【搬运】【译】滚石Rolling Stone评Mark Ronson2019年专辑《Late Night Feelings》

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：JenniferC

审译：Ryan-Chopin

排版：SpencerC

Mark Ronson新专《Late Night Feelings》宛若尽情疯狂后的伤心自艾

Mark Ronson，这位音乐制作人是Amy Winehouse以及Bruno Mars的金牌合作人，帮他们制作过复古灵魂乐，也与Miley Cyrus、Camila Cabello等人有过合作。

Mark Ronson first branded himself as a nostalgia alchemist with Amy Winehouse, updating mid-century R&B with a rare-groove-fanatic’s ear for detail. Where super-producers like Diplo might make serviceable magic with anyone, Ronson’s classicism generally requires the wearer to animate it. Winehouse was an ideal match. To a lesser extent, so was Bruno Mars, another classicist whose RIAA Diamond-selling Prince homage “Uptown Funk” proved how lucrative Ronson’s science could be.

在和Amy Winehouse合作时，Mark第一次尝试浓浓的怀旧炼金术士风格，而作为一个灵歌爵士乐的发烧友（译者注：灵歌爵士乐：20世纪70年代的funk音乐，最早由英国人诺曼杰伊提出），当时Mark还对中世纪风格的R&B做了一些创新。如果说像Diplo这样的超级音乐制作人让音乐的魔力直击每个人的心口，Mark则偏向古典主义，他的音乐常常需要让听众用心感受，自己赋予音符活力。Amy Winehouse就和他的风格很搭。Bruno Mars在一定程度上来说也是古典主义的，他的“Uptown funk”还是RIAA认证的钻石唱片（译者注：RIAA，美国唱片业协会，钻石唱片意味着这支曲目在美国卖出了一千万张），这就证明了Mark的风格有多受欢迎。

Late Night Feelings is a sort of feminine inverse of Ronson’s 2015 Uptown Special, the latter’s dude-centric roster swapped for a compelling mix of women singers, and its brittle, chromed funk replaced with a plush, dubby, quiet storm vibe. Late Night Feeling is the better album — rangy, sexy and fairly seamless, an LP to play all the way through after a night of clubbing if you happen get lucky, or if you don’t. If there’s a problem, it’s songwriting and processed vocals that can feel anonymous; bold-faced names lost in string arrangements, pillowy reverb and period simulacra in a way the singers on Daft Punk’s like-minded Random Access Memories managed to avoid.

《Late Night Feelings》有点儿像Mark在2015年发行的专辑《Uptown Special》的女版。《Uptown Special》以男声为主调，而《Late Night Feelings》则配以迷人的女声混音。前者是金属放克风，而后者听起来则有一种丝绒感、静谧感，有一种“quiet storm（平静风暴）”的氛围。《Late Night Feeling》比前者更优——音域宽广、性感魅人、行云流水。这张唱片更可能在俱乐部里彻夜单曲循环。如果要鸡蛋里挑骨头的话，那就是歌曲的创作有问题，而且处理后的人声没有特色，听不出来谁是谁。歌者特色在弦乐编排、枕边式混响和时代拟像中消失了，并且Daft Punk（译者注：法国DJ组合兼电音制作乐队）的专辑《Random Access Memories》和《Late Night Feelings》很像，但前者在某种程度上努力避免了这种消失的情况。

The title track suggests a bottle-service club jam from the moment when late-Seventies disco opulence pivoted into the Eighties freestyle R&B that birthed Madonna; Lykke Li delivers it impeccably and unobtrusively (she ups the soul factor on “2 AM,” a hazy booty-call blues). “Find U Again” sees Tame Impala’s Kevin Parker raining glitter over a crushed-out Camila Cabello, who raps about doing therapy “at least twice a week” to get over it. You wish her well, but may find it hard to recall a minute later.

专辑的同名曲“Late Night Feelings”让人想起了曾经的开瓶俱乐部热潮（译者注：开瓶俱乐部：一种VIP服务，顾客订酒水以预定座位），这种热潮自打上世纪70年代末迪斯科还风靡世界时就有了，一直延续到80年代自由蓝调诞生、麦当娜大火。Lykke Li完美又低调地诠释了这首歌。（她为“2 AM”这首隐约带着求爱蓝调风格的歌曲注入了更多灵魂乐的因子）。“Find U Again”这首歌有了Tame Impala组合的Kevin Parker的加盟，为歌曲中“心碎”的Camila Cabello的表现锦上添花。Camila Cabello在歌词中唱到“我每周至少要治疗两次”以愈情伤。听完后你会希望歌曲中的女主角快快好起来，不过一分钟后你再回头想想，可能都忘记这首歌唱的啥了。

The lesser-knowns shine hardest. Arkansas church belter YEBBA launches “Don’t Leave Me Lonely” over a sumptuous house groove you might wish was double its 3:36 length. Diana Gordon brings the silk-sheet soul on “Why Hide” with a dubby ache recalling The xx, fitting since that group’s Romy Madley Croft co-wrote it. Best is “Truth,” delivered by the Last Artful, Dodgr (a.k.a. Portland rapper Alana Chenevert) over gnarly saw- toothed bass, with Alicia Keys preaching on the hook, “educatin’ ” and “elevatin’” like it was some great, lost Sly and the Family Stone single.

越是不为人知的歌就越是精彩万分。阿肯色教堂的歌手YEBBA在一座豪宅里演唱了“Don’t Leave Me Lonely”，这首歌是如此的动人，以至于你期望曲子再长一些，不是原来的3分36秒，想将其延长到它的两倍。Diana Gordon的演绎使得“Why Hide”这首曲子具有灵魂般的丝绸质感，这首曲子中的疼痛感使人想起The xx乐队，其实，乐队的Romy Madley Croft也有参与这首歌的创作。听起来最棒的还是“Truth”，由Last Artful和Dodgr (a.k.a. 波兰说唱歌手Alana Chenevert)演唱，不过歌曲中有粗糙质感的低音，伴着Alicia Keys踩点式歌词中的所谓“教育”“振奋”的说教，这首歌听起来还挺不错，但是陷入了Sly and the Family Stone乐队的单一风格。

Honorable mention goes to up-and-coming country singer Miley Cyrus, who conjures her godmother, Dolly Parton, on “Nothing Breaks Like a Heart,” a trotting mix of “Jolene,” “I Will Always Love You” and “9 to 5,” perfectly suited for the post-“Old Town Road” urban-cowgirl gold rush. It shows how Ronson’s precision-tooled nostalgia is always somehow right on time.

这次要夸一夸势头正猛的“新进乡村音乐女歌手”Miley Cyrus，她对歌曲的演绎让人想起了乡村乐教母Dolly Parton。Miley唱的“Nothing Breaks Like a Heart”仿佛“Jolene” “I Will Always Love You” 还有“9 to 5”的融合，这种风格完美的契合了“Old Town Road”（译者注：这首曲子整体风格充满了美国西部荒野的氛围）之后掀起的都市女牛仔淘金热的风格。这也体现了Mark明确又成熟的怀旧风格恰合时宜。