搬运译Pitchfork评10年代200张最佳专辑第32名：Bon Iver: Bon Iver (2011)

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：Emma.Z

审译：Ryan-Chopin

推送：Lynn Liu

With Bon Iver’s second, self-titled album, Justin Vernon leapt from his cabin in the woods into a world entirely of his own imagination. The sweeping compositions were a huge shift from his debut For Emma, Forever Ago’s spare folk, with arrangements that sounded like they bloomed directly from Vernon’s subconscious. Precise in imagery but hazy in structure, the songs evoke places and moments the way Vernon remembers them: unreliably and romantically. People get mixed up with the landscapes: He whisper-sings about bones and nature in the same breath, painting images of a human frame breaking the curvatures of the sea. And on “Wash.,” he refers to his hometown of Eau Claire just as “Claire,” emphasizing how loving a place is not so different from loving a person, and the memory of one is often entangled in the memory of another. –Michelle Kim

在Bon Iver的第二张同名专辑中，Justin Vernon从林中小屋一跃进入了一个完全由他自己想象的世界。与他的处女作《Emma（爱玛）》相比，这首气势逼人的曲子是一个巨大的转变。这些歌曲意象精确，但结构模糊，让人想起Vernon记忆中的某些地方和瞬间：既不可靠，又很浪漫。人们被这些风景搅得晕头转向：他用同样的气息轻唱着骨头和自然，描绘着人体轮廓打破了大海的弧线。在《Wash（锈与骨）》中他称自己的家乡Eau Claire为“Claire”，强调爱一个地方和爱一个人并没有太大的区别，一个人的记忆往往会和另一个人的记忆纠缠在一起。