【搬运】【译】叉婊Pitchfork评Mannequin Pussy 2019年专辑《Patience》（耐心）
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：Whitney. L
排版：Ryan-Chopin
Mannequin Pussy are inherently unforgettable. For starters, there’s the name, conjuring images of plastic clits and keeping the prudes away. (For me, I think of German surrealist Hans Bellmer’s doll project, a series of dismembered female mannequins arranged in fetishistic, voyeuristic, and ultimately unsettling manners). Then there’s the music itself, which summons a different type of terror. Beginning with their 2013 debut Gypsy Pervert, Mannequin Pussy have whipped up breakneck punk tornadoes with equally brutal names like “Meatslave.” But beneath that fury are tender confessionals about love, heartbreak, and trauma, which were explored more deeply on 2016’s Romantic.
Mannequin Pussy似乎拥有与生俱来就令人过目不忘的魅力。首先，这个名字会让人联想到塑料阴蒂(译者注:Pussy有阴蒂之意)，让谈性色变者趋之若鹜(说实话，这让我想到了德国超现实主义者Hans Bellmer的玩偶计划，一系列被肢解的女性人体模型以那些拜物教、窥阴癖崇尚的一系列令人感到不安的方式排列在一起)。其次，谈到音乐本身，它唤起了一种风格迥异的恐惧。自从他们2013年的首张专辑《Gypsy Pervert(吉普赛的性变态)》开始，Mannequin Pussy就刮起了一阵令人瞠目结舌的朋克龙卷风，这阵风就如同Meat Slave(译者注:专辑中的曲目名:血肉奴隶)一样残暴。但在朋克风这层看似凶猛的狼皮下，藏着的却是一只温顺的绵羊，轻声吟唱着对爱、心碎和创伤的忏悔，这些忏悔在2016年的专辑《Romantic(罗曼蒂克)》中得到了更深刻的阐述。
On their third record, Patience, Mannequin Pussy have achieved a balance between seething chaos and quietly devastating vulnerability. Working alongside beloved emo producer Will Yip, Patience is their most expansive album yet, and not just because it’s their first to pass the 20-minute mark. Though some songs sprint by in under 60 seconds, most luxuriate in the amount of room they are now afforded. Intricate melodies that were once buried beneath sludge have been polished so that the glimmer shines through the grit. As exemplified by their journey, Mannequin Pussy—guitarist and vocalist Marisa Dabice, guitarist Athanasios Paul, bassist Colins Rey Regisford, and drummer Kaleen Reading—suggest that if patience is a virtue, then so is pop-punk.
在他们的第三张唱片《Patience》中，Mannequin Pussy在喧嚣和寂静之间寻求到了平衡。自从与他们深爱的Emo(译者注:一种歌曲类型，风格接近朋克，但歌词更细腻化，多沮丧类表达)制作人Will Yip合作以来，《Patience》是他们迄今为止最具扩张性的专辑，当然了，不仅仅是因为这是他们第一张超过20分钟的专辑。虽然有些歌曲在60秒内就能播放完，但大多数歌曲都能被发挥的淋漓尽致。那些曾经被埋藏在烂泥下的复杂旋律，现今已经被洗净打磨，闪耀着灼灼的光芒，穿透沙砾。吉他手兼歌手Marisa Dabice，吉他手Athanasios Paul，贝斯手Colins Rey Regisford和鼓手Kaleen read的经历证明，如果耐心是一种美德，那么流行朋克也是。
Ironically, then, the stories on Patience demand urgency as Dabice struggles to extract herself from toxic relationships or attitudes. Sometimes Dabice’s body is not her own, either because someone has possessed it or she has temporarily dissociated for escape. She recounts this loss with unflinching candor, describing herself being pinned down, shoved against the sink, spit on, and objectified. “When you hit me it does not feel like a kiss like the singers promised,” she murmurs on “Fear + Desire.” Those words, so blasély sung by the Crystals in 1963, were just “a lie that was written for them,” a twisted logic we tell ourselves to survive.
具有讽刺意味的是，当Dabice努力从病态的关系和态度中挣脱出来时，《Patience》中所叙述的故事就会缺乏紧迫性。有些时候，Dabice的身体并不是她自己的，要么是因为有人占据了它，要么是因为她为了逃避而暂时游离。她以毫不畏缩的坦率阐述了这次失败，描述了自己被碾压于地，被推搡至水槽边，被唾沫淹没，被物化。“当你打我的时候，感觉不像歌手那样承诺的亲吻，”她低声吟道，“恐惧+欲望(译者注:此处双关，专辑中有首同名单曲)。”1963年Crystal(水晶合唱团)娓娓道来的那些旋律，只不过是“为他们写的一个谎言”，是我们告诉自己仍要生存下去的扭曲逻辑。
The effect is radically complex, championing the ability for women to be weak and strong, fragile and larger-than-life, often at once. These contradictions are expressed in the title of “Fear + Desire,” which stretches violence into a forlorn expanse that ends in a blast of feedback. The subsequent “Drunk I,” on the other hand, jumps between throat-shredding rage and airy backing vocals so quickly that the song ends before the dynamic has a chance to settle. The biggest moment of catharsis arrives via the slow-burning “High Horse.” As Dabice painfully conjures the details of an abusive relationship—hot breath, a taste that lingers on the teeth—the subdued rhythm section winds tighter and tighter through ambient haze. Finally, her voice blasts off. “I fucked up,” she screams in an eruption of pain and regret. But as a final, crucial gesture of defiance, Dabice proudly reclaims her self-importance. “Your world’s on fire, as I watch up from my high horse/Your world’s on fire, and I walk away,” she howls. That last image, of Dabice calmly strolling away from the burning ruins, is delivered with a softness that lingers on long after the song itself.
