【搬运】【译】叉婊Pitchfork评Tove Lo 2019年专辑《Sunshine Kitty》

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：Jayleen Zhao

校对：Joonly EC

排版：Ryan-Chopin

The Swedish pop star’s fourth album contains some of her most vulnerable writing inside her clubbiest record.

瑞典流行女王Tove Lo的第四张个人录音室专辑中展现了她最脆弱的部分。

Tove Lo got big by breaking herself. She topped the charts with the stark, corrosive imagery of first hit, 2014’s “Habits (Stay High)”: vomiting in bathtubs, trapping her mind in a haze. Self-destruction has paved the way for self-care in much of mainstream female pop; you’re less likely to hear a woman on the radio brushing her teeth with a bottle of Jack than you are to hear her describing her skincare routine. Women are charged with empowering other women: Everyone’s a hot girl, no matter what the season.

Tove Lo通过自我突破而变得令人瞩目。她凭借2014年的第一首热门歌曲“Habits (Stay High)”中的赤裸裸的、极具侵略感的画面位居Billboard榜首:吐在浴缸里，大脑陷入一片混沌。这种以自我毁灭为创作内容的风格，为许多主流女性流行音乐的自我关怀打开了一条新路;你不太可能听到一个女人在歌曲、广播里用一瓶杰克酒刷牙（Tik Tok by Kesha），你更可能听到她描述她的日常护肤。女人赋予其他女人权力:无论什么季节，每个女孩都可以性感美丽。

Tove Lo cracks this dynamic open on Sunshine Kitty, a title that she’s said is “a play on pussy power.” There are tote-bag-ready you-go-girlisms on the album, but they’re lit by neon and grounded in nuance. “Bad as the Boys,” a shiny single about the collapse of a queer relationship, has a fairly boring premise—women can break hearts, too! But the song surpasses its set-up, partly because of its shimmering production and partly because Tove Lo eloquently describes the specific pains of a bi woman trying to navigate a heterosexual-dominant dating culture. On the album, she sings about using women and being used by them, about competing for male attention with women she’s attracted to. “When I hate on you, I’m breaking the code,” Kylie Minogue confesses to Tove on one of the album’s best tracks. “Hard to be fair to you when I got my heart broke,” she admits seconds later.

Tove Lo在《Sunshine Kitty》中打破了这种动态开放，她说这个名字是“对于女性力量（pussy power）的小幽默”。专辑中有着类似“背着托特包的时尚女孩”的风格，但它们被霓虹灯照亮，有着细微的差别。“Bad as the Boys”是一首热单，讲述的是一段同性恋关系的破裂，它的前提相当无聊——女人也会让人心碎!但这首歌超越了它的设定，部分原因是它精妙绝伦的制作，部分原因是Tove Lo动人地描述了一个双性恋女性，在异性恋主导的约会文化中挣扎的种种痛苦。在这张专辑中，她唱到了利用女性和被她们利用，以及与她所吸引的女性争夺男性注意力的故事。“当我恨你的时候，我就是在打破规则，”Kylie Minogue 在专辑中的另一首热单里对Tove坦白道。几秒钟后，她承认:“当我心碎的时候，很难对你公平。”

Sunshine Kitty holds some of Tove Lo’s most vulnerable writing; it’s also her clubbiest record. The result is a cutting confessional line like, “I think you like the way she kissed you better/Maybe I’m mistaken,” thrown over thrumming bass. These are house anthems and each track has a unique texture: undulating drums, layered effects that sound like a chain being rattled. She churns through emotions—lust, shame, defeat—as each winding beat paves the way to the next.

《Sunshine Kitty》收录了Tove Lo一些最脆弱的作品;这也是她的交往记录。这一记录常表现为，歌曲里的一句笔锋凌厉的忏悔台词，比如，“我觉得你更喜欢她吻你的方式/也许我错了。”并通过指弹贝斯表达出来。这些都是学院派的赞歌，每首歌都有独特的结构:起伏的鼓声，层层叠叠的效果，听起来就像链条在卡嗒卡嗒作响。她在欲望、羞耻、失败等情绪中辗转反侧，因为每一次迂回的争斗都为下一次铺平了道路。

Tove Lo once wrote a sardonic ode to the effortless “Cool Girl”; now, she revels in overthinking, highlighting the neuroticism that underpins each corner of a party. “I see you looking, so I turn my charm on, hoping I look awesome,” she sings on “Equally Lost.” She calculates when to ask someone for a cigarette. She deconstructs each kiss. There’s an entire track wrestling with whether or not to disclose an affair, another consumed with asking someone to stay over. Tove Lo’s songwriting is unsubtle but not uncomplicated, and while her scenes are well-worn in pop music—bodies tangled in purple lights, morning sun stabbing at hangovers—her best tracks are both blunt and polished enough to sound original.

At its worst, the album can slump into fizzy banalities. The last track shows Tove Lo in love, and she wreaths her emotions with generic hyperbole. “I’ll follow you anywhere you go,” she cries over a beat ready to be bastardized by the Chainsmokers. “Jacques,” a mostly fun song with British DJ Jax Jones, can sound like the worst kid in your study abroad program trying to get past a bouncer: “Je m’appelle Tove, get the show on the road,” she chants. These lines dissolve into the glitter, though; it’s hard to focus on any one moment in an album that yanks you through the dancefloor. In Tove Lo’s world, there is no emotion too grave or grand to take place outside the club.

Tove Lo曾经写过一首讽刺的颂歌献给不努力的“酷女孩”;现在，她沉迷于过度思考，聚焦聚会上每个角落的神经质。“我看到你看着我，所以我展示了我的魅力，希望你觉得我看起来不错，”她在“Equally Lost”中唱着。她思考着什么时候向别人要香烟。她分析了每一个吻。一边是关于是否公开婚外情的竞赛，另一边则是要某人留下来过夜。Tove Lo的歌词写得很直白，也不是很复杂，虽然她的歌曲主题在流行音乐中很老套——身体在紫色的灯光下摆动，清晨的阳光叫醒宿醉的人——但她最好的歌曲都足够直白和优美，听起来很有独创性。

最糟糕的是，这张专辑可能会陷入沉闷的平庸。最后一首歌展示了Tove Lo的爱情，她用夸张来表达她的情感。“无论你去哪儿，我都会跟着你，”她在美国电子音乐组合the Chainsmokers的一首歌中唱道。Tove Lo与英国DJ Jax Jones合作的“Jacques”是一首非常有趣的歌曲，听起来就像留学项目中成绩最差的一个孩子试图超过一个厉害的大家伙:“我很抱歉，让节目继续下去吧，”她唱道。然而，这些线条在闪光中消失了;听着这样一张能拽你到舞池的专辑，你很难集中注意力。在Tove Lo的世界里，没有什么感情是由于过于严肃或宏大而不能发生在俱乐部里的。