【搬运】【译】叉婊Pitchfork评 Angel Olsen 2019年单曲《All Mirrors》
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：Joonly EC
审译：Lynn Liu
排版：Peter D
Angel Olsen is a master of shifting our perception of her. Each one of her albums has been a sweeping evolution—sonic, musical, conceptual—that has made its predecessor seem humble by comparison. “All Mirrors,” the title track of her upcoming fourth album, immediately sounds bigger than anything she’s done before. Initial listens will leave you overwhelmed by the string arrangement: an ominous, heroic swell over a synthy pulse, the troubled waters that connect the song’s two parts.
Angel Olsen是一个能让我们对她改变看法的大师。她的每一张专辑都是一种彻底的进化——声音、音乐、概念——相比之下，她的前一张专辑显得微不足道。她即将发行的第四张专辑的主打歌“All Mirror”，听起来比她以前制作的任何一首歌都要宏大。刚开始听的时候，你会因琴弦的组合而感到窒息:一股不祥的、英勇的波涛淹没在合音的脉搏上，汹涌的波涛连接着歌曲的两个部分。
Some of Olsen’s songs feel like they’ve always existed—lost country standards or themes from old romantic films—but “All Mirrors” is mostly alien. She centers its movement on just one vocal melody, loosening and intensifying her delivery as if holding onto something delicate in a windstorm. Even her one-of-a-kind voice, the constant through her work, gets coated in silvery new effects.
Underneath all these layers is a deceptively stark composition, a plea for consistency whose cryptic lyrics seem to be carved out of a larger story. In the accompanying video, with imagery that falls between Greek myth and science fiction, Olsen succumbs to a void of demonic hands, undergoes a transformation, and locks eyes with a crowned doppelgänger in some smoky purgatory. She alludes to all these selves in the chorus, describing her reflection as something constantly changing, in danger of disappearing completely: “At least at times it knew me,” she sings, face-to-face with the mystery.
Olsen的一些歌曲给人一种它们总是存在的感觉——不复存在的国家标准或旧浪漫电影的主题——但“All Mirrors”超过了这些，它是天外来客。她把它的运动集中在一个旋律上，放松和加强她的表达，就像在暴风雨中抓住一些微妙的东西。即使是她独一无二的声音，在她的作品中不断出现，也被镀上了银光闪烁的新效果。
在所有这些层次的下面，是一篇看似平淡无奇的文章，感觉这只单曲只是为了专辑的连贯性，但其神秘的歌词似乎是从一个更大的故事中提炼出来的。在附带的MV中，Olsen的形象介于希腊神话和科幻小说之间，她屈服于没有恶魔之手的空虚，经历了一场转变，在某个烟雾弥漫的炼狱里，用戴着王冠的二重身锁住了双眼。在合唱中，她暗指所有这些自我，把自己的倒影描述为不断变化的东西，有完全消失的危险:“至少它有时认识我，”她面对着神秘，对它吟唱。
