【搬运】【译】叉婊Pitchfork评Nilüfer Yanya 2019年出道专辑《Miss Universe》

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：Cathy Lin

校对：Lynn Liu

排版：Lynn Liu

The rapturous debut from the British singer-songwriter takes adventurous pop-rock crucibles to new heights with her illusory songwriting and stunning voice.

这位英国唱作歌手的首秀以其梦幻的曲风和令人惊叹的嗓音，将大胆的流行摇滚考验推向了新高度。

In some ways, Nilüfer Yanya’s career maps onto that of King Krule: Both young Londoners arrived with stark, bruised elegies led by their electric guitar and urchin cries; both quickly eclipsed their early promise. But where Archy Marshall swerved towards solitary murkiness, Yanya, on her debut album, has shocked her desolate confrontations into some of the most adventurous pop-rock crucibles since Mitski’s Puberty 2. They are catalysts for communal outpouring that spark with adrenaline and anxiety, a mixture of the raw and the refined, her guitar fuzz mingling with tinselly synth glitter and the bluesy disaffection of her startling voice.

在某些方面，Nilüfer Yanya的职业生涯映射到了King Krule：两位年轻的伦敦人用他们的电吉他和调皮的叫喊带来了荒凉、伤痕累累的哀歌，他们很快让他们早期的承诺黯然失色。但自Mitski的《Puberty 2》之后，在歌手Archy Marshall转向孤独阴暗之处时，Yanya在她的首张专辑里用她凄凉的对抗让最冒险的流行摇滚乐考验而震惊。它们是刺激公众释放肾上腺素和焦虑的催化剂，原始和精致的结合，她的吉他模糊了金属合成器的闪光点，以及她惊艳的嗓音中对布鲁斯音乐的不满。

Between some songs, you hear Yanya playing the part of a telephone operator for a wellness hotline she has called WWAY Health, the concept of which, across five satirical skits, eventually fizzles out. They’re quite funny the first time, but they break up what is otherwise a fantastically sequenced and always essential album. They undersell it a bit, too: Yanya’s lyrics on Miss Universe aren’t so much about looking to external forces for easy affirmation as they are figuring out the kind of intensity and hunger that she can allow herself to feel as a young woman: “Got to learn/Got to realize what this means/Got to earn/Got to decide who to please,” she sings on “Angels,” her waltzing guitar gaining intensity before the pressure gauge blows.

在一些歌曲中，你会听到Yanya扮演健康热线电话接线员的角色，她称之为WWAY Health（ “we worry about your health”我们担心你的健康），这一理念最终在五个讽刺短剧中失效。一开始，它们很有趣，但它们打破了幻想化曲目顺序的这张精品专辑。他们也有点低估了这张专辑：在《Miss Universe（环球小姐）》中，Yanya的歌词并不是单纯为了寻求外部力量的肯定，可以说她在寻找她作为年轻女性所能感受到的紧张感和饥饿感：“必须要学会/必须知道到这意味着什么/必须要挣钱/必须决定去取悦谁，”她在“Angels（天使）”唱到，圆舞曲节奏的吉他声在测压表响之前便开始变得强烈。

Yanya writes gorgeously about the seduction of sensation, no matter its side effects: “Deep underwater I breathe/Let me soak/Chasing the shades of the love that we made, of the love that we broke,” she sings on “Baby Blu,” a cloudy meditation that builds into subtly euphoric gospel house. On “Tears,” if someone doesn’t hold her back, she’ll be “lying in a pool of someone else’s blood.” She’s “getting high just from the heat” in “Heat Rises,” singing in snatched, gasped phrases over a fizzing drum machine, the effect as decadent yet panic-ridden as an anxiety attack in a sauna. Her songwriting is a textural palace of wonders.

Yanya写了很多关于诱惑感的曲子，且无论它的副作用是什么：“我在水下深呼吸/让我浸泡于此/追逐我们所创造的爱的阴影，我们所打破的爱，”她在“Baby Blu（婴儿蓝）”上唱道，这是一次阴郁的冥想，建立在微妙而快乐的福音之家上。在“Tears（眼泪）”中，如果有人不阻拦她，她便会“躺在别人的血泊中”。她在“Heat Rises（热度上升）”中“刚从高温中变high”，在欢快的击鼓（节奏）上用急促的、喘息的短句唱歌，这种效果就像在桑拿房里焦虑症发作一样，颓废但又惊慌失措。她的歌曲创作是一座富有质感的奇迹之殿。

Where Yanya’s lyrics portray her as someone prone to wallowing in forbidden emotions, her arrangements are more circumspect, toying impeccably with resistance and release. “In Your Head” lurches Between gimlet-eyed composure and cataclysmic panic. She never uses climaxes as a musical surrogate for emotion. A few tracks towards the end echo the spaciousness of Yanya’s early material and shape the album’s enveloping dynamic as a whole. Others, like “Safety Net,” exude a simmering sadness built from nimble drum machines and seamless pop melody, or, like “Paradise,” buoy Yanya’s worries with easygoing saxophone motifs courtesy of her improbably named sidekick, Jazzi Bobbi.

Yanya的歌词把她自己描绘成一个容易陷入禁欲情绪的人，她的编曲也更为谨慎，以无可挑剔的阻力和释放来玩弄自己。“In Your Head（你的脑海中）”在目光锐利的沉着和灾难性的恐慌之间徘徊。她从不为抒发情感而把高潮当作音乐替代品。最后几首歌曲呼应了Yanya作品的空间感，并塑造了专辑的整体动态。其他歌曲，如“Safety Net（安全网）”，敏捷的击鼓和无缝的流行旋律构成了歌曲中爆发的悲伤，或者，如“Paradise（天堂）”，与萨克斯手Jazzi Bobbi的合作虽很轻松，但不乏Yanya的担忧。

Nothing controls the mood of Miss Universe like Yanya herself. She is adept with both a wounded lament and a desperate falsetto. Sometimes she whips Between the two with exhilarating yelps, as if someone yanked a ripcord inside her lungs. In powerful moments, her voice is full of hunger; in desperate moments, that hunger empties out. “I’m still wired to want these things,” Yanya sings sullenly on the last song, the relatively unadorned “Heavyweight Champion of the Year,” slashing out choppy chords that tease one final cathartic payoff. Yanya’s songs reflect a woman who’s uncertain of how much of herself to reveal to the world. That is both the allure of Miss Universe and what augurs even brighter things to come.

没有什么能像Yanya一样控制《Miss Universe》的情绪。她很擅长写伤感的哀歌与运用绝望的假声。有时，她在两者之间发出兴奋的尖叫声，好像有人在她的肺里猛拉了一下降落伞的开伞索一样。在强有力的时刻，她的声音充满了饥饿感；在绝望的时刻，饥饿感却消失了。“我仍然渴望这些东西，”Yanya在最后一首歌“Heavyweight Champion of the Year（年度拳击冠军）”中闷闷不乐地唱道，这首歌相对朴素，她删去了起伏的和弦，这些和弦嘲弄着最后一次宣泄的成果。Yanya的音乐展现出一个不确定要向世界呈现多少分的自己的女人。这既是《Miss Universe》的魅力，也是光明事物来临的前兆。