搬運(yùn)自：微信公眾號【評論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

原文鏈接：https://pitchfork.com/features/laists-and-guides/the-200-best-albums-of-the-2010s/?

翻譯：Vivian

校對：Tyler Smith

推送：Lynn Liu

“Why is it that we never have enough with just what's?inside?of us?” screams Victoria Ruiz at the start of “Monstro,” the highlight of Downtown Boys’ cyclonic debut album,?Full Communism. It’s a fair question to throw at a capitalist country that's hell-bent on extracting every modicum of value from its people, especially its young and marginalized. With true punk fury—and the occasional stellar use of saxophones— Downtown Boys clear themselves a space to rage: Joey L DeFrancesco cracks bedrock with his guitar chords, while drummer Norlan Olivo agitates the whole band into breakneck urgency. With?Full Communism, Downtown Boys established themselves as the harbingers of righteous frustration at a system that keeps people pinned down in a cycle of exploitation. –Sasha Geffen

“Why is it that we never have enough with just what’s inside of us?”主唱Victoria Ruiz在“Monstro”的開頭厲聲質(zhì)問。這是樂隊(duì)Downtown Boys首張專輯?Full Communism?中的高光時刻。身處這樣一個榨取人民，榨取年輕人和邊緣人的資本主義社會中，拋出這樣的質(zhì)問是絕對合理的。在真摯而朋克的憤怒和精彩的薩克斯風(fēng)中，Downtown Boys在音樂中找到了發(fā)泄的出口。Joey L DeFrancesco的吉他和弦振聾發(fā)聵，而Norlan Olivo用鼓點(diǎn)編織了樂隊(duì)急切的緊張感。Downtown Boys像先知一般譴責(zé)在壓迫的循環(huán)中束縛人民的社會體制，?Full Communism?包含著他們充滿正義感的挫敗。