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

翻譯：Cathy Lin/Nomanlandever

校對(duì)：Lynn Liu

On her debut, the Norwegian pop phenom offers a patina of fresh-faced authenticity and not much else.

在她的新專(zhuān)里，這位挪威流行音樂(lè)天才給我們展示了新鮮面孔所呈現(xiàn)的真實(shí)性，別無(wú)其它。

Two years since she first arrived, it is difficult not to feel cynical about?Sigrid, much as her fresh-faced image resists it. Her first single, “Don’t Kill My Vibe,” was released in February 2017, and established her as a pop iconoclast: the young woman who (at least according to her oft-told story) left a session with patronizing older male writers to write her own song about how out of touch they were. Her vibe, going by her first single, was a mix of earthiness—the rasped vocals shown off in the relatively naked verses—and machine-honed Scandinavian pop bombast. Since then, it has not been killed so much as flogged by a stream of Spotify bait cut from the same cloth: Island have thrown so many singles at the wall that three from last year aren’t even on?Sucker Punch.

兩年前，Sigrid剛出道時(shí)，難免遭受到大眾的質(zhì)疑，盡管她新鮮面孔下呈現(xiàn)的形象無(wú)聲地拒絕了所有質(zhì)疑。她在2017年2月發(fā)行的首支單曲“Don’t Kill My Vibe,”（別破壞我的情緒）給她建立起了這樣一個(gè)流行反傳統(tǒng)的形象：這位年輕女孩（至少在她經(jīng)常談及的故事里是這么說(shuō)的），通過(guò)自己寫(xiě)歌批判男性作詞者太過(guò)與時(shí)代脫軌，而不是偽善地對(duì)待他們。她在首支單曲中散發(fā)的情緒，混雜了一系列接地氣的因素——在相應(yīng)赤裸的副歌里顯露的尖銳的聲音，還有經(jīng)過(guò)機(jī)器打磨后的來(lái)自北歐的流行空話。自從那起，這種情緒沒(méi)有被扼殺太多，不像同樣來(lái)自北歐的樂(lè)隊(duì)被spotify上的頗具誘餌性的主流力量鞭笞：Island（冰島樂(lè)隊(duì)）發(fā)行了很多單曲，去年有三首未被收錄在《Sucker Punch》里。

Hers is one of the most assiduous campaigns in contemporary pop, and yet everything about the PR push insists that Sigrid is?not like the other pop stars. She doesn’t wear make-up. She doesn’t do features. She—let me check the notes—got her favorite T-shirt free from a Dutch airline, and she just wants to be free to be herself. In this sense, the 22-year-old Norwegian is exactly like the other pop stars, selling a version of authenticity that is just as constructed as a 63-foot inflatable snake or a dude wearing a giant marshmallow head. It’s “realness” as a shortcut to relatability, a two-dimensional affect that her slick debut album does little to flesh out.

Hers是在當(dāng)前社會(huì)中最敏銳的流行話題活動(dòng)，至今有關(guān)公關(guān)力量的所有說(shuō)法都認(rèn)為，Sigrid并不像其他流行明星，她不化妝，她不賣(mài)人設(shè)，最喜歡的T恤衫是是從荷蘭航空那免費(fèi)得來(lái)的，她從來(lái)只想自由自在地做自己。從這個(gè)層面上講，這位22歲的挪威女孩又和其他的流行明星無(wú)異，將最真實(shí)的一面展示給世人，就像一個(gè)63英尺高的充氣道具蛇或者是戴著巨大棉花糖頭套的家伙一樣。這種真實(shí)給兩者之間的相關(guān)度搭建捷徑，也是她這張華麗的專(zhuān)輯很少呈現(xiàn)出來(lái)的二維效果。

Sigrid includes two songs on?Sucker Punch?that directly address the music industry’s attempts to manipulate her. Alongside “Don’t Kill My Vibe,” which sets the album’s tone of synth-battalion sweetness, there is “Business Dinners,” its slightest and most appealing song. It's a faded tropical postcard decorated with geometric Memphis Group squiggles; SOPHIE kicking back and sipping a pi?a colada. Lilting and off-kilter, it extracts the essence of Sigrid’s message as if by IV drip: The industry wants her to be “sweeter, better, angel,” “pictures, numbers, figures/Yeah, deeper, smarter,” an astute summary of the contradictions facing young female artists that she kisses off impeccably. “Standing on the shoreline/I just wanna swim and float,” she sings idly, and for a second you’re there with her, watching her long brown hair ripple in the waves. Then those fateful words re-emerge: “And I’m just trying to be me.”

