【搬运】【译】滚石Rolling Stone评Halsey专辑《Hopeless Fountain Kingdom》

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：Tyler Smith

校对：Ryan-Chopin

排版：Lynn Liu

Halsey的第二张专辑以反乌托邦合成器流行音效铺开了一幅分手画卷

It makes sense that Halsey proclaims herself a “Marvel nerd,” because she definitely nailed the origin story. Born in 1994, just a couple of weeks after Biggie dropped his debut Ready to Die, she blew up into an out-of-nowhere pop icon with her breakout hymn “New Americana,” speaking for a new generation of electro-angst youth: “High on legal marijuana/Raised on Biggie and Nirvana.” Halsey keeps leveling up her pop-rebel game, being her own loud and messy self in public, with the sass of a confessed “fucked-up stoner kid” who grew up as a suburban Jersey girl named Ashley Nicolette Frangipane and renamed herself after a Bed-Stuy L train station. Bisexual, biracial, bipolar, but definitely not buying your next drink, she comes on like God’s gift to hashtags, almost daring the straight world to keep underestimating her.

Halsey称自己为忠实漫威迷是毫不夸张的，因为她对漫威原始故事了如指掌。Halsey出生于1994年，那一年Bggie（声名狼藉先生）刚刚发行了他个人首张专辑《Ready To Die》。这个年轻女孩凭借一首风靡一时的赞歌“New Americana”成功跻身18线流行偶像，这首歌为口味新奇的新一代发声：“High on legal marijuana/Raised on Biggie and Nirvana.（ 合法大麻磕得嗨，听着Biggie和Nirvana的歌长大。）”Halsey的逆流行游戏越玩越大，她在公众场合仍然放荡不羁做自己，无所顾忌地坦白自己曾是个吸毒成瘾的堕落女孩，她向观众说明他的来历——一个叫做Ashley Nicolette Frangipane的新泽西郊区女孩，后来又以Bed-Stuy（非洲裔美国人聚居地） L火车站易名。双性恋、黑白混种、患有双向心理障碍（指既有躁狂发作又有抑郁发作的一类疾病）的她，却绝不是“轻易喝下你买的酒”的那类轻浮女孩，她生来被上天赋予了各种标签，却不惧这个一直看轻她的世界。

Halsey shows off all her wild musical ambitions on Hopeless Fountain Kingdom, a bold second album that consolidates all the strengths of her 2015 debut Badlands. It’s her sprawling science-fiction breakup tale, indulging her taste for wide-screen melodrama – she begins the album by reciting the prologue from Romeo and Juliet, introducing a tale of star-crossed lovers trying to break free from the fatal loins of their families. (Halsey even has a line from Romeo and Juliet inked on her arm: “These violent delights have violent ends.”) But of course, in her hands, it turns into the story of a restless young pop star who jets around the world, leaving shattered hearts in her wake, yet still can’t find true love, admitting, “I have spent too many nights on dirty bathroom floors.”

Halsey在她的二专《Hopeless Fountain Kindom（绝望的喷泉王国）》中展现了她的音乐蓝图，这张野心勃勃的专辑继承了她2015年首专《Badlands》的优点。在她漫无边际的科幻小说式分手故事里，我们可以尽情欣赏她对银幕情景剧的品味——她从朗诵《罗密欧与朱丽叶》的序言开始这张专辑，《罗密欧与朱丽叶》讲述了一对有着家族世仇的恋人试图摆脱束缚追求爱情的故事。（Halsey甚至在手臂上写了一句《罗密欧和朱丽叶》的台词：“这些放肆的快乐终以支离破碎为下场。”）当然，经她之手，这变成了一个不安分的年轻流行歌手的故事，她在世界各地飞来飞去，每每醒来便将苦恼忘却，但仍然找不到真爱，她只好承认，“我在肮脏的浴室地板上度过了太多的夜晚。”

