【搬运】【译】滚石Rolling Stone评Lana Del Rey专辑《Norman Fucking Rockwell》
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：Joonly EC/June Hess
审译：Ryan-Chopin
排版：SpencerC
Lana Del Rey has always been a pop classicist at heart — but she’s finally made her pop classic. The long-awaited Norman fucking rockwell is even more massive and majestic than everyone hoped it would be. Lana turns her fifth and finest album into a tour of sordid American dreams, going deep cover in all our nation’s most twisted fantasies of glamour and danger. No other songwriter around does such an expert job of building up elaborate romantic fantasies, and then burning them to the ground. She purrs lines like, “If I wasn’t so fucked up, I’d fuck you all the time,” or, “I heard the war is over if you choose,” or, “Your poetry’s bad and you blame the news.” But the fact that they’re lethally funny doesn’t make them any less chilling.
《Norman fucking rockwell》的歌曲唤起了Margot Robbie在《好莱坞往事》中对Sharon Tate的记忆——当时她还是个小明星，在洛杉矶的布鲁恩·韦斯特伍德剧院请求贵宾待遇，希望能免费入场，因为她在电影里有出演。这可能是一个令人难堪的耻辱时刻，但她在自己的明星梦中是如此坦诚，没有人会想向她收取75美分的入场费。在专辑的一些歌曲中，Lana让人发省自问，如果Sharon Tate厌倦了Paul Revere & the Raiders的旧唱片，而化身70年代马里布创作歌手般懒散麻木，一切又会是什么样子。
The songs on Norman fucking rockwell evoke Margot Robbie’s vision of Sharon Tate in Once Upon A Time In Hollywood — still a small-time starlet, requesting VIP treatment at the Bruin Westwood theater in L.A., asking to get in free because she’s in the movie. It could have been a mortifying moment of humiliation, but she’s so guileless in her own stardom fantasy, nobody would dream of charging her the 75 cent admission. In some of these songs, Lana evokes what would have happened if this Sharon Tate wore out her old Paul Revere and the Raiders records and made it into the Seventies milieu of Malibu singer-songwriter torpor.
Norman fucking rockwell was iconic before it was even released, with the string of brilliant singles Lana has rolled out over the past year as her song-by-song diary, not to mention that magnificent title. (The late David Berman wrote that he was planning to call his Purple Mountains album Strangers in the fucking Night until he heard about Lana’s title.) “Venice Bitch” was a nine-minute swirl of psychedelic guitar smog, lush strings and low-riding G-funk synths, with Lana baring her fangs, declaring herself “fresh out of fucks forever.” “Mariners Apartment Complex” was a ballad of flesh-and-blood heartbreak, pleading, “Jesus, can’t a girl just do the best she can?” Last week, the one-two punch of “fuck It I Love You” and “The Greatest” raised expectations to a fever pitch.
《Norman fucking rockwell》甚至在发行之前就已经是标志性的了，Lana在过去的一年里推出了一系列出色的单曲作为她的歌曲日记，更别提那个slay惨了的标题。(之后David Berman写道,因为Lana Del Rey，他打算把他的《Purple Mountain》专辑改名为《Strangers in the fucking Night》。)九分多钟长的“Venice Bitch”被朦胧迷幻的吉他萦绕，还有郁郁葱葱的音符和低音部分的G调放克合成器，Lana漏出她的尖牙,称自己“新颖得不得了”。“Mariners Apartment Complex”是一首有血有肉的情歌，抒着发心碎之情，歌词中恳求道，“天呐，女孩儿就应该委曲求全吗?”上周，“fuck It I Love You（干，我爱你）”和“The Greatest（最为伟大）”这两首单曲的连击直接让人们的期待值爆表。
But the album exceeds them, stretching the languid groove for over an hour. The title ballad opens with the closest she comes to a romantic moment: “Goddamn, man-child/You fucked me so good that I almost said ‘I love you.’” (It evokes the deeply creepy moment on Honeymoon where she invites her lover to “kiss while we do it,” as if that’s some kind of esoteric perversion, which in her songs it is.) And the fact that this man-child fails her emotionally in every possible way? She shrugs, “You’re just a man / It’s just what you do / Your head in your hands as you color me blue.”
