【搬运】【译】滚石Rolling Stone评Lana Del Rey专辑《Lust For Life》

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 | ConigliaFolle

审译 | Lynn Liu

排版 | Richard Z

Lana Del Rey has become a hugely adored miserablist thanks to a perpetually wounded voice and plainspoken poetry. Her fourth album as Lana Del Rey luxuriates in warm textures and laconic tempos that recall pre-rock-era pop, her voice given Rick Nelson levels of reverb that adds ruminative weight to even her most basic observations. Shying away from the big riffs of 2013’s Ultraviolence and the glossy noise of 2015’s Honeymoon, Lust for Life is almost like a fan service album, solidifying the idea of Del Rey as a trapped-in-space pop star of yore who happened to touch down in Los Angeles in the era of streaming music and sponsored afterparties.

因为Lana del Rey不变的悲痛嗓音和歌词中直白的诗意，她已经成为一位深受喜爱的愁苦歌者。在Lana del Rey的第四张专辑中，她沉浸在温暖的音乐织体和明快的节奏中，令人想起前摇滚时代的流行歌曲，（制作人）Rick Nelson给她歌声设置了混响，这在她原本的想法上增添了沉思的力量。从13年专辑Ultraviolence的重复乐段风格，再到15年Honeymoon中丝滑的骚动，相比之下，Lust for life就像一张粉丝专属的专辑一样，再次奠定了她作为一名昔时流行音乐巨星的角色，曾因身处洛杉矶这一流媒体音乐与狂欢之城而名声大噪（此处是指她从演艺模特圈转向歌坛，并且转型成功）。

For much of the record, Del Rey sounds at her most contented when she’s indulging nostalgic impulses, whether her own or borrowed. Allusions to her previous records dot the lyrics; the spacey, surprisingly touching “Heroin” is littered with references to Charles Manson and Mötley Crüe. The hiccuping “Coachella – Woodstock in My Mind” portrays being in the moment as an impossible dream, with the watercolor portraits of the distant past as an ideal to match. From it’s title on down, “Tomorrow Never Came” reaches for the “Beatles-esque” tag, and it largely succeeds: Sean Ono Lennon produced the track, performed the “Across the Universe”-echoing instrumental and provides a vocal track that brings to mind his dad’s shaggier outings.

Lust for life采用了Walker Brothers六十年代忧郁的音乐风格，通过单纯的trap音乐触感，影射当代社会问题，并且偏好时长稍长的歌曲。这张专辑内容充实但又有留白，还暗藏着让人眼前一亮的小惊喜：“当世界交战之时我们依然在跳舞，”Del Rey借此表达了对国家前途的担忧，巴恰塔吉他悄悄营造着焦虑的氛围。

Stevie Nicks drops by for the mournful “Beautiful People, Beautiful Problems,” which could be a thesis statement for Del Rey’s career up to this point. The flashy cameos by A$AP rocky and Playboi Carti on the spiky “Summer Bummer” and the fever-dreamy “Groupie Love” seem to underscore this point – their verses aren’t in dialogue with their host as much as they are using her as a platform for self-promotion. (At least the Weeknd sounds intrigued by the idea of being in Del Rey’s orbit on the glittering, glacial title track)

在专辑中的很多曲目，Del Rey沉浸于回忆里时的音乐听起来是最为愉悦的，不管这份回忆是自己的还是他人的。她在歌词中暗示自己之前所发行的歌曲；富有模糊、感人的”Heroin”中借鉴了Charles Manson和Mötley Crüe的作品。听起来断断续续的 “Coachella – Woodstock in My Mind”展现了她实现自身梦想时的难以置信之感，也描绘了触不可及的遥远过去。下一首单曲 “Tomorrow Never Came”试图贴上披头士的标签，它很大程度上也实现了目标： Sean Ono Lennon制作了这首单曲，同时也表演了“Across the Universe”——富有回响的伴奏和预制的声轨让人想起他父亲粗糙的皮肤。 Stevie Nicks担当制作了悲伤的 “Beautiful People, Beautiful Problems"，宣告了Del Rey至今为止的事业。 由A$AP rocky 和Playboi Carti助阵的尖锐单曲 “Summer Bummer”和灼热而梦幻的 “Groupie Love”，像是为了强调这一瞬间——他们的歌词部分并没有和主场歌手的部分形成对话，而却利用她为自己宣传（起码 the Weeknd在清冷闪亮的主打歌里的伴唱紧紧围绕着Del Rey的歌声）

Stevie Nicks drops by for the mournful “Beautiful People, Beautiful Problems,” which could be a thesis statement for Del Rey’s career up to this point. The flashy cameos by A$AP rocky and Playboi Carti on the spiky “Summer Bummer” and the fever-dreamy “Groupie Love” seem to underscore this point – their verses aren’t in dialogue with their host as much as they are using her as a platform for self-promotion. (At least the Weeknd sounds intrigued by the idea of being in Del Rey’s orbit on the glittering, glacial title track)

Del Rey和Nicks的合作让人怀疑一位年轻歌手的伴唱到底能占全曲中多大的份额：它应该像Valley of the Dolls那样严肃还是像Beyond the Valley of the Dolls那样荒诞而带有隐含义？Del Rey的面无表情和华丽的编曲好像倾向于前者，但是像 “Tomorrow Never Came”中哀痛的 “why-why-why-why-why-whyyyy”和In My Feelings”中矫饰又笨拙地模仿俚语的片段昭示了在沙漠中慢慢绽放的自我意识之花。

The implied wink of the Del Rey-Nicks duet makes one wonder how much of the younger singer’s bummer quotient is rooted in a camp impulse: Is it meant to be self-serious like Valley of the Dolls, or is she implicit in the ridiculousness, like Beyond the Valley of the Dolls? Del Rey’s po-faced delivery and the lush arrangements suggest the former, but moments like the moaned “why-why-why-why-why-whyyyy” on “Tomorrow Never Came” and songs like the preening, awkwardly slang-stuffed “In My Feelings” hint at a slowly blooming desert flower of self-awareness.

最后一首摇曳、女团曲风的单曲 “Get Free”可能会给我们一些提示。一个“现代宣言”，使她想要从悲伤中走出来的意图更为明晰，最起码 “out of the black, [and] into the blue.（从黑色中走出来，进入蓝色忧郁中）”。

The sweeping, girl-group-echoing closer “Get Free” might be a clue. A “modern manifesto,” it outlines her planned move perhaps away from gloom, or at least “out of the black, [and] into the blue.” Whether that “blue” is a cloudless California sky or a place defined by sadness is what she’s going to figure out: “I never really noticed that I had to decide/To play someone’s game or live my own life/And now I do/I wanna move,” she declares on one verse. It’s an optimistic ending for a singer whose career has been defined by discomfort, and for an album that, at times, can get lost in its own mythology. 

不管这蓝色是加利福尼亚万里无云的天空还是她心目中的一个悲伤之地：“我从来没真正意识到自己应该做出决定/是受他人摆布还是活出自我/现在我决定了/我要作出改变”她在一句歌词中这样宣示道。这对于一个被定义为事业令人不适的歌手来说是个快乐的结尾，对于一张有时会陷入玄秘的专辑来说也是如此。