【搬运】【译】滚石Rolling Stone评Taylor Swift 2017年专辑《Reputation》

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：王艺颖

校正：Susanne

霉霉（泰勒·斯威夫特）出人意料地在其新专《Reputation》中进行了深刻自省。但对此，罗伯•谢菲尔德（Rob Sheffield）这样写道：“可又正因为她是泰勒•斯威夫特，所以她还是无法舍弃内心那个动荡不安、透支过度、疲惫不安又荣誉满载的自我，那是她常理之外的自我。”

“I swear I don’t love the drama – it loves me!” Now there’s a credo that sums up the Taylor Swift of Reputation. So rest in peace, Old Taylor, and for that matter New Taylor, because Reputation is New New Taylor. Swift spent most of the past year off the radar, dropping out of the media hustle – a major challenge for a star this relentless about sharing her feelings, not to mention her cats’ feelings. Taylor turning off her phone was the equivalent of Leonard Cohen moving to a Zen monastery for five years.

 “我发誓，不是我爱抓马，而是抓马爱我！”这一信条完美总结了霉霉的《Reputation》。过去的霉霉已经可以安息——《Reputation》造就了新的霉霉，使之涅槃重生。过去的一年，霉霉基本上选择淡出大众视野，远离媒体喧嚣——这对于明星来说是个巨大的挑战，毕竟媒体总是要求明星一刻不停地分享自己的心情；至于霉霉，哪怕是她养的一只猫咪也躲不过被媒体刨根究底的命运。但是霉霉选择了关掉手机，隔绝与外界的联系，这简直跟莱昂纳德·科恩（Leonard Cohen）搬到禅寺清修五年差不多。

From the sounds of her excellent sixth album, Swift spent that time going into deeper, darker, more introspective places. Reputation is her most intimate album – a song cycle about how it feels when you stop chasing romance and start letting your life happen. As one of the all-time great pop masterminds, she’s trying something new, as she always does. But because she’s Taylor Swift, she can’t stop being her own turbulent, excessive, exhausting and gloriously extra self. Make no mistake, this girl’s love affair with drama is alive and well.

霉霉在筹备第六张专辑时显然下了很大功夫，这张专辑非常出色。这一次，她的嗓音愈加雄浑深厚，更阴郁低沉，其中包含的自省之意也更为浓厚。《Reputation》是与她个人情感联系最密切的专辑，歌曲中循环讲述了她的切身体会：她不再一味追逐新鲜的浪漫，而是归于真实生活，开始享受人生。泰勒•斯威夫特是有史以来最伟大的流行歌手之一，可又正因为她是泰勒•斯威夫特，所以她还是无法舍弃内心那个动荡不安、透支过度、疲惫不安又荣誉满载的自我，那是她常理之外的自我。在这张专辑中，她一如既往地进行了创新。毋庸置疑，这个女孩对这些“游戏”如痴如狂。

The world was expecting Reputation to be a celebrity self-pity party, after her September single “Look What You Made Me Do,” airing her grievances about getting mistreated by other famous people. Even if you think her complaints were totally justified, they felt like a dreary waste of her creative time, and many fans were dreading the idea of a whole album’s worth. But sorry, world – that was just one of her Swiftian fake-out moves, because there’s nothing else like that song on Reputation. (Whew.) Instead, she’s playing for bigger emotional stakes – this is an album full of one-on-one adult love songs. That’s a daring swerve from a songwriter who’s scored so many brilliant hits about pursuing the next romantic high. Taylor might love the players, but nowhere near as much as she loves the game.