然而这张专辑远远超出了我们的期待值，将这种慵懒的状态延续了一个多小时。曲目一的同名芭乐以她最私密的浪漫蜜语来开场:“该死，我的男人/你与我寻欢作乐，我差点说出‘我爱你’。”(这让人想起她在《Honeymoon》时期邀请爱人“做爱的时候亲吻我”那令人毛骨悚然的时候，就像是某种深奥的变态，在她的歌中确实如此。)并且事实是，这个男人在所有方面都可能辜负了她，她也只是耸了耸肩，唱到“你只是一个男人/这就是你的作风/你有自己的选择，如同你把我用忧伤包裹。”
She updates her original pose as the “gangster Nancy Sinatra,” with Jack Antonoff as her Lee Hazelwood, rising to the occasion as her musical wingman. But nobody can doubt this is Lana’s trip. She’s always the girl in the song, whatever song happens to be on the radio right now, but she’s also the girl singing the song, making it feel doomed and fucked up and yet somehow thrilling. “The Bartender,” “How To Disappear,” “Love Song” — these are torch ballads that feel like they should be playing in the background of some lost Nineties straight-to-video erotic thriller, on a VHS tape buried in the attic of someone who hustled it from Blockbuster and died before paying the late fee.
她更新了自己最初扮演的“黑帮Nancy Sinatra”的造型（译者注：Lana早期造型与她相似，并在新单曲“Doin' Time”的mv中再次出现），Jack Antonoff饰演她的Lee Hazelwood，在音乐上成为她的僚机。但没有人能怀疑这会是Lana的一趟旅途。她总是那首歌里的女孩，不管现在广播里播的是什么歌，但她也是唱这首歌的女孩，这首歌让人觉得注定要失败，幻灭，但又让人兴奋。“Bartender（酒保）”、“How to Disappear（如何消失）,”“Love Song（情歌）”——这些都是如火焰般燃烧着的情歌，它们应该出现在失落的90年代里大众荧幕以外的色情惊悚片中，像是某人从百视达偷来了这类片，用小型家庭放映设备在阁楼上寻乐，而这位享乐之人也在交完滞纳金前就已不在人世。
Her 2014 Ultraviolence used to be her best album (by a mile) until now — the one where her singing and songwriting finally caught up with her myth-making flair. But she tops it here, with help from Antonoff. He’s having quite the summer, just a week after Taylor Swift dropped Lover, an album with an excellent piece of Faux Lana noir, “Miss Americana and the Heartbreak Prince.” But here he adapts to her musical world, barely leaving any of his own fingerprints. She resurrects her Laurel Canyon 1970s soft-rock fantasies, nicking titles from Neil Young (“Cinnamon Girl”) and Joni Mitchell (“California”), going to parties where pretty people sip rum to Crosby, Stills and Nash. She’s a Joni-worthy lady of the canyon. In one of the highlights, “The Next Best American Record,” her latest man-child grooves to Led Zeppelin’s most California album, Houses of the Holy: “My baby used to dance underneath the architecture/He was Seventies in spirit, Nineties in his frame of mind.” She sings about dancing to the Eagles in Malibu—she’s always had a weird thing for the Eagles, ever since her 2014 ballad “fucked My Way Up To The Top,” where she twisted the creepy ambience of “Hotel California” into her own brilliant tale of how the West was lost.
