【搬运】【译】滚石杂志评Post Malone 2018年专辑《Beerbongs & Bentleys》

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：油条糖饼

校正：Cyana Lu/Ryan-Chopin

这位摇滚明星、饶舌歌手沉迷于自怜之中，有时甚至超越了自怜。

Post Malone isn’t into labels. “I don’t want to be a rapper,” said the 22-year old in a recent interview. “I just want to be a person that makes music.” That’s a pretty convenient line of logic for a white guy who’s made millions, since his 2015 breakthrough hit “White Iverson,” off a warbly hybrid of singing and rapping that owes a significant debt to traditionally black musical styles. With sing-song melodies and dreamy trap-lite beats, Post’s songs re-package existent rap trends for people who might not particularly like rap at all – including, it would seem, the artist himself. “If you’re looking for lyrics, if you’re looking to cry, if you’re looking to think about life, don’t listen to hip-hop,” he proclaimed in an interview last year, taking a time out from genre agnosticism to big up Bob Dylan.

Post Malone不喜欢标签。这位22岁的歌手在最近的一次采访中说“我不想成为一名饶舌歌手，”“我只想成为一个音乐制作人。”对于一个已经身家数百万美元的白人来说，这是一条相当方便且符合逻辑的路线。自2015年的热门歌曲“白衣艾弗森” (white Iverson)取得突破以来，他的音乐风格转变为结合了旋律的说唱，这种风格和传统的黑人音乐风格大相径庭。伴随着歌曲的旋律和梦幻的节奏，马龙的歌曲为那些可能根本就不喜欢说唱音乐的人们重新打造了当今的说唱趋势，艺术家本人似乎也对说唱失去了兴趣。“如果你想寻找好的歌词，如果你想哭，如果你想思考人生，不要听嘻哈，”他在去年的一次采访中这样说道，同时还对鲍勃·迪伦这种风向标人物态度模糊。

With his second record, Beerbongs & Bentleys, Post hopes to “push the genre” of hip-hop – a claim that probably isn’t hard to back up when you are working within a field you actively disdain. Multi-platinum lead single “rockstar” is the marquee hit of the past year’s rap-rock revivalist movement, with shouts out to Bon Scott and lines about throwing TVs out of hotel windows; it is one of many currently popular songs with minor-key synths, trap 808s and downcast melodies that presents unlimited money and drugs as a tedious bummer. Post Malone is sad, guys – rich and sad, a condition he outlines with singular nuance on “Rich & Sad,” in a purposefully under-enunciated delivery I can only describe as “mushy-sounding.” Unfortunately, Post laments, he was unable to literally buy the love of his girlfriend he rampantly cheated on: “Plenty sluts, grabbing on my nuts/Might have fucked, it was only lust/I was living life, how could I have known?” Who wouldn’t empathize with that?

少有人能对马龙有好的印象，因为专辑中的第18首歌是“金钱时代”自恋的新终结曲:Post对炫耀、聚会和寻欢作乐的痴迷成为了一种日益增长的偏执情感，并且以为周围的人只喜欢他这些特质。讽刺的是，专辑中最让人安心的时刻发生在他放下说唱歌手的伪装，变成孤独的牛仔时。alt-rock跨界歌曲“Otherside”的声乐旋律是专辑中最吸引人的，打破了那种催眠的摇篮曲旋律和对押韵近乎疯狂的执著;在“Stay”中，他用对George Harrison那种感伤的口吻大声唱到:“You put your cigarette out on my face.”在这一难得的时刻，马龙似乎没有什么东西要证明，像是一个有趣的唱作人出现了，却又消失在他无尽的酒店派对中。