【搬运】【译】叉婊Pitchfork评 Kylie Minogue 2018年专辑《Golden》（金色年华）
搬运自：微信公众号【评论搬一堆】
原文链接：https://mp.weixin.qq.com/s/Q_lMfCwthy-Ic-1ytZ92Aw
原文翻译：Lynn Liu（还有一段原文翻译漏掉了，我补充上去惹嘻嘻）
原文审译：Ryan-Chopin
原文推送：Lynn Liu（在原文基础上添加了英语原文，评分截图与排版调整）
In her 30-plus years of stardom, we’ve met many Kylie Minogues. First came vintage-pop Kylie (“The Loco-Motion”), followed by sophisti-Kylie (“Shocked”), dance Kylie (“Confide in Me”), indie Kylie (Impossible Princess), disco Kylie (“Spinning Around”), and of course Kraftwerk Kylie (“Can’t Get You Out of My Head”). While she’s never attained the imperial reach of her contemporary Madonna, she’s one of very few modern singers whose skill at reinvention merits mention in the same immortal breath. Nor is she done dreaming up new costumes: Minogue recorded much of her 14th studio album, Golden, in Nashville, with collaborators including phase-one Taylor Swift alumni Nathan Chapman and Liz Rose. There’s even space for a banjo on one of the singles, “Stop Me From Falling.” Ready or not, here comes country Kylie.
在她30多年的明星生涯中，我们早已见识过多种风格的Kylie Minogue。首先是复古流行风Kylie (“The Loco-Motion”)，其次是百变风Kylie(“Shocked”)，舞者Kylie (“Confide in Me”)，独立音乐人Kylie (《Impossible Princess》)，迪斯科风格Kylie(“Spinning Around”)，当然还有发电站乐队风格的Kylie(“Can’t Get You Out of My Head”)。虽然她从未像与她同时代的麦当娜那样，达到天后的级别，但她是为数不多的几位现代歌手中，塑造力爆棚的一位。Minogue也没有停止设计新的服装：Minogue在纳什维尔录制了她的第14张录音室专辑《Golden》中的大部分歌曲，合作伙伴包括Taylor Swift曾经的合作伙伴Nathan Chapman和Liz Rose。其中单曲“Stop Me From Falling”甚至加入了五弦琴的元素。不管你有没有准备好，乡村Kylie来了。
The idea for this detour apparently came from Kylie’s long-standing A&R. “I’ll try just about anything, so when he said, ‘Think of a country inspiration element,’ I said, ‘Sure!’” she recalled in a recent interview. There’s a certain record-company strategy-meeting logic behind this plan in the era of pop/disco/country hybrids from Man of the Woods to Golden Hour. For both better and worse, though, Kylie’s excursion into Nashville sounds little like either of those contemporary extremes. Instead, she borrows from the sledgehammer-subtle EDM Americana of Avicii’s “Wake Me Up,” where fingerpicked guitars meet thundering bass drums and teeth-rotting synths in the year of our lord 2013.
这个迂回的想法显然来自Kylie长期联系的A&R（注：在音乐业界中,A&R(artist and repertoire)是唱片公司下的一个部门,负责发掘、训练歌手或艺人。）。“我愿意尝试任何事情，所以当他说，‘那来点乡村音乐元素吧’我说，‘好呀’”她在最近的一次采访中回忆道。在从《Man of the Woods》（Justin Timberlake专辑）到《Golden Hour》（Kacey Musgraves专辑）的流行/迪斯科/乡村混合的时代，这一切计划背后一定有唱片公司的战略——一种会议逻辑在支撑着这一切。然而，无论是好是坏，Kylie在纳什维尔的旅途听起来都不像那些当代的极端情况。相反，她借鉴了Avicii的“Wake Me Up”中那种重击、微妙的电子舞曲美式风格，歌曲中重低音、灼蚀的合成器与拨弦的碰撞，造就了它2013年取得的辉煌。
The music on Golden sounds ill-fitting and even cheap at times, like a deathtrap ride that has been painted bright pink to distract the potential customer. The worst offender in this regard is “One Last Kiss,” which uses what sounds like a Casio country preset rhythm for its basic structure, the cheap plastic claps throttling what is otherwise a decent piece of songwriting. The previous song, “Sincerely Yours,” is similarly lightweight, thanks to flimsy strings and a vocal hook which suggests Kylie wanted to go full “Where Are Ü Now” dolphin flute but couldn’t quite find room in the budget.
