【搬运】【译】叉婊Pitchfork评Mark Ronson2019年专辑《Late Night Feelings》

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

审译：Ryan-Chopin

排版：SpencerC

Produced by Mark Ronson and performed and co-written by a suite of female vocalists, this compilation explores the many shades of heartbreak in current pop.

Mark Ronson制作的新专辑由一组女歌手表演并合著绘出当前流行音乐中许多令人心碎的心调。

The artist Audrey Wollen, best known as the creator of Sad Girl Theory, has long argued for the radical potential of feminine sorrow. Rather than weakness to be purged, Wollen sees a sturdy foundation for collective action. “Feminism should acknowledge that being a girl in this world is really hard, one of the hardest things there is,” Wollen said, in a 2015 interview. “Our sadness is actually a very appropriate and informed reaction.”

艺术家AudreyWollen是著名的《悲伤女孩理论》（SadGirlTheory）的作者，长期以来一直主张女性悲伤蕴含着巨大潜能。Wollen指的并不是不再软弱，而是一种普遍行为的坚实基础。“女权主义应该承认，在这个世界上做一个女孩真的很难，可以说是世界上最困难的事情之一。”Wollen在2015年的一次采访中说，“我们的悲伤实际上是一种非常恰当且明智的反应。”

Something of Wollen’s principles surface in Late Night Feelings, a collection of 13 songs produced by Mark Ronson and performed and co-written by a suite of female vocalists. Ronson has described these tunes as “sad bangers;” contributor Camila Cabello called them “emo bops sung by girls about love and heartbreak.” And while the prevailing mood is, indeed, sadness, the record makes for a finely shaded portrayal of that feeling. In a pop landscape at present awash in sad girls, Late Night Feelings lands several notches below the profundity of Lorde’s feral manifesto and several notches above Bebe Rexha’s disjointed smash of yesteryear, “I’m A Mess.” Never nihilistic, never narcissistic, the women of Late Night Feelings understand sadness as a vital conduit for solidarity and self-expression.

Wollen的一些原则在《Late Night Feelings》中浮出水面，这张专辑是由Mark Ronson创作的13首歌的集合，由一众女歌手表演并合著。Ronson将这些曲调描述为“悲伤的摇滚乐”；演唱者之一Camila Cabello称之为“女孩们唱的关于爱和心碎的emo-bops”。虽然主旋律确实是悲伤，但这张唱片却对这种感觉进行了细致的阴影描绘。在一个充斥着悲伤女孩的流行场景中，《Late Night Feelings》比起Lorde的野性宣言来说缺了些深度，而比起Bebe Rexha去年的热单“I'm A Mess”心碎程度更胜一筹。《Late Night Feelings》里没有虚无主义，从不自恋，这里的女人把悲伤理解为团结和自我表达的重要渠道。

It’s not a knock on Ronson to say that the project succeeds, in large part, because of how little it sounds like his work. His distinctive production hallmarks—the neo-soul of Amy Winehouse, the sticky bounce of “Uptown Funk”—are largely absent, save for brief, restrained doses. The women on this record are diverse in terms of race and orientation, their target audiences, and their places in the music industry. For the most part, Ronson seems content to remain seated at the boards, allowing the unique strengths of each vocalist to inform the music.

Ronson说这张专辑的成功，很大程度上是因为它听起来并不像他的作品，他独特的创作特征——Amy Winehouse的neo-soul，《Uptown Funk》里的粘性反弹音效——除了有节制的短暂出现外，基本没有。这张唱片里的女性在种族、取向、目标受众以及她们在音乐行业中的地位方面都是多样化的。在大多数情况下，Ronson似乎满足于坐在董事会，让每个歌手的独特优势在音乐中尽情发挥。

A long stretch of the album is commanded by YEBBA, who proves conclusively, across three tracks, that she has the range, darling. Her daring vocals leap from near-Joanna Newsom falsetto to sultry, guttural contralto. Her delivery defies convention, particularly on “When U Went Away,” where she makes a glorious, expressive meal of a lyric as simple as “I’m gonna be alright.” Another highlight is “Why Hide,” an understated ballad from tremendous talent Diana Gordon. Gordon, a Beyoncé co-writer whose 2011 debut album as Wynter Gordon flew under the public radar, has been waiting and working for a breakthrough for a number of years. May this track be her first step toward ubiquity.

这张专辑的一段很长的篇幅是由YEBBA操刀的，她在三首歌曲中充分证明了自己的收放自如。她大胆的嗓音从近乎Joanna Newsomfalsett的假声转变为闷热的喉音女低音。她的表演打破了惯例，尤其是在“I’m gonna be alright”中，她准备了一顿华丽而富有表现力的抒情盛宴，就像“我会没事的”一样简单。另一个亮点是“为什么藏起来”，一首来自天才Diana Gordon的低调民谣。Gordon是Beyoncé的合作作者，他凭借2011年首张专辑《Wynter Gordon》走进公众视野，一直在等待并努力取得突破。愿这首歌成为她走红的第一步。

Lykke Li, no stranger to Sad Girl Theory, gives game performances on the title track and the penultimate “2AM,” lending nuanced perspective to narratives of unrequited love and emotional manipulation. She calls the uncaring cad of her affection to account, demanding better from him, never understating or excusing the damage he causes. Her anger, her sadness, even her tendency to fall for uncaring cads—all of these are stated plainly, and none of them lay the blame at her own feet. A similar ethic courses through Angel Olsen’s “True Blue”: heartbreak as reasonable, justified reaction to cruelty. In her delivery, Olsen’s voice becomes a damning, pointing finger: “I ran to you, and you know why.”