Sigrid在《Sucker Punch》這專(zhuān)里有這么兩首直接強(qiáng)調(diào)音樂(lè)工業(yè)試圖控制她所作所為的歌。除了“don’t kill my vibe”（別破壞我的情緒）這首奠定專(zhuān)輯基調(diào)為由整個(gè)陣營(yíng)的合成器營(yíng)造出甜甜的味道之外，“businesss dinners”（商務(wù)晚餐）是整專(zhuān)里最輕快也是最有吸引力的一首。像是一張已經(jīng)褪色的點(diǎn)綴著Memphis Group的幾何曲線的熱帶風(fēng)明信片；sophie悠閑地抿一口pi?a colada（菠蘿汁朗姆酒，一種雞尾酒）。歡快的調(diào)調(diào)帶著一點(diǎn)不正經(jīng)，sigrid想要傳達(dá)的信息的本質(zhì)，像點(diǎn)滴一樣一點(diǎn)一滴地提取了出來(lái)：這個(gè)音樂(lè)工業(yè)社會(huì)，想要她做“更甜更美好的天使”，“照片，數(shù)據(jù)，或者是形象更深刻更聰慧的人物特征”，這正是她完全不屑一顧那些對(duì)年輕女藝術(shù)家的反駁后所作出的精煉的總結(jié)?！癝tanding on the shoreline/I just wanna swim and float,”（站在岸邊/我只想游水沉浮）她慵懶地唱到，在那一秒你似乎與她同在，看著她的長(zhǎng)棕色發(fā)絲在微波中飄拂，接著那句關(guān)鍵的歌詞逐漸浮現(xiàn)：“And I’m just trying to be me.”（我只想在試圖做自己）

If?Sucker Punch?contained more songs this endearingly weird and casually incisive, there would be a case for Sigrid’s individuality. “Strangers” improves on the “Don’t Kill My Vibe” template, using tiny percussive snags and an icy synth glow in the verses to create an air of genuine desolation. Then it ramps up, via a smartly deployed EDM riser, into a belting chorus that inverts everything that came before: the feverish synth arpeggiations packed tight, her optimism about her poetic attraction to a stranger flipped to cold, hard realism (“We’re falling head over heels for something that ain’t real”). Nearly every other song repeats the formula less effectively, save the piano ballads, which feel more like “Writer in the Dark About How to Write ‘Writer in the Dark.’”

如果《Sucker Punch》這張專(zhuān)輯包含更多如此詭異到令人欲罷不能又時(shí)常能一針見(jiàn)血的歌曲，那么Sigrid的個(gè)人特性就開(kāi)始可以成這么一回事了。“Stranger”（陌生人）在“Don’t Kill My Vibe”（別破壞我的情緒）的基調(diào)上更上一層樓，主歌里使用微小的沖擊聲和冰冷的合成器里的光芒營(yíng)造了真正悲涼的氛圍。接著通過(guò)一段成熟的EDM（電子音樂(lè)），整首歌的情緒被帶到高潮之后，進(jìn)入快擊節(jié)奏的副歌，將副歌之前所有的情緒全盤(pán)顛倒：熱情四溢的合成器和弦被嚴(yán)實(shí)地保護(hù)起來(lái)，有關(guān)她對(duì)陌生人散發(fā)詩(shī)意的吸引力的樂(lè)觀主義一下子轉(zhuǎn)換到冰冷的嚴(yán)格現(xiàn)實(shí)主義(“We’re falling head over heels for something that ain’t real”在虛假面前 我們神魂顛倒)。幾乎剩下的每一首歌很少再重復(fù)這樣的套路，除了鋼琴抒情歌曲，更像是“Writer in the Dark About How to Write ‘Writer in the Dark.’”

