【搬运】【译】叉婊Pitchfork评 Sigrid 2019年专辑《Sucker Punch》
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）
翻译：Cathy Lin/Nomanlandever
校对：Lynn Liu
On her debut, the Norwegian pop phenom offers a patina of fresh-faced authenticity and not much else.
在她的新专里，这位挪威流行音乐天才给我们展示了新鲜面孔所呈现的真实性，别无其它。
Two years since she first arrived, it is difficult not to feel cynical about Sigrid, much as her fresh-faced image resists it. Her first single, “Don’t Kill My Vibe,” was released in February 2017, and established her as a pop iconoclast: the young woman who (at least according to her oft-told story) left a session with patronizing older male writers to write her own song about how out of touch they were. Her vibe, going by her first single, was a mix of earthiness—the rasped vocals shown off in the relatively naked verses—and machine-honed Scandinavian pop bombast. Since then, it has not been killed so much as flogged by a stream of Spotify bait cut from the same cloth: Island have thrown so many singles at the wall that three from last year aren’t even on Sucker Punch.
两年前，Sigrid刚出道时，难免遭受到大众的质疑，尽管她新鲜面孔下呈现的形象无声地拒绝了所有质疑。她在2017年2月发行的首支单曲“Don’t Kill My Vibe,”（别破坏我的情绪）给她建立起了这样一个流行反传统的形象：这位年轻女孩（至少在她经常谈及的故事里是这么说的），通过自己写歌批判男性作词者太过与时代脱轨，而不是伪善地对待他们。她在首支单曲中散发的情绪，混杂了一系列接地气的因素——在相应赤裸的副歌里显露的尖锐的声音，还有经过机器打磨后的来自北欧的流行空话。自从那起，这种情绪没有被扼杀太多，不像同样来自北欧的乐队被spotify上的颇具诱饵性的主流力量鞭笞：Island（冰岛乐队）发行了很多单曲，去年有三首未被收录在《Sucker Punch》里。
Hers is one of the most assiduous campaigns in contemporary pop, and yet everything about the PR push insists that Sigrid is not like the other pop stars. She doesn’t wear make-up. She doesn’t do features. She—let me check the notes—got her favorite T-shirt free from a Dutch airline, and she just wants to be free to be herself. In this sense, the 22-year-old Norwegian is exactly like the other pop stars, selling a version of authenticity that is just as constructed as a 63-foot inflatable snake or a dude wearing a giant marshmallow head. It’s “realness” as a shortcut to relatability, a two-dimensional affect that her slick debut album does little to flesh out.
Hers是在当前社会中最敏锐的流行话题活动，至今有关公关力量的所有说法都认为，Sigrid并不像其他流行明星，她不化妆，她不卖人设，最喜欢的T恤衫是是从荷兰航空那免费得来的，她从来只想自由自在地做自己。从这个层面上讲，这位22岁的挪威女孩又和其他的流行明星无异，将最真实的一面展示给世人，就像一个63英尺高的充气道具蛇或者是戴着巨大棉花糖头套的家伙一样。这种真实给两者之间的相关度搭建捷径，也是她这张华丽的专辑很少呈现出来的二维效果。
Sigrid includes two songs on Sucker Punch that directly address the music industry’s attempts to manipulate her. Alongside “Don’t Kill My Vibe,” which sets the album’s tone of synth-battalion sweetness, there is “Business Dinners,” its slightest and most appealing song. It's a faded tropical postcard decorated with geometric Memphis Group squiggles; SOPHIE kicking back and sipping a piña colada. Lilting and off-kilter, it extracts the essence of Sigrid’s message as if by IV drip: The industry wants her to be “sweeter, better, angel,” “pictures, numbers, figures/Yeah, deeper, smarter,” an astute summary of the contradictions facing young female artists that she kisses off impeccably. “Standing on the shoreline/I just wanna swim and float,” she sings idly, and for a second you’re there with her, watching her long brown hair ripple in the waves. Then those fateful words re-emerge: “And I’m just trying to be me.”
Sigrid在《Sucker Punch》这专里有这么两首直接强调音乐工业试图控制她所作所为的歌。除了“don’t kill my vibe”（别破坏我的情绪）这首奠定专辑基调为由整个阵营的合成器营造出甜甜的味道之外，“businesss dinners”（商务晚餐）是整专里最轻快也是最有吸引力的一首。像是一张已经褪色的点缀着Memphis Group的几何曲线的热带风明信片；sophie悠闲地抿一口piña colada（菠萝汁朗姆酒，一种鸡尾酒）。欢快的调调带着一点不正经，sigrid想要传达的信息的本质，像点滴一样一点一滴地提取了出来：这个音乐工业社会，想要她做“更甜更美好的天使”，“照片，数据，或者是形象更深刻更聪慧的人物特征”，这正是她完全不屑一顾那些对年轻女艺术家的反驳后所作出的精炼的总结。“Standing on the shoreline/I just wanna swim and float,”（站在岸边/我只想游水沉浮）她慵懒地唱到，在那一秒你似乎与她同在，看着她的长棕色发丝在微波中飘拂，接着那句关键的歌词逐渐浮现：“And I’m just trying to be me.”（我只想在试图做自己）
If Sucker Punch contained more songs this endearingly weird and casually incisive, there would be a case for Sigrid’s individuality. “Strangers” improves on the “Don’t Kill My Vibe” template, using tiny percussive snags and an icy synth glow in the verses to create an air of genuine desolation. Then it ramps up, via a smartly deployed EDM riser, into a belting chorus that inverts everything that came before: the feverish synth arpeggiations packed tight, her optimism about her poetic attraction to a stranger flipped to cold, hard realism (“We’re falling head over heels for something that ain’t real”). Nearly every other song repeats the formula less effectively, save the piano ballads, which feel more like “Writer in the Dark About How to Write ‘Writer in the Dark.’”
