搬运译Pitchfork评10年代200张最佳专辑第12名：Rihanna: ANTI (2016)

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）

原文链接：https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/

翻译：June Hess

审译：Joonly EC

推送：Ryan-Chopin

With ANTI, Rihanna hopped off of the factory line, destroyed the mind-control machine, added some salt to the cafeteria’s chicken. She took risks and freed herself from mainstream pop expectations, cementing herself as a risk-taking, boundary-breaking godhead. Her eighth album moves from jarring, atonal Rock to lackadaisical dancehall before switching up into sultry, sex-positive R&B. She bounces into a stoned torch song in which she’s all but crooning on top of a piano before, whiplash: a weird but brilliantly faithful cover of Tame Impala’s “New Person, Same Old Mistakes,” just because she can. Every left turn is delivered with her inimitable attitude and empowerment; every shrugged decision leads to a fascinating new journey.

凭借《ANTI》，Rihanna跳下生产线，摧毁了思维控制机器，给餐厅的鸡肉加了一些盐。她敢于冒险并摆脱了主流流行的预期，使自己成为一个敢于冒险、打破界限的神性人物。她的第八张专辑从震撼人心的无调性摇滚到懒洋洋的舞厅，然后转到性感的R&B，在这里她献上了一曲迷幻的火炬之歌。在此之前，她几乎是在钢琴上哼唱《whiplash（爆裂鼓手）》，这是对Tame Impala的《New Person, Same Old Mistakes（新人，老错误）》的怪异但精彩的翻唱，因为她做到了。每一个转身都是她独特的态度和力量，每一个看似无所谓的决定都会导致一个迷人的新旅程。

Upon ANTI’s release, the New York Times called it the “record you make when you don’t need to sell records” but, really, it’s the album Rihanna made when she no longer had to sell Rihanna. When it was released, she was enjoying the most Freedom yet in her career: She’d been through her Saturn return, she’d swerved Drake, she’d jumped from Def Jam to Roc Nation and started her own imprint there. She’d acquired the masters of all the songs she’d recorded at Def Jam and was fully independent. She was ennobled to take a big, ambitious swing that could have broken at the seams, yet ANTI proved her modern rewriting of that old adage: Freedom’s just another word for no fucks left to give. –Allison P. Davis

《ANTI》一发行，《纽约时报》就称它为“当你不需要卖唱片时所做的唱片”，但实际上，这是Rihanna在不再需要卖Rihanna这个名号的时候所做的专辑。当它发行的时候，她正享受着她职业生涯中最自由的时光，她经历了土星回归，她转向了Drake，她从Def Jam跳到了Roc Nation，并在那里开始了她自己的印记。她获得了在Def Jam录制的所有歌曲的大师头衔，并且完全独立。她经历了一种巨大的、雄心勃勃的转变，这种转变本可以在关键时刻被打破，但《ANTI》证明了她对那句古老格言的现代改写:自由不过是别无他求的另一种说法。