Lykke Li对悲伤女孩理论并不陌生，她在专辑同名曲和倒数第二首曲目《凌晨2点》(2AM)中进行了游戏一般的表演，借微妙的视角来叙述单相思和情感控制。她要求她的渣男恋人作出解释并且全心全意为她好，从不轻描淡写或原谅他造成的伤害。她的愤怒，她的悲伤，甚至她爱上不关心她的人的倾向——所有这些都说的明明白白，没有一项把责任归咎于她自己。Angel Olsen的“True Blue”也体现了类似的伦理:心碎是对残酷的合理、正确的反应。在Olsen的表演风格中，她的声音变成了一根恶狠狠的直勾勾指向人的手指，说道：“I ran to you, and you know why.（我奔向你，你也知道为什么）”

Not every song on Late Night Feelings can rival these peaks, but even at its lower points, the album is refreshingly candid. “Find U Again,” performed and co-written by Cabello, is wildly endearing for the sheer, unapologetic 22-year-old-ness of its perspective. “This crush is kind of crushing me,” she sings, and follows the line with: “I do therapy at least twice a week.” The lyric is no less effective for its clumsiness, an honest expression of anguish that resists the urge to slap a pretty, poetic bow on weeping on the sofa in a psychotherapist’s office. Even “Nothing Breaks Like a Heart,” a Miley Cyrus contribution that aims to recapture the magic of her “Jolene” cover, is a cut above her middling recent history. Though much of the song dips into pop cliché unmoored from context, a brief reference to a “burning house” with “nothing left” is a jarring reminder of Cyrus’s real, aching vulnerability: her house really did burn down in the Woolsey Fire; she really did lose her home.

不是每首《Late Night Feelings》里的歌曲都能与上述这些良曲媲美，但即使在不算出色，这张专辑也有着令人耳目一新地坦诚。“Find U again”由Cabello（卡妹）表演和合著，它令人喜爱的地方在于其纯粹的，撞破南墙也不回头的22岁视角。“This crush is little crashing me（这种迷恋有点让我心碎），”她唱着，然后跟着台词说：“I do therapy and it‘s twice a week（我每周至少做两次）。”这些歌词并不会显得笨拙，而是一种真诚的痛苦表达，它压抑住了在一个心理医生的沙发上哭泣时，还起身做一个美丽的、诗意的鞠躬的念头。“Nothing Breaks Like A Heart”由Miley Cyrus麦粒献唱，旨在复刻她的“Jolene”形象的魔力，这也是她在近代历史中间的一个切入点。尽管这首歌的大部分内容都是流行的陈词滥调，但在简单地提到“burning houses（燃烧的房子）”时“nothing lesft（什么都没剩下）”的时候，却让人不安地想起了麦粒真正痛苦的弱点：她的房子确实在Woolsey的大火中烧毁了；她真的失去了家。

Cyrus recently starred in an episode of “Black Mirror,” playing a pop star clad in cotton-candy colors who retreated, miserable, to her grand piano in the early hours of the morning to pen acoustic numbers about being, despite all her rage, still just a rat in a cage. The episode was laughably out of touch in its portrayal of the plight of the modern pop star, in large part because pop does, increasingly, take the sadness of girls seriously. It’s hard to imagine pap like “On a Roll” taking root in an era where Beyoncé makes history by narrating her honest feelings of worthlessness in the aftermath of infidelity, or Billie Eilish dominates the charts by vomiting tarantulas. Late Night Feelings is not the first recent record to treat the sadness of women as a healthy response to all manner of hurt. It is, however, a worthy entry in this still-developing pop pantheon, authentic and honest in its rendering of many shades of feminine sorrow.

麦粒最近出演了《黑镜》(Black Mirror)，扮演一位穿着棉花糖颜色衣服的流行歌手，她很痛苦地在凌晨回到她的大钢琴前，写下关于她存在的声音号码 ，她虽然很愤怒，但仍然只是一只关在笼子里的老鼠。搞笑的是，这一集没有对现代流行歌手困境的描述，很大程度上是因为流行音乐越来越重视女孩的悲伤。很难想象像《On a Roll》这样的歌会在碧昂斯讲述自己在出轨后的真实感受而创造历史以及Billie Eilish以吐口水的狼蛛统治着排行榜的时代占有一席之地。《Late Night Feelings》并不是最近第一个将女性的悲伤视为对各种伤害的健康反应的唱片。然而，在这个仍在发展的流行音乐圣地中，它是一个有价值的入口，真实且真诚地呈现了女性的许多悲伤的阴影。