如果《Sucker Punch》这张专辑包含更多如此诡异到令人欲罢不能又时常能一针见血的歌曲，那么Sigrid的个人特性就开始可以成这么一回事了。“Stranger”（陌生人）在“Don’t Kill My Vibe”（别破坏我的情绪）的基调上更上一层楼，主歌里使用微小的冲击声和冰冷的合成器里的光芒营造了真正悲凉的氛围。接着通过一段成熟的EDM（电子音乐），整首歌的情绪被带到高潮之后，进入快击节奏的副歌，将副歌之前所有的情绪全盘颠倒：热情四溢的合成器和弦被严实地保护起来，有关她对陌生人散发诗意的吸引力的乐观主义一下子转换到冰冷的严格现实主义(“We’re falling head over heels for something that ain’t real”在虚假面前 我们神魂颠倒)。几乎剩下的每一首歌很少再重复这样的套路，除了钢琴抒情歌曲，更像是“Writer in the Dark About How to Write ‘Writer in the Dark.’”
“Strangers” is the best bit of writing amid some underdeveloped concepts: “Basic”—as in, “I wanna be basic/‘Cause you make me so complicated”—is shameless start-from-the-hashtag songwriting that really does sound focus-grouped by old men. “Sucker Punch” attempts to set a scene—a hallway rendezvous, coffee by the stairs, matching red hoodies—which it quickly forgets as it heaves into a triumphant major-key chorus eerily reminiscent of Natasha Bedingfield’s “Unwritten.” Equally chipper is “Mine Right Now,” which sounds, of all things, like Billy Ocean’s “When the Going Gets Tough, the Tough Get Going.” “Don’t Feel Like Crying” and “Sight of You” start with the kind of jaunty, slashing string sections that introduce Eurovision competitors.
歌曲《Stranger》是在写出的一堆不成熟概念中稍微好点的一首：歌曲《Basic》也是，“I wanna be basic/‘Cause you make me so complicated”听起来像一堆老男人不知羞耻地在流水线创作出来的。歌曲《Sucker Punch》试图设定一个场景——走廊上会面，楼梯旁的咖啡，搭配红色卫衣——但当歌曲进入大获全胜似的大调副歌，令人诡异地联想到Natasha Bedingfield的歌曲《Unwritten》时，这些设定很快就置之度外了。同样轻快的《Mind Right Now》听起来很熟悉，像许多歌，比如Billy Ocean的 《When the Going Gets Tough, the Tough Get Going》《Don’t Feel Like Crying》，还有歌曲《Sight of You》的开头像是欧洲音乐大赛介绍参赛者时采用的喜气洋洋的激烈弦乐一样。
There is potential in Sigrid’s optimistic sound. “Don’t Feel Like Crying” is almost obscenely chipper: If it wasn’t for the odd swear word, it could easily pass for Kidz Bop. But its brightness is blinding, almost painful, suggesting the sheer effort required to avoid wallowing post-breakup. To Sigrid and her cowriters’ credit, Sucker Punch remains dedicated to this primary-color production scheme, which dazzles in contrast to contemporary pop's nihilistic grey. But its formulaic songs lack the free-spirited personality that telegraphed her early promise. The story of a young female songwriter pushing back against the sexist songwriters on her major label and modern pop’s oppressive beauty standards is an impressive one. The cautious Sucker Punch could do with more of that insurrectionist spirit.
在Sigrid开朗的唱腔里有这样一种潜质。“Don’t Feel Like Crying”（不想哭）几乎是一首最口无遮拦，最活泼的一首：如果不是因为歌词里出现的奇怪的脏话，这首歌可以容易地在Kidz Bop节目中（一档儿童歌唱节目）过审。但是它的光芒是耀眼的，几乎是刺痛的，表明了一种想从分手之后的伤感中挣脱出来的纯粹的努力。据Sigrid和合作的编词者而言，《Sucker Punch》保留着对这个初级情感主题色彩的热衷，这股热衷照进灰茫茫的当代流行虚无主义。但其公式化的歌曲缺乏她早期承诺的那种自由奔放的个性。尽管如此，年轻女唱作人通过她的主要厂牌，和现代流行的带着压迫的美丽标准、以及性别歧视者做反抗的这个故事还是引人注目的。谨慎的《Sucker Punch》其实可以和更多的叛乱精神做对抗。
