搬运译Pitchfork评10年代200张最佳专辑第195名：Downtown Boys: Full Communism (20

搬运自：微信公众号【评论搬一堆】（在原文基础上添加了英语原文与排版调整）

原文链接：https://pitchfork.com/features/laists-and-guides/the-200-best-albums-of-the-2010s/ 

翻译：Vivian

校对：Tyler Smith

推送：Lynn Liu

“Why is it that we never have enough with just what's inside of us?” screams Victoria Ruiz at the start of “Monstro,” the highlight of Downtown Boys’ cyclonic debut album, Full Communism. It’s a fair question to throw at a capitalist country that's hell-bent on extracting every modicum of value from its people, especially its young and marginalized. With true punk fury—and the occasional stellar use of saxophones— Downtown Boys clear themselves a space to rage: Joey L DeFrancesco cracks bedrock with his guitar chords, while drummer Norlan Olivo agitates the whole band into breakneck urgency. With Full Communism, Downtown Boys established themselves as the harbingers of righteous frustration at a system that keeps people pinned down in a cycle of exploitation. –Sasha Geffen

“Why is it that we never have enough with just what’s inside of us?”主唱Victoria Ruiz在“Monstro”的开头厉声质问。这是乐队Downtown Boys首张专辑⟪Full Communism⟫中的高光时刻。身处这样一个榨取人民，榨取年轻人和边缘人的资本主义社会中，抛出这样的质问是绝对合理的。在真挚而朋克的愤怒和精彩的萨克斯风中，Downtown Boys在音乐中找到了发泄的出口。Joey L DeFrancesco的吉他和弦振聋发聩，而Norlan Olivo用鼓点编织了乐队急切的紧张感。Downtown Boys像先知一般谴责在压迫的循环中束缚人民的社会体制，⟪Full Communism⟫包含着他们充满正义感的挫败。