“Strangers” is the best bit of writing amid some underdeveloped concepts: “Basic”—as in, “I wanna be basic/‘Cause you make me so complicated”—is shameless start-from-the-hashtag songwriting that really does sound focus-grouped by old men. “Sucker Punch” attempts to set a scene—a hallway rendezvous, coffee by the stairs, matching red hoodies—which it quickly forgets as it heaves into a triumphant major-key chorus eerily reminiscent of Natasha Bedingfield’s “Unwritten.” Equally chipper is “Mine Right Now,” which sounds, of all things, like Billy Ocean’s “When the Going Gets Tough, the Tough Get Going.” “Don’t Feel Like Crying” and “Sight of You” start with the kind of jaunty, slashing string sections that introduce Eurovision competitors.

歌曲《Stranger》是在寫(xiě)出的一堆不成熟概念中稍微好點(diǎn)的一首：歌曲《Basic》也是，“I wanna be basic/‘Cause you make me so complicated”聽(tīng)起來(lái)像一堆老男人不知羞恥地在流水線創(chuàng)作出來(lái)的。歌曲《Sucker Punch》試圖設(shè)定一個(gè)場(chǎng)景——走廊上會(huì)面，樓梯旁的咖啡，搭配紅色衛(wèi)衣——但當(dāng)歌曲進(jìn)入大獲全勝似的大調(diào)副歌，令人詭異地聯(lián)想到Natasha Bedingfield的歌曲《Unwritten》時(shí)，這些設(shè)定很快就置之度外了。同樣輕快的《Mind Right Now》聽(tīng)起來(lái)很熟悉，像許多歌，比如Billy Ocean的?《When the Going Gets Tough, the Tough Get Going》《Don’t Feel Like Crying》，還有歌曲《Sight of You》的開(kāi)頭像是歐洲音樂(lè)大賽介紹參賽者時(shí)采用的喜氣洋洋的激烈弦樂(lè)一樣。

There is potential in Sigrid’s optimistic sound. “Don’t Feel Like Crying” is almost obscenely chipper: If it wasn’t for the odd swear word, it could easily pass for Kidz Bop. But its brightness is blinding, almost painful, suggesting the sheer effort required to avoid wallowing post-breakup. To Sigrid and her cowriters’ credit,?Sucker Punch?remains dedicated to this primary-color production scheme, which dazzles in contrast to contemporary pop's nihilistic grey. But its formulaic songs lack the free-spirited personality that telegraphed her early promise. The story of a young female songwriter pushing back against the sexist songwriters on her major label and modern pop’s oppressive beauty standards is an impressive one. The cautious?Sucker Punch?could do with more of that insurrectionist spirit.

在Sigrid開(kāi)朗的唱腔里有這樣一種潛質(zhì)?！癉on’t Feel Like Crying”（不想哭）幾乎是一首最口無(wú)遮攔，最活潑的一首：如果不是因?yàn)楦柙~里出現(xiàn)的奇怪的臟話，這首歌可以容易地在Kidz Bop節(jié)目中（一檔兒童歌唱節(jié)目）過(guò)審。但是它的光芒是耀眼的，幾乎是刺痛的，表明了一種想從分手之后的傷感中掙脫出來(lái)的純粹的努力。據(jù)Sigrid和合作的編詞者而言，《Sucker Punch》保留著對(duì)這個(gè)初級(jí)情感主題色彩的熱衷，這股熱衷照進(jìn)灰茫茫的當(dāng)代流行虛無(wú)主義。但其公式化的歌曲缺乏她早期承諾的那種自由奔放的個(gè)性。盡管如此，年輕女唱作人通過(guò)她的主要廠牌，和現(xiàn)代流行的帶著壓迫的美麗標(biāo)準(zhǔn)、以及性別歧視者做反抗的這個(gè)故事還是引人注目的。謹(jǐn)慎的《Sucker Punch》其實(shí)可以和更多的叛亂精神做對(duì)抗。