在霉霉9月份发表单曲“Look What You Made Me Do”之后，全世界都认为《Reputation》会装满她身为名人自怜自哀的牢骚，同时发泄她受到其他明星不公正对待的抱怨。即便人们认为她的抱怨都是合理的，可他们依旧觉得这是在浪费她的创作时间，就连许多粉丝都觉得整张专辑质量堪忧。但抱歉了，世界，她只是耍了个泰勒式的小花招而已，因为《Reputation》里面收录的歌曲都无与伦比。与过去不同的是，她下了一个更大的情感赌注——这张专辑中全是她写给现男友的专属情歌。这对于一个总是在追求下一场浪漫的创作者来说，是个大胆的转变。在这场逐爱赛中，霉霉可能会喜欢这些来来往往的花花公子，但她却不大可能喜欢这场比赛本身。

We all know Better than to treat Swift’s songs as straight autobiography, but a year into her relationship with actor Joe Alwyn, she sure isn’t cranking out the break-up songs. Gems like “Dancing With Our Hands Tied” and “New Year’s Day” are long-term love stories that don’t end with a scarf hidden in a drawer. As she sings in “Call It What You Want,” “Nobody’s heard from me for months/I’m doing Better than I ever was.” The songs are full of everyday details – spilling wine in the bathtub, building blanket forts. But they also explore a timely question: What happens to your identity when you step back and stop defining yourself by how strangers see you?

《Reputation》是以1989年的合成流行音乐为基础进行创作的，它巧妙的制造了声音轰炸效果。该专辑是是由整个团队分工进行制作的，团队成员有马克斯·马丁（Max Martin），斯维德·歇尔贝克（Shellback），也就是常说的“两个瑞典人和一个斯威夫特” 的组合（2 Swedes and a Swift”），以及杰克·安托诺夫（Jack Antonoff）。让人神魂颠倒的“Getaway Car”讲述了一段三角恋，这段恋情始于一个奇特之地（见于歌词：“黑色的纽带，彼此间善意的谎言”“the ties were black, the lies were white”），在一个低俗的汽车旅馆里爱欲之火熊熊燃烧，却最终意识到“在逃亡车里不会有好事发生”（Nothing good starts in a getaway car”）。如果你担心她可能不再是人们熟悉的小泰，那么听听“This Is Why We Can’t Have Nice Things”，这首写的是她对一位曾一起聚会狂欢的富豪朋友的依依惜别（“feeling so Gatsby for that whole year”），这首歌就像是大手笔翻新后的“Better Than Revenge”，听完后，你就会知道这种担心其实毫无必要。

There’s a surprising amount of sex (“scratches down your back” is a Tay lyrical first) and her first recorded profanity, when she sneers about her exes in the superbly dishy “I Did Something Bad”: “If a man talks shit, then I owe him nothing.” “Dress” rides on the hook, “I only bought this dress so you could take it off.” But even when Ms. White Horse works blue, she can’t resist droll self-mockery. Even the title is a sly in-joke, since Taylor has always loved singing odes to her dresses – it’s like Bruce Springsteen calling a song “Car.” “End Game” is her deeply weird, wildly funny R&B collabo with Future and Ed Sheeran – now there’s a threesome nobody saw coming. While both suitors pledge their devotion, Tay plays coy (“You’ve been calling my bluff on all my usual tricks/So here’s the truth from my red lips”) and confesses, “I bury hatchets but I keep maps of where I put ’em.”

在《Reputation》这张专辑中，霉霉没有收录大量抒情歌曲，这无疑是个莫大的遗憾——如果你非常喜欢她那些大热的抒情单曲，如“All Too Well”，“Clean”或“Last Kiss”，你可能会脑补出一幅令人心碎的画面：她那把心爱的吉他独自躺在角落里，不耐烦地清理它的喉咙，却没有人来演奏它。然而她将积蓄的抒情之力用在了“New Year’s Day”上，这首歌产生了爆炸性的效果，延续了她过往专辑的惯例：每一张专辑的最后一首歌曲都是引爆人泪点的泪腺炸弹。“她”在一场华丽的新年狂欢之后醒来，“地上残留着昨晚派对时撒下的亮片；女孩们纷纷提着她们的高跟鞋，赤脚下楼走到大厅”（“Glitter on the floor after the party/Girls carrying their shoes down in the lobby”），她反思着生活留给自己的一切：她将要与这个不那么完美的人一起度过一段不那么完美的日子。这是两个人之间的小小时刻，世界上不会有别人注意到这一刻。《Reputation》在此刻最安静，也最强大。在整张《Reputation》专辑中，霉霉无限放大了这些细微的甜蜜，只有她，能做到这一点。