Halsey keeps Hopeless Fountain Kingdom moving, going for adult dystopian synth-pop realness. She’s out to make damn sure nobody mistakes her for some harmless starlet who served as sultry hook girl on that Chainsmokers hit; she shakes off that image like she’s dumping a mattress she stole from her roommate back in Boulder. Hopeless Fountain Kingdom sounds more like Trent Reznor’s “Closer” than the Chainsmokers’ – with flourishes of industrial clank and guitar grind in “100 Letters” (“I find myself alone at night unless I’m having sex”), “Heaven In Hiding” or “Alone.” Her Shakespeare-as-Depeche Mode concept holds up even as the tracks jump from one usual mega-producer suspect to the next – Gregg Kurstin to Benny Bianco to Lido.

Halsey一直在为她的“绝望喷泉王国”注入活力，实现了把它打造为反乌托邦合成器流行乐的目标。她借此向所有以为她不过是一个在The Chainsmoker（烟鬼）的“Closer”中卖弄风骚的18线女星的人证明了他们是错的，她摆脱了那个形象，就像她把从室友那儿偷来的床垫扔回了博尔德一样【“Closer”歌词中唱到：“Pull the sheets right of the corner of  the mattress that you stole from your roommate back Boulder.（把床单扔到一旁，我们在你从博尔德的室友那儿偷来的床垫上缠绵）】。比起烟鬼的“Closer”，《Hopeless Fountain Kindom》听起来更像Trent Reznor的“Closer”。“100 Letters”里繁杂电气咚咚声和吉他琴弦摩擦声交错（不做爱的夜晚我只能一人独眠） “Heaven In Hiding” 与“Alone”里也有类似桥段。即使歌曲背后的优秀制作人从Gregg Kurstin 到Benny Blanco到Lido风格各异，但她莎士比亚式的时髦依旧延续着。

She duets with Migos’ Quavo in “Lies,” which presents both sides of a strange relationship gone off the rails, as she sneers, “Are you misled?/I gaveyou the messiest head.” “Good Mourning” is an odd one-minuteinterlude with a little kid saying, “All I know is a hopeless place that flows with the blood of my kin.” “Bad at Love” is a Kiss-worthy tour of beds she’s wrecked around the world, from “I got a boy back home in Michigan/And he tastes like Jack when I’m kissing him” to “Got a
girl with California eyes.” Most daringly of all, Halsey strips down musically to lean on her voice in the vulnerable piano ballad “Sorry,” where she worries whether she’ll ever like herself enough to let anyone getclose to her. She’s hardly the first twenty-something pop upstart to face this dilemma. But judging from Hopeless Fountain Kingdom, Halsey could
go anywhere from here.

她与Migos成员Quavo合作的“Lie”里展现了一段离经叛道的奇怪关系，她冷笑道：“Are you misled?/I gave you the messiest head.” （你误入歧途了吗？/我让你思绪陷入混乱。）而“Good Mourning”是一首诡异的插曲，歌里一个小孩说道：“All I know is a hopeless place that flows with the blood of my kin.”（我只知道有一个绝望之地，那儿流淌着我亲人的鲜血。）“Bad at Love”是她在世界各地破碎感情的回忆录。歌词从 “I got a boy back home in Michigan/And he tastes like Jack when I’m kissing him”（我把一个男孩带回密歇里根的家里/我亲吻他时仿佛尝到了Jack的感觉）到 “Got a girl with California eyes.” （我遇到一个拥有迷人双眼加利福尼亚女孩）最大胆的是，Halsey在钢琴民谣“Sorry”中褪祛了华丽的合成音效，用人声搭配纯钢琴伴奏来完成了整首歌，在这首歌里她抒发了自己的焦虑，担心自己不足够自爱，以致于显得生人勿近。她是少数几个二十多岁的新兴流行势力中能直面这个难题的人之一。从Halsey在《Hopeless Fountain Kindom》里的表现来看，她的潜力无可限量。