这种影响是极其复杂的，它支持女性变得既柔弱又坚强、既委曲求全又独立自强，并且，是同时具备这些特质的能力。这些看似矛盾的特征在单曲“Fear+Desire”的标题中得到了表达，这个标题将暴力延伸到一片荒芜之地，并以一连串的反馈告终。另一方面，随后的单曲“Drunk I(醉1)”在嘶吼的愤怒和轻快的伴音之间跳来跳去，节奏如此之快，以至于这首歌还没等节奏稳定下来就结束了。给人印象极深的宣泄时刻通过缓慢燃烧的“High Horse(趾高气昂)”到来。Dabice痛苦地回忆起一段虐待关系的细节——炽热的气息，一种萦绕在蓓蕾上的味道——柔和的节奏在周围的迷雾中越吹越紧。终于，她的声音爆发了。“我搞砸了。”但作为反抗的最后一个关键姿态，Dabice自豪地重申了自己的重要性。“你的世界着火了，而我在一旁傲慢地隔岸观火/你的世界着火了，我大步走开。”她嘶吼道。最后一个画面，Dabice平静地从燃烧的废墟中漫步离去，在歌曲结束的很长一段时间里，都有一种温柔在余音缭绕。
Because what happens after you walk away? How do you unlearn self-hate and how do you begin to dismantle the systems that teach and uphold that behavior? This seems to be the part where patience is most crucial. On the gigantic, grungey lead single “Drunk II,” Dabice wrestles with the end of a relationship, drinking and partying to numb her pain. “I still love you, you stupid fuck,” she spits, exasperated and wistful. Finally, after much self-loathing, she comes to terms with heartbreak, realizing that on some level a breakup is an important expression of truth. “Cream” practically crawls out of its skin with pummeling harshness as Dabice promises to treat herself better. “Gonna feel love/I want it to be everything/And unlearn to be like that,” she sings before bursting into a torrent of enraged Spanish.
那么你离开之后会发生什么?你如何忘却自我憎恨，如何拆除和维护导致这种行为的系统?这似乎是耐心最重要的部分。在“Drunk II(醉2)”中，Dabice在结束一段恋情后挣扎着，一边灌醉自己，一边参加派对，试图麻痹自己的痛苦。“我还是爱你的，你这个笨蛋。”她愤怒又不舍地骂出这句歌词。最后，在多次自我厌恶之后，她终于接受了心碎的事实，意识到在某种程度上，分手是真相的重要表达。当Dabice承诺要好好地对待自己的时候，“Cream(奶油)”几乎从她的皮肤里涌现出来，告诉她，这根本不可能。“我要去感受爱/我想要它成为一切/不要永远变成那样，”她唱着，然后爆发出一阵愤怒的西班牙语。
But even when Mannequin Pussy venture to truly dark places, Patience is such a pure joy to listen to. In its biggest moments, Dabice’s raw edge is matched by equally colossal riffs, explosive energy, and surging momentum. Patience, is without a doubt, one of the year’s strongest punk rock records. Mannequin Pussy prove that there is still so much untapped potential in the genre, and that the people who are doing the heaviest excavating are the ones most often overlooked.
但即使是当Mannequin Pussy到真正黑暗的地方去开始探险，《Patience》带来的仍然是一种纯粹的快乐。在它最重要的时刻，Dabice那未加工的声线刚好和同样重要的反复、爆炸的能量、汹涌澎湃的势头完美配对。《Patience》，毫无疑问，是今年最强的朋克摇滚唱片之一。Mannequin Pussy证明了这一流派仍有很多未开发的潜力，而那些最用心雕刻的人往往是那些最常被忽视的人。
As if to say that there is always light at the end of the tunnel, Patience concludes with some levity. On the hooky “Who You Are,” Dabice gives a pep talk to her younger self, her once scorched-earth attitude replaced by gentle empathy and a surge of gleeful power chords. The optimism pours over to closer “In Love Again,” a hopeful song about starting over and rediscovering the intoxicating thrill of new love. “I’m so happy/Laying here with you/I’m in love with you,” Dabice sings. Her voice fades away and a light congregation of handclaps and keys begin to soothe the wounds that were so raw in the album’s opener. Patience is never easy, but Mannequin Pussy make it worth it.
就好像说隧道的尽头总会有光明一样，《Patience》以某种轻率而告终。在简单动听的“Who You Are(做自己)”中，Dabice给年轻的自己打气，她曾经消极的态度被抚慰人心的同理心和充满欢快的力量的和弦所取代。乐观情绪涌向“In Love Again(再相爱)”，这是一首充满希望的歌曲，讲述的是重新开始，重新发现新恋情中令人陶醉的激情。“我很高兴/和你躺在一起/我爱上了你，”Dabice唱道。她的声音渐渐消失，一堆轻拍和音符开始抚平这张专辑开场时的伤痛。保持耐心从来都不是件容易的事，但是Mannequin Pussy让这件事变得值得。
