【译者注：汉化翻译可能存在谬误，英文原文在汉化文本下方】

这是近期历史上最受欢迎的电子游戏的官方原声带的第二卷。评论家们喜欢把我的专辑的风格与埃里克-萨蒂、罗德利乌斯和布莱恩-伊诺相比较。Aphex Twin也曾经说我偷了他的风格。

《Minecraft – Volume Beta》的最大区别在于，基调既更积极，有...

【译者注：汉化翻译可能存在谬误，英文原文在汉化文本下方】

这是近期历史上最受欢迎的电子游戏的官方原声带的第二卷。评论家们喜欢把我的专辑的风格与埃里克-萨蒂、罗德利乌斯和布莱恩-伊诺相比较。Aphex Twin也曾经说我偷了他的风格。

《Minecraft – Volume Beta》的最大区别在于，基调既更积极，有时又非常黑暗。有些歌曲甚至有打击乐，这在前卷中是完全罕见的。例如《Taswell》或《Aria Math》。

很多歌曲都非常长。

《Alpha》是10分钟，而《The End》则是15分钟。而很多创造模式的歌曲至少有8分钟左右的长度。

此外，这套原声带包含了可收集的唱片，即你可以在《我的世界》中找到的黑胶唱片。除了《Cat》之外。那首歌你可以在之前的原声带《Minecraft – Volume Alpha》中找到。

《Ki》就像前一张专辑中的《Key》一样，是对专辑的引介。但这次它不是安静、阴郁和舒适的，而是黑暗的和预知的。

《Alpha》是一首过往歌曲的混合物。它充当了你“通关”《我的世界》时播放的乐谱，但它也充当了对前卷的音乐的庆贺

《Blind Spots》是我写的第一首歌，目的很明确，就是要为《我的世界》的“创造模式”提供独特的配乐。我试图创造一首没有重大变化的作品，但不断反复强调，就像不断地重新混合其核心主题。当乐曲结束时，它变得异常忧郁和庄重，但很快又回到了积极的状态。结束了，但并不坏。

《Moog City 2》是对前卷中《Moog City》的再现。然而这次我确实使用了穆格合成器，以及我在制作这张专辑过程中获得的许多其他合成器。

《Biome Fest》是一首我在《Minecraft – Volume Alpha》完成时创作的歌曲，但我觉得它在游戏中没有任何位置，直到创造模式被某种程度上重新引入进游戏。我曾经创造过的歌曲里面最喜欢的曲目之一。我确实喜欢极简主义，喜欢用很少的音符实现音调，我认为这首歌做得非常好。

《Haunt Muskie》，如果我没记错的话，是初音未来的变形词。现在不完全确定为什么了，但你看吧。这首歌对我来说是非常怀旧的，我没指望除我以外的任何人会喜欢它。事实证明，它倒是有一点儿人气。我曾经喜欢过一个相当古老的视频游戏。某个游戏，你要必须修复破损的过山车的谜题。它的配乐并不是特别好，但它所承载的情感是我一直记得的东西。《Haunt Muskie》就是我记忆中的音乐。

《Warmth》在游戏的地狱里播放。或者正如它在《我的世界》中被称为“下界”。这首歌试图阐发：即使是地狱也不全是坏事，也有好东西可以找到。但下界仍然是一个非常严酷的环境。

《Aria Math》这是一首充满了平底鼓和老式合成器的歌曲，随着乒乒乓乓的节奏翩翩起舞。这也是创造模式的歌曲之一。我用《我的世界》中更极端的创作美感来刻画它。巨大的雕像、庞大城市、绘画、人，都在这个游戏中重现。这些令人肃然起敬，也是我想象征的东西。不知是否成功了？

《Taswell》是对一个我只见过一面的朋友的告别，但他们去世的速度比任何人都想象的快。这很令人震惊，但我不想因为他们的死亡而记住他们，而是记住他们生命中每一天所表现出的幸福。

《Beginning 2》就像前卷的《Beginning》一样，也许是专辑的结束，或者只是开始。这张专辑现在正处于迅速改变基调的进程中，但在进入 《The End》之前。

《Dreiton》是对我写像 Zweitonegoismus 这样的专辑的时代之回忆。当我还在害怕接受音乐中的极简主义和简单性时；当我仍然热衷于使我的音乐尽可能地疯狂和多样化时。结果发现没有理由如此恐惧。在《Dreiton》中，在一首超过8分钟的歌曲中，基本上只有两个部分。我希望我完成了重复性，但在任何方面都不无聊。像所有其他的“创造模式”的音乐一样，这首歌曲也是关于在《我的世界》中发现的创造力的致敬。在第7分钟时，这首歌突然变得空无一物，然后渐渐消失。有时，创造力不需要有理由。有时你只是建造。

《The End》是一首15分钟的作品，是为《我的世界》中的名字命名的，一个叫“终末之地”的地方，一个充满令人毛骨悚然的东西叫“末影人”的黑暗和阴险的地方。哦，还有一条龙。由于“终末之地”也是玩家“通关”游戏所必须经历的最后阶段，这首曲子包含了很多对过去歌曲的引用。如果你仔细听，基本上可以听到《Minecraft – Volume Alpha》的大部分内容。在建立了嗡嗡声之后，歌曲中断了，好像某种音频设备不能再处理它。最后你听到有人在修理它，又从头开始了。至少在游戏中是这样。在专辑中，我们随后去到……

《Chirp》，在这我们切换到你可以在游戏中找到作为收藏品之唱片的地方。直到我们来到……

《Intro》，这是一首说“再见”的即兴作品。抑或说“你好”？

我在2013年底发行了这张专辑，当时我即将在墨西哥做一场演出。每次想到这张专辑，我就会怀念墨西哥，怀念它与我在德国或加拿大所知道的生活有多么大的不同。虽然现在想想，我觉得《Minecraft – Volume Alpha》可能是一张对欧洲的爱情唱片，而本卷则是献给美洲和亚洲的。这对你来说可能听起来像胡言乱语，但对我来说是一种个人内在的意见。

This is the second part to the official soundtrack to the most popular video game in recent history. Critics like to compare the style of my album to Erik Satie, Roedelius, and Brian Eno. Aphex Twin also once said I stole his style.

