【搬运】【译】娱乐周刊评Avril Lavigne 2013年专辑《Avril Lavigne》（同名）

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：Whitney.L

校正：Cyana Lu/Ryan-Chopin

B+

Avril Lavigne’s twice-married, pushing 30—and speaking for sloppy teens like the Lorax who grabbed the axe. We’re supposed to hope for more from a star releasing her fifth album (which is streaming now on iTunes, a week ahead of its release), never mind one doing it at a time when even music’s biggest brats get folks clucking about high-toned topics like appropriation and blasphemy.

今年快30岁的艾薇儿，在经历过两段婚姻之后，却还保存着慵懒的少年感，仍像Lorax（动画片《The Lorax》中的主人公）一样欢快地挥霍着一切。当乐坛的大腕们还在乐此不疲地对侵权和亵渎此类高深的话题展开讨论时，正如我们盼望了许久的那样——艾薇儿已经在准备发行她的第五张专辑(目前上架于iTunes，比约定发行时间提前一周)。

Avril, who turned 29 last month, can’t compete with Miley and Kanye when it comes to making a spectacle of pop spectacle. But the irresistibly zippy, perceptive and, on two (possibly three) occasions, deeply weird Avril Lavigne reminds us that maturity sometimes means doubling down on what’s expected of you—even when that involves rapping about the “motherf—ing cops” on a fleet little song called “Bitchin’ Summer.”

上个月刚过完29岁生日的艾薇儿，在如何演绎流行音乐方面，可能无法与麦莉和坎爷相比。但艾薇儿用她不容忽视的反应力和敏锐的洞察力，数次提醒着我们，成熟有时意味着，未来的成就将更值得我们期待——即使她依旧在“Bitchin’Summer”中不顾一切地唱到“motherf-ing cops”。

It takes a village to write a proper teen album, and here, Avril mainly relies on her new hubby, Nickleback frontman Chad Kroeger, and two other non-Swedes who’ve done time in bands, Martin Johnson and David Hodges. But when she shouts about living “like rock stars” in “Here’s to Never Growing Up,” the biggest and best of her first three singles from the album, it’s from the sloshed perspective of hellion high schoolers, not crusty groupie seekers.

要制作出一张适合青少年的专辑，要有适当的创作环境从而生发灵感。但在这张专辑中，艾薇儿从她的新任丈夫，Nickleback的主唱Chad Kroeger，和另外两位在乐队待过的乐手，Martin Johnson和David Hodges中获得了灵感。艾薇儿率先发行了三首单曲，当她在最出色的一首“Here’s to Never Growing Up”中呐喊到“like rock stars（像摇滚明星一样活着）”的时候，她就已经是从一个散漫的高中生角度出发，而不是以一个固执的追星族来演绎这句话。

In fact, hardly any of Kroeger’s oiliness seems to have seeped into Avril’s sound. Beyond, that is, their monster duet “Let Me Go,” which might be deeply weird because it is newlyweds singing what seems to be a breakup ballad, or might be completely unremarkable because it sounds like a Nickleback song. And although Hodges cofounded Evanescence, Avril’s actually done away with the doomy elements she borrowed from that band on her last disc, Goodbye Lullaby.

事实上，Kroeger的声音几乎没能和艾薇儿的声音融合在一起。而且，他们的合唱歌曲“Let Me Go”听起来也有些奇怪，因为这对新婚夫妇唱的是分手歌谣，也许人们根本没有刻意去注意这些，因为这首歌完全就像Nickleback的风格。尽管Hodges已经跳槽到了Evanescence乐队，但艾薇儿实际上已经褪去在上一张专辑《Goodbye Lullaby》中受到Nickleback的消极影响。

What we do hear sounds like tomboy Taylor Swift, or Paramore for the everygirl. (And on a distant shore, Sheryl Crow watches someone peel the labels off his bottle of Bud.) The songs come in three main categories. There’s straight-up trouble-teen pop rock, like the near-perfect “17,” in which “stealing beers out of the trailer park” leads to “flicking lighters just to fight the dark,” and the hyper acoustic thrum benefits from a spritz of the wistful. Out in left field you’ll find category Come Again?, containing two deeply weird songs: “Hello Kitty,” a dubstep track that seems to acknowledge its own tokenism by adopting a “J-Pop American Funtime Now!” sheen (and whose title may or may not enclose a double entendre that in any case I’d rather not entertain); and the kohl-black but super-bouncy “Bad Girl,” which features Marilyn Manson croaking and Cookie Monstering about his pervy “daddy” fantasies while Avril invites him to “do whatever” and more. The weirdest thing? The pair kick so hard that they jar the misgivings right out of your head. And then, of course, the hooks rush in.

专辑甚至有点Taylor Swift的风格，或是Paramore乐队。(在遥远的海岸上，Sheryl Crow看到有人把她百威啤酒上的标签撕下。)这些歌曲分为三类。一类是一些直言不讳的问题少年所唱的摇滚乐，比如近乎完美的“17”，从“steal beers out of the trailer park”（从停车场偷出啤酒）到“flicking lighters just to fight the dark”（为了迎接黑暗而点燃火焰），高频率的打击乐使其音乐充满了喷薄而出的希望。再看下去，你会发现有一个类别是“Come Again?”其中有两首非常怪异的歌曲:“Hello Kitty”，一首dubstep风格的音乐，并且似乎在承认自己是“J-Pop American Funtime Now!”的光荣象征（不知道这个歌名是不是双关）；还有一首超级暗黑的歌曲“Bad Girl”，歌曲中Marilyn Manson一直哇哇乱叫，艾薇儿邀请来“随心所欲”的Cookie不停地讲着他对变态“爸爸”的幻想。更为奇怪的是，这首歌的节奏太强烈了，以至于把你头脑中的疑虑都震碎了。随之而来的又是一波接一波的冲击。

Probably no one enjoys the thought of Avril Lavigne and Marilyn Manson having to come up with a safe word. (Sk8tr Uncle?) But the whole thing’s so over the top you can’t hate it. Or at least, if you do hate it, double check to make sure you’re not also railing against “slutty” Halloween costumes, because you might just be misdirecting some internalized rage.

应该没有人会去思考出一个形容艾薇儿和 Marilyn Manson 的保险词。(叫Sk8tr Uncle?) 这件事虽然有些过火，但你却没法心生厌恶。或者说，如果你真的很讨厌它，那就再听一遍、再感受一遍，确保你不是在抱怨那些“淫荡”的万圣节服装，因为你可能只是在故意找理由泄愤。

Which brings us to the last category of tracks on the album—the sexual confusion songs. Avril’s commitment to the teen point of view finally yields this: “You Ain’t Seen Nothing Yet,” a pleasure anthem as earnest as anything by T. Swift that nevertheless finds its protagonist rounding “third base and headed for a home run”; and “Give You What You Like,” a sensual-sounding ballad that hints at all the ways people trade sex and affection for attention (and cigarettes). Avril’s no longer bemoaning complications, she’s sticking her nose right in them—and very much revealing her grown-woman wisdom. B+

而专辑的最后一部分是一些关于“性”的歌曲。艾薇儿以青少年的角度做出解释:“你只是无知”。这是一首欢快的圣歌，就像Taylor Swift的歌曲的一样真挚纯洁，不过，这其中的主题却是“third base and headed for a home run”（奋力击向全垒打）；“Give You What You Like”是一首听起来很动听的抒情曲，却暗示着人们要如何用性和情绪来换取关注(以及香烟)。艾薇儿不再哀叹，而是学会了去深入地探讨自己的困境——这也充分展示了一位成熟女性的智慧。