《Golden》中的音乐听起来像是硬塞进专辑的，有时甚至感觉很廉价，它就像一辆被漆成亮粉色的死亡之车，目的是分散潜在听众的注意力。最糟糕的当属“One Last Kiss”，它的基本结构听起来像是卡西欧乡村音乐预设的节奏，廉价的塑料拍手声扼杀了原本不错的歌曲创作。上一首歌“Sincerely Yours”同样轻快，这要感谢浅薄的弦乐与背景音，这表明Kylie想要加入完整的“Where Are Ü Now”海豚长笛的音效，只可惜预算不够。
Elsewhere, Kylie gives the impression she’s trying too hard. The title track opens with a yodelling vocal line that appears to reference Ennio Morricone’s theme song to The Good, the Bad and The Ugly, in a broad, meaningless nod to American culture that ranks right up there with Europeans who get really into the NFL. Minogue’s vocal delivery sometimes seems to ape a Southern U.S. drawl, notably on the verses of “Stop Me From Falling.” The album’s lyrics, meanwhile, reference burning rubber, rodeos, and rocking—hardly home territory for a London-dwelling Australian entertainer.
其他地方，Kylie让人感觉用力过猛了，同名单曲以真假音交替的方式登场，似乎是在向Ennio Morricone的主题曲“The Good, the Bad and The Ugly”致敬，这样对美国文化烂大街且毫无意义的致敬，就像给进入了NFL的欧洲人划定等级一样。Kylie的嗓音有时候像在特意模仿美国南部的拖腔一样，特别是在“Stop Me From Falling.”的主歌部分。与之同时，专辑中的歌词提到了燃烧的橡胶，牛仔竞技与摇滚，这对于一个定居在伦敦的澳大利亚艺人来说，几乎不是家的领域。
The real shame is that when Kylie stays true to the dance-pop sound that has adorned many of her greatest hits, she cooks up some moments of genuine brilliance. “Dancing” has a wonderfully funny one-liner chorus (“When I go out, I wanna go out dancing”) that perfectly sums up the way a great pop song can defy mortality. “Raining Glitter,” meanwhile, combines lilting acoustic guitar, deep house beats, a whooping vocal effect, and a fabulously overblown chorus to create an exuberant cousin to the classic Spiritual Life / Ibadan remix of beth Orton’s “Central Reservation.”
当Kylie保持了真实的舞曲声音，而这已为她多首热单锦上添花，她便创造了真正的辉煌时刻。“Dancing”有一处非常有趣的合声(“When I go out, I want to go out Dancing（当我出去后，我想出去跳舞）”)，完美地总结了一首伟大的流行歌曲如何才能永垂不朽。与此同时，“Raining Glitter”结合了轻快的木吉他、深屋节拍、高声歌唱的效果和夸张得令人难以置信的合唱，简直就像beth Orton的Central Reservation (Spiritual Life - Ibadan Mix)充满活力的表亲。
Unfortunately, these high points are never quite enough to get over the strained lonesome cowboy-isms that dominate Golden. It’s not that pop stars have to be “authentic,” whatever that means. But they do need to make us believe in them, if only for three minutes. Kylie Minogue made us believe in the spurned lover of “Tears on My Pillow” and the obsessive flirt in “Can’t Get You Out of My Head.” But on Golden, she sounds like someone playing at country music, rather than someone who understands it. Her star will doubtlessly endure this awkward release, but let’s hope country Kylie is short-lived.
不幸的是，这些闪光之处永远不足以克服主导《Golden》中的紧张、孤独的牛仔主义。流行歌星并不一定要“真实”，不管那意味着什么。但他们确实需要让我们认同他们，哪怕只有三分钟。Kylie Minogue让我们认同了“Tears on My Pillow”中被抛弃的爱人，以及“Can ' t Get You Out My Head”中的过渡调情。但在《Golden》中，她听起来像是在演唱乡村音乐，而不是像一个能够理解乡村音乐的人。毫无疑问，她的名气将会抵消她发行的这张尴尬专辑，但让我们希望乡村Kylie是短暂的。