The **BIG** difference of Volume Beta is that the tone is both more positive and at times very dark. Some of the songs even have percussion, which is something that was a complete rarity with Volume Alpha. For example “Taswell” or “Aria Math”.

A bunch of the songs are VERY long.

“Alpha”, being 10 minutes, while “The End” clocks in at 15 minutes. And a lot of the “creative mode” songs are at least around 8 minutes in length.

Additionally, this soundtrack contains the collectible records, which are little vinyl songs you can find in Minecraft, the game. With the exception of Cat. That song you can find on the previous soundtrack, Volume Alpha.

“Ki,” like “Key,” on the previous album is an introduction to the album. But this time it’s not quiet, somber and welcoming, but dark and foreboding.

“Alpha” is a medley of past songs. It acts as the score that plays when you “beat” Minecraft, but it also acts as a celebration of past music from Volume Alpha.

“Blind Spots” is the first song I wrote with the clear intention of having a unique soundtrack for Minecraft’s “creative mode”. I tried to create a piece that doesn’t particularly change much, but keeps reiterating on itself, like a constant remixing of its core theme. As the piece ends, it becomes very melancholic and solemn, but quickly returns to being positive. Things end, but that’s not bad.

“Moog City 2” is a recreation of “Moog City” from Minecraft Alpha. However this time I actually did use Moog synthesisers, along a lot of other synths that I acquired over the course of making this album.

“Biome Fest” is a song that I created when Minecraft Alpha was done, but I felt it had no place anywhere in the game, until the creative mode was sort of reintroduced to the game. It’s one of my favourite songs I’ve ever created. I do love minimalism and achieving tones with just very few notes, and I think this song does that extremely well.

“Haunt Muskie”, if I remember correctly, an anagram for Hatsune Miku. Not entirely sure why anymore, but there you go. This song is very nostalgic for me, and I didn’t expect anyone to like it but just me. It turns out it is a little bit popular though. There was this fairly old video game I used to like. Some game where you solve puzzles of broken rollercoasters you have to fix. The music wasn’t particularly good, but the emotion it carried was something I always remembered. “Haunt Muskie” is what I remember that music to be.

“Warmth” plays in the game’s hell. Or as it is called in Minecraft,  “Nether”. This song tries to play with the idea that even hell isn’t all bad, and there’s good things to be found. But it’s still a very harsh environment.

“Aria Math” is a song full of Pan Drums and old synthesisers rhythmically dancing to ping pong delays. It’s also one of the creative mode songs. I wrote it with the beauty of the more extreme creations in Minecraft. Gigantic statues, entire cities, paintings, people, all recreated in this game. It’s awe inspiring, and that’s what I wanted to kind of symbolise. Not sure if I succeeded?

“Taswell” is a farewell to a friend I only met for a little bit, but they passed away faster than anyone could have imagined. It was shocking, but I didn’t want to remember them for their death, but the happiness they showed every day of their life.

“Beginning 2” is just like “Beginning” on Alpha, perhaps the end to the album, or just the beginning. This album is now in the progress of changing tone rapidly, but not before going to “The End.”

“Dreiton” is a remembrance of the times when I wrote albums like Zweitonegoismus. When I was still scared to embrace minimalism and simplicity in music. When I was still keen on making my music as crazy and varied as possible. Turns out there was no reason to have such a fear. And with “Dreiton”, the are essentially only two sections on a song that clocks in at over 8 minutes. I hope I accomplished to have repetition that nonetheless isn’t boring in any way. Like all the other “creative mode” songs, this one is also about the awe of the creativity to be found in Minecraft. At minute 7, the song abruptly builds up to nothing and fades away. Sometimes creativity doesn’t need to have a reason. Sometimes you just build.

“The End” is a 15 minute piece for the namesake in Minecraft, a place called “The End”, a dark and sinister place full of creepy things called Endermen. Oh, and there’s a dragon. Since The End is also the final stage the player has to go to to “beat” the game, this piece contains a lot of references to past songs. If you listen closely, you can essentially hear most of Volume Alpha embedded within. After building up the drone, the song breaks, as if some sort of audio device couldn’t handle it anymore. Lastly you hear someone fixing it, and it starts from the beginning. At least in the game. On the album we then go to…

“Chirp”, which is where we switch to the records you can find in Minecraft as collectibles. Until we get to…

“Intro,” an improv piece to say goodbye. Or hello?

I released this album in late 2013 when I was about to be doing a gig in Mexico. Every time I think about this album, I get nostalgic about Mexico and how wildly different it is from the life I know from Germany or Canada. Though now that I think about it, I feel like Volume Alpha might be a love record to Europe, while Beta is dedicated to America and Asia. This might sound like gibberish to you, but to me it’s kind of a personal internalized opinion.