搬运译Pitchfork评10年代200张最佳专辑第11名Grimes: Art Angels

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：Ryan-Chopin

审译：Lynn Liu

推送：Lynn Liu

Grimes is a producer, a provocateur, a punk—and, yes, a pop star. By her own estimation, pop is “music that seeks to hit the pleasure center,” and Art Angels, replete with surging dance beats and saccharine girl-gang vocals, undeniably fits the bill. But on Claire Boucher’s fourth album, her pleasure comes cut with danger. Shrieks and snarls burn holes through the aptly named “SCREAM;” in one distinctive visual, she knifes herself and smears blood across her face; on “California,” a lyric about “commodifying all the pain” points to the sinister capitalist underpinnings of the entire pop enterprise. Along with mussing up pop’s slick surface with a generous coating of gore, on Art Angels, Boucher conspicuously styles herself as an auteur, challenging the notion that pop’s frontwomen are seen but not really heard without a cadre of industry men behind them. If such women are the product of a “pop star mold,” Grimes has left that mold noticeably warped. –Olivia Horn

Grimes是一名制作人、一个激进分子、一位朋克少女——没错，也是个流行明星。根据她自己的看法，流行乐（pop）就是“试图直接刺激愉快中枢的音乐”，而《Art Angels》这张充满了涌动的舞曲节拍和夸张的女子匪帮般唱腔的专辑毫无疑问，完完全全符合这一标准。但在Claire Boucher（译者注：Grimes本名）的第四张专辑中，这份愉悦是用危险灌制而成。“SCREAM”中充斥的尖叫与咆哮仿佛要在歌曲中烧出洞来，歌名可以说是起得很贴切了；在其中一个极具特色的MV中，她把匕首捅进自己的身体，又把血抹满整张脸；在歌曲“California”中，一句关于“commodifying all the pain（把痛苦全都商业化）”的歌词鲜明地指出了整个流行产业背后险恶的资本关系。《Art Angels》中除了用大片的血痂把流行乐光鲜亮丽的外表搞得一塌糊涂以外，Boucher还大张旗鼓地把自己打造成了大导演，旗帜鲜明地挑战这一世俗观念：如果没有背后的行业中的男性骨干团队，流行乐坛中的女性领军人物们也不过只是花瓶。如果这样的女性只是“流行巨星模式化”打造的产物，那显然，Grimes可以说完全捣毁了这个模式。