搬运译Pitchfork评10年代200张最佳专辑第2名：Kanye West: My Beautiful Dark Twist

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/lists-and-guides/the-200-best-albums-of-the-2010s/

翻译：Ryan-Chopin

审译：Lynn Liu

推送：Lynn Liu

The sheer audacity of Kanye West’s My Beautiful Dark Twisted Fantasy is matched only by its overwhelming appetite. Born in a period of strife amid self-imposed exile, during a near-mythic island summit of rap superfriends in Hawaii, MBDTF is an exercise in God-level debauchery. It is at turns baroque and symphonic, with song-length Auto-Tuned codas, posse-cut performances that redefined the form, and an immense phantasmagoria of light and sound that threatens to overshadow its A-list cameos. It was a creation that accurately reflected West’s massive ego, in a period of rare bruising: By 2010, he’d drunkenly antagonized Taylor Swift, symbol of All-American sweetness, and been called a jackass by a sitting president. But instead of apologizing, Kanye conjured a warped, all-encompassing vision of excess, a toast to the assholes, a battle cry for fellow monsters. It was a huge risk that proved not just redemptive but deifying.

只有Kanye West的《My Beautiful Dark Twisted Fantasy》中势不可挡的野心才配得上这张专辑的大胆前卫。《MBDTF》诞生于种种纠纷之后他的自我放逐时期，他在夏威夷的小岛上和一群说唱领域的大佬们像是神话中神仙们集会似的，创作出了这张堪称是神级的“放荡败坏的”试水之作。专辑中既有巴洛克与交响乐元素，还有着长度抵得上一整首歌的特殊音效尾奏，足以重新定义posse-cut（译者注：4人及以上说唱歌手分别演唱各自的段落合作的表演形式）这种形式的精彩表现，以及足以让专辑中最顶级的合作歌手们黯然失色的光影与声音所制造的浩瀚幻觉。这是一张准确折射出West那段时间巨大自负的创作专辑，也就是那段称得上不多见的轰动时期：他像个醉汉似的激怒了当时被所有美国人视为甜心的Taylor Swift，还被时任总统称为混蛋。Kanye创造出一个扭曲且包罗种种放肆行为的幻象，一段对混蛋们的祝酒词，一声与他一样的怪物们共同的战斗口号。最终证明他的这次巨大冒险绝不仅仅是救赎，更是神化。

MBDTF’s songs are meticulously designed set-pieces that ably house all their drama. West goes bar-for-bar with Raekwon on “Gorgeous,” leveling some of his sharpest critiques of race, class, and rap iconography, only moments after pairing beatmaking legends RZA and No I.D. together on an epic deserving of an opera house. The endearing douchebag anthem “Runaway” stripped Kanye of any remaining pretense, his singing bald and honest, and reintroduced Pusha T as his attack dog. With the industry in flux and rap sales lagging, the new landscape began to take shape in My Beautiful Dark Twisted Fantasy’s wake. It spearheaded the first wave of great albums produced this decade; the two biggest rappers of the next generation, Drake and Kendrick Lamar, followed Kanye’s lead overtly on their breakthrough records. Bon Iver’s profile was exponentially boosted by this album. Pusha and Nicki Minaj aren’t really Pusha and Nicki Minaj without it. And for Kanye, MBDTF remains the most pristine jewel in a collection of rare artifacts—a perfectionist’s brush with perfection. –Sheldon Pearce

《MBDTF》中的歌曲都是经过细致安排过的套路，为它们各自的故事提供了绝佳的舞台。West让两位节奏制作大师RZA和No I.D.凑在一块，创造了史诗般的歌剧院之声，随后在“Gorgeous”中和Raekwon节节紧跟，把他对于种族、阶级和说唱图腾最尖锐的批评铺开。广受喜爱的人渣之歌“Runaway”剥去了Kanye剩下的一切借口，他的演唱赤裸而真诚，并再次把Pusha T作为自己的小弟介绍给大家。随着音乐产业的风云变幻，说唱音乐销量步步走低，但崭新的局面在《My Beautiful Dark Twisted Fantasy》出现后开始逐渐成形。它是本世纪第一批制作最为优秀的专辑先锋；下一代最富盛名的两个说唱歌手Drake和 Kendrick Lamar都显然在他们自己飞跃式的专辑中追随了Kanye的脚步。Bon Iver的个人经历也因为这张专辑而剧烈增色。没有这张专辑，Pusha和Nicki Minaj也无法成为真正的Pusha和Nicki Minaj。而对于Kanye，《MBDTF》永远是他的珍奇工艺品收藏中最纯粹的珍宝——一个完美主义者的完美一笔。