她2014年发行的《Ultraviolence》曾是她曾经最好的专辑(遥遥领先那种好)——在这张专辑中，她的演唱和词曲创作终于赶上了她创造神话的天赋。但在Antonoff的帮助下，她做到了极致。Antonoff这个夏天过得不一般，就在Taylor Swift发行《Lover》一周后Lana的专辑也发行了，《Lover》里有一首很棒的Lana风的作品“Miss Americana and the Heartbreak Prince”。
但在这里，Antonoff适应了Lana的音乐世界，几乎没有留下任何自己的痕迹。她重现了20世纪70年代的月桂峡谷软摇滚幻想，从Neil Young的“Cinnamon Girl”和Joni Mitchel的“California”那里偷取的一些歌曲名，参加派对时，漂亮的人会为了Crosby、Stills和Nash抿一口朗姆酒。她是峡谷里一位值得Joni尊敬的女士。其中一个亮点要属专辑中的“Next Best American Record（下一张全美最佳）”，这是一首致敬Led Zeppelin最具加州风格的专辑《House of the Holy》的单曲。她唱的是在马里布与The Eagles共舞的故事——自从2014年她的芭乐“fucked My Way to the Top（乱世佳人)”将“Hotel California”令人背后发凉的氛围扭曲成她自己对于西方迷情的精彩解读以来，她对The Eagles一直有一种奇怪的情感。
There’s a deranged torch-ballad cover of Sublime’s “Doin’ Time.” When she boasts about representing the LBC, she doesn’t sound any more ludicrous than the original, yet there’s something poignant in her affection for the SoCal milieu—not to mention the disconcerting way she keeps the Sublime lyrics exactly the same, calling herself “Bradley” over 20 years after Bradley Nowell’s fatal overdose. With her title, she evokes the painter famous for depicting down-home American life. rockwell once said, “Boys batting flies on vacant lots; little girls playing jacks on the front steps, old men plodding home at twilight, umbrellas in hand—all these things arouse feelings in me.” (There’s something so perfectly Lana-esque about that weird little “arouse feelings.”)
Lana惊喜翻唱了Sublime的“Doin'Time”。当她吹嘘她代表着LBC（Long Beach California）时，她听起来不像原版那么荒谬，但她对南加州的感情有些令人不安，更不用说Sublime歌词同样令人不安的表达方式，在Bradley Nowell致命的过量服药20多年之后她称自己为“Bradley”。她的名字使人想起那位以描绘美国乡村生活而闻名的画家。rockwell曾经说过，“男孩们在空地上晒苍蝇;小女孩们在门前的台阶上玩千斤顶，老人们在黄昏时步履蹒跚的回家，手里拿着雨伞——所有这些东西都唤起了我的感情。“（有一种非常完美的Lana式的东西，这种奇怪的小东西“唤起了曾经的感情”）
Norman fucking rockwell sounds like a whole suite of songs conceived in the Seventies twilight when all songs on the radio where about L.A. no matter where the singer was from, simply because it was universally understood that L.A. was the place where American dreams went to die. Everybody knew “L.A.” referred not to a city but to a labyrinth of AM radio hits about small-town romantics who run off to the city and get so poisoned they can never go home, so they end up stranded in a Steely Dan deep cut. On Norman fucking rockwell, that’s the L.A. she inhabits. When she ends with “Hope Is A dangerous Thing For a Woman Like Me To Have…But I Have It,” she mades it feel like an epitaph for the whole country, its dreams and its dreamers. Just like she warns us in “The Greatest,” the culture is lit. And if this is it, baby, she’s had a ball.
《Norman fucking rockwell》听起来就像70年代日落黄昏时构思的一套歌曲，不管歌手来自哪里，当时电台里所有的歌都是关于洛杉矶的，仅仅因为大家都知道洛杉矶是美国梦破灭的地方。每个人都知道“洛杉矶”指的不是一座城市，而是迷惑人心的AM电台热单，讲述着小镇上的一群浪漫主义者，他们逃到城里，痴迷于灯红酒绿而流连忘返，最后陷入了钢铁般坚硬而深刻的伤口里。在《Norman fucking rockwell》里，这仅仅是她居住的洛杉矶。当她以“Hope Is A dangerous Thing For a Woman Like Me To Have…But I Have It（像我这样的女人拥有希望是一件危险的事情……但我有这希望）”结尾时，她可能会觉得，这就像是为整个国家、为这个国家的梦想和梦想家们写的墓志铭。就像她在“The Greatest”中警告我们的那样，人类文化之火已被点燃，就算如此，Lana还是会尽情享乐。
