滚石杂志Rolling Stones四星乐评翻译(渣翻,原文晦涩略有自己的理解)

Derrick Lau

It makes sense that Halsey proclaims herself a "Marvel nerd," because she definitely nailed the origin story. Born in 1994, just a couple of weeks after Biggie dropped his debut Ready to Die, she blew up into an out-of-nowhere pop icon with her breakout hymn "New Americana," speaking for a new generation of electro-angst youth: "High on legal marijuana/Raised on Biggie and Nirvana." Halsey keeps leveling up her pop-rebel game, being her own loud and messy self in public, with the sass of a confessed "fucked-up stoner kid" who grew up as a suburban Jersey girl named Ashley Nicolette Frangipane and renamed herself after a Bed-Stuy L train station. Bisexual, biracial, bipolar, but definitely not buying your next drink, she comes on like God's gift to hashtags, almost daring the straight world to keep underestimati...

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It makes sense that Halsey proclaims herself a "Marvel nerd," because she definitely nailed the origin story. Born in 1994, just a couple of weeks after Biggie dropped his debut Ready to Die, she blew up into an out-of-nowhere pop icon with her breakout hymn "New Americana," speaking for a new generation of electro-angst youth: "High on legal marijuana/Raised on Biggie and Nirvana." Halsey keeps leveling up her pop-rebel game, being her own loud and messy self in public, with the sass of a confessed "fucked-up stoner kid" who grew up as a suburban Jersey girl named Ashley Nicolette Frangipane and renamed herself after a Bed-Stuy L train station. Bisexual, biracial, bipolar, but definitely not buying your next drink, she comes on like God's gift to hashtags, almost daring the straight world to keep underestimating her.

猴西说她自己是一个漫威的死忠粉是有道理的,因为她可以明确地讲出漫威故事的起源。她出生于1994年,就在Biggie发表个人首张专辑《Ready to Die》的几周后。她的歌曲《New Americana》让她以一种无处不在的流行偶像形象出现在大家的面前,并为美国新一代electro-angst年轻人发声:“享受在合法大麻的国度,成长于权贵和极乐思想的熏陶之中。”猴西一直坚持在公众面前展现出自己吵闹且凌乱的一面。她原名为Ashley Nicolette Frangipane,是一个在新泽西郊区长大且对一切都表现得毫不在乎的女孩,她在一个火车站里改了自己的名字。双性恋,黑白混血,双向情感障碍(躁郁症),她绝对不会请你喝下一杯饮料,她就像上帝赐予的标签一样,几乎是整个世界都在低估她的实力。

Halsey shows off all her wild musical ambitions on Hopeless Fountain Kingdom, a bold second album that consolidates all the strengths of her 2015 debut Badlands. It's her sprawling science-fiction breakup tale, indulging her taste for wide-screen melodrama – she begins the album by reciting the prologue from Romeo and Juliet, introducing a tale of star-crossed lovers trying to break free from the fatal loins of their families. (Halsey even has a line from Romeo and Juliet inked on her arm: "These violent delights have violent ends.") But of course, in her hands, it turns into the story of a restless young pop star who jets around the world, leaving shattered hearts in her wake, yet still can't find true love, admitting, "I have spent too many nights on dirty bathroom floors."

猴西的新专HFK展现出了她所有狂野的音乐野心,这是一张十分大胆的专辑但很好地巩固了她首专的优势。沉迷于对大荧幕情景剧的喜爱,这张专辑是她拓展的一个科幻爱情故事——她通过背诵《罗密欧与朱丽叶》的前言来开始这张专辑的制作,讲述了一个关于一对恋人想要从他们的家庭的桎梏中脱离出来悲惨爱情故事。(猴西甚至在她的手臂上纹了《罗密欧与朱丽叶》的一句台词:“这些残暴的欢愉终将以残暴为结局。”)当然,这个故事在猴西的手上变成了一个不安分的流行歌手的故事,在世界各地飞来飞去,身后留下一个个破碎的心,直到现在也没有找到她的真爱。她承认道,“我已经在肮脏的浴室地板上度过了太多的夜晚了。”

Halsey keeps Hopeless Fountain Kingdom moving, going for adult dystopian synth-pop realness. She's out to make damn sure nobody mistakes her for some harmless starlet who served as sultry hook girl on that Chainsmokers hit; she shakes off that image like she's dumping a mattress she stole from her roommate back in Boulder. Hopeless Fountain Kingdom sounds more like Trent Reznor's "Closer" than the Chainsmokers' – with flourishes of industrial clank and guitar grind in "100 Letters" ("I find myself alone at night unless I'm having sex"), "Heaven In Hiding" or "Alone." Her Shakespeare-as-Depeche Mode concept holds up even as the tracks jump from one usual mega-producer suspect to the next – Gregg Kurstin to Benny Bianco to Lido.

猴西让HFK更进一步,使其成为成人式的反乌托邦流行。她很清楚,没有人会错把出现在烟鬼热单《Closer》中的她当成一个无害、初涉世事的小女孩;她甩掉那个形象就像她把从室友那偷来的床垫丢回博尔德(美国是西海岸的一个城市)一样。HFK听起来更像Trent Reznor版的《Closer》,这在《100 Letters》(除非我在做爱,我会在晚上感到孤独。)、《Heaven In Hiding》或《Alone》中所频繁使用的工业电子与吉他中体现得更为突出。她莎士比亚式的制作概念使得专辑曲目的制作人极具迷惑性,从一个人怀疑到另外一个人——Gregg Kurstin到Benny Bianco到Lido(猴西前男友)。

She duets with Migos' Quavo in "Lies," which presents both sides of a strange relationship gone off the rails, as she sneers, "Are you misled?/I gave you the messiest head." "Good Mourning" is an odd one-minute interlude with a little kid saying, "All I know is a hopeless place that flows with the blood of my kin." "Bad at Love" is a Kiss-worthy tour of beds she's wrecked around the world, from "I got a boy back home in Michigan/And he tastes like Jack when I'm kissing him" to "Got a girl with California eyes." Most daringly of all, Halsey strips down musically to lean on her voice in the vulnerable piano ballad "Sorry," where she worries whether she'll ever like herself enough to let anyone get close to her. She's hardly the first twenty-something pop upstart to face this dilemma. But judging from Hopeless Fountain Kingdom, Halsey could go anywhere from here.

她与Migos的Quavo合作的《Lie》讲述了一段恋人双方都脱离了轨道(出轨?)的奇怪关系,就像她在歌词中嘲笑道,“你是被我误导了吗?我让你的脑袋变得十分混乱。”《Good Mourning》是一段时长为一分钟的奇怪插曲,其中的小孩唱道,“我所知道的是一个绝望的地方,那里流淌着我的亲人的鲜血。”《Bad at Love》是关于一段值得回忆的旅行,而她却在这段旅行中破坏了一段又一段的感情,就像“我回到密歇根找到一个男孩,当我吻他的时候他尝起来就像杰克一样。”以及“我有一个有着一双加州眼睛的女孩。”最令人震惊的是,猴西唱了一首由钢琴伴奏的Ballad歌曲《Sorry》,并从中表达出了她担心自己永远都不会喜欢自己,甚至不会让任何人接近自己的忧虑。而她并不是第一个面对这一困境的二十代流行新星。不过,根据HFK这张专辑我们可以断定,猴西“could go anywhere from here”!

原文链接:

http://www.rollingstone.com/music/albumreviews/review-halseys-hopeless-fountain-kingdom-w485214

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