【搬运】【译】NME杂志评Solange 2019年专辑《When I Get Home》（当我回家时）

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：Lucia C

校正：Ryan-Chopin

这张由Solange自己制作的空降专辑提醒了我们，Solange是一位实力不凡的R&B领跑者。该专辑赞颂了女性、黑人文化，以及最重要的——音乐。

On the February 28, Solange announced the surprise release of her follow-up to the stunning 2016 album ‘A Seat At The Table’. The frenzy that erupted was colossal, and rightfully so, as she released a record that confirmed her already established greatness.

2月28日时，Solange突然宣布了这张专辑即将发行，它属于她于2016发行的那张出色专辑《A Seat at the Table（一个桌边的座位）》的续集。由此引发的热度不容小觑，这理所当然，鉴于上张专辑已证实了她早已深入人心的能力。

Each of the 19 tracks on ‘When I Get Home’ is magical. The opening intro consists of minimal piano with the repeated phrase, ‘Things I imagined”; this simplicity runs throughout the whole album, as airy beats, like pillowy clouds, elevate the listener. The tactical use of repetition is used to place the listener where she wants them to be; right up there with her – there’s a real sense of intimacy throughout the record.

《When I Get Home（当我回家时）》专辑中的十九首歌都富有各自的魔力。专辑的序曲中有着微弱的钢琴声以及一句来回重复的短语：“Things I imagined（我想象到的事）”；这种简洁感充斥着整张专辑，轻快的鼓点如柔软的云朵，带着听众情绪缓缓上升。重复手法的策略性使用让听众的思考都处于她的掌控之下，并协同并进——这使得这张专辑有着十足的亲密感。

‘Binz’, for instance, has a 46 second intro of a repeated drum sequence and bass guitar. She gives us up-tempo and groovy vibes, and we can’t help but bask in the song, yet she strips this away with the vulnerable ‘Beltway’. This is where Solange lets the fun and playful side of ‘When I Get Home’ melt into something more unguarded and raw. Here she displays a powerful ability to manipulate her audience – though you’ll be more than happy to go with her.

比如说“Binz”，这首歌的前奏长达46秒，重复着一段鼓点和贝斯。她为听众营造了快速、时尚的气氛，让我们愉快地沉浸其中，而下一首脆弱而悲伤的“Beltway”却骤然剥离了这种感觉。由此这般，Solange让《When I Get Home（当我回家时）》欢乐而有趣的一面变成更加自然、真实的情感。她显示了她引导听众的能力，并且你会很乐意听她的指挥。

In addition, ‘When I Get Home’ is a celebration. A celebration of females. A celebration of black culture. But mostly a celebration of music. With exceptional – and somewhat unexpected – features (Gucci Mane, ’90s rapper Scarface), Solange’s blended approach to R&B is nothing short of breathtaking. The ninth track, “Almeda”, boasts a universal hook, while Playboi Carti’s staccato ad-lib “what”, intertwined with Solange’s lullaby-like vocals, is spectacular, and tips the song into a masterpiece. The song’s celebration of blackness runs through Solange’s lyrics (“Brown skin, brown braids / Black faith still can’t be washed away”). The lighthearted feeling of track uplifts the powerful words.

此外，《When I Get Home（当我回家时）》还有着赞颂意味。它赞颂了女性，赞颂了黑人文化，更重要的是，它还赞颂了音乐。她那风格多样的R&B音乐有着意想不到的魅力，充斥着独特且有些令人意外的音乐特点（正如Gucci Mane、90年代说唱歌手Scarface的特点）。第九首歌“Almeda”有着R&B音乐普遍使用的hook，而Playboi Carti即兴演唱出有断音效果的“What”与Solange摇篮曲风格的歌声交织在一起，效果绝伦，让这首歌成为当之无愧的大制作。这首歌对黑人的赞颂贯穿了Solange的歌词（“Brown skin, brown braids / Black faith still can’t be washed away（黑色皮肤、黑色发辫 / 黑人的信仰不会被洗去）”），其轻松的氛围更是衬托了歌词的力量。

In dropping her self-produced record without fanfare, she’s showed us the magnitude that women can achieve on their own. And then there are the lyrics. ‘We deal with freak’n’ is a spoken word skit about encouraging women to see their self worth (“Do you realise how magnificent you are?… We are walking embodiments of God’s consciousness”). Solange is using her platform to say: “We are unbreakable”, and she can’t be commended highly enough for that.

不加宣传地发行一张自制专辑，这也让我们看到了女性通过自己的力量获取的巨大成果。而她的歌词也体现了这点。“We deal with freak’n”是一首带有讽刺意味的念白，旨在鼓励女性看到自己的自我价值。(“Do you realise how magnificent you are?… We are walking embodiments of God’s consciousness”（你意识到了你有多么伟大吗？…上帝的意志体现在我们身上。)). Solange以她的音乐作为平台说出“我们是不可战胜的”，她凭这一点已值得一切的赞美。

When I Get Home’ reminds us that she’s a frontrunner of R&B in her own right. With soothing production, enveloped with numbing vocals, she leaves you in a state of utopia. This surprise album of 2019 was something we didn’t know we needed.

《When I Get Home（当我回家时）》提醒了我们她是一位实力不凡的R&B领跑者。用舒缓的制作伴以令人陶醉的歌声，她让你沉浸在乌托邦之中。这张2019年的空降专辑让我们意识到原来我们与它如此投缘。