in the physical body, and that love cut through mere symbols to finally arrive at actual living. If I have begun to tire of floating sounds, perhaps it means I have finally begun to tire of my floating self.