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：Joonly EC

審譯：Lynn Liu

排版：Peter D

Angel Olsen?is a master of shifting our perception of her. Each one of her albums has been a sweeping evolution—sonic, musical, conceptual—that has made its predecessor seem humble by comparison. “All Mirrors,” the title track of her upcoming fourth album, immediately sounds bigger than anything she’s done before. Initial listens will leave you overwhelmed by the string arrangement: an ominous, heroic swell over a synthy pulse, the troubled waters that connect the song’s two parts.

Angel Olsen是一個(gè)能讓我們對(duì)她改變看法的大師。她的每一張專(zhuān)輯都是一種徹底的進(jìn)化——聲音、音樂(lè)、概念——相比之下，她的前一張專(zhuān)輯顯得微不足道。她即將發(fā)行的第四張專(zhuān)輯的主打歌“All?Mirror”，聽(tīng)起來(lái)比她以前制作的任何一首歌都要宏大。剛開(kāi)始聽(tīng)的時(shí)候，你會(huì)因琴弦的組合而感到窒息:一股不祥的、英勇的波濤淹沒(méi)在合音的脈搏上，洶涌的波濤連接著歌曲的兩個(gè)部分。

Some of Olsen’s songs feel like they’ve always existed—lost country standards or themes from old romantic films—but “All Mirrors” is mostly alien. She centers its movement on just one vocal melody, loosening and intensifying her delivery as if holding onto something delicate in a windstorm. Even her one-of-a-kind voice, the constant through her work, gets coated in silvery new effects.

Underneath all these layers is a deceptively stark composition, a plea for consistency whose cryptic lyrics seem to be carved out of a larger story. In the accompanying video, with imagery that falls between Greek myth and science fiction, Olsen succumbs to a void of demonic hands, undergoes a transformation, and locks eyes with a crowned doppelg?nger in some smoky purgatory. She alludes to all these selves in the chorus, describing her reflection as something constantly changing, in danger of disappearing completely: “At least at times it knew me,” she sings, face-to-face with the mystery.

Olsen的一些歌曲給人一種它們總是存在的感覺(jué)——不復(fù)存在的國(guó)家標(biāo)準(zhǔn)或舊浪漫電影的主題——但“All Mirrors”超過(guò)了這些，它是天外來(lái)客。她把它的運(yùn)動(dòng)集中在一個(gè)旋律上，放松和加強(qiáng)她的表達(dá)，就像在暴風(fēng)雨中抓住一些微妙的東西。即使是她獨(dú)一無(wú)二的聲音，在她的作品中不斷出現(xiàn)，也被鍍上了銀光閃爍的新效果。

在所有這些層次的下面，是一篇看似平淡無(wú)奇的文章，感覺(jué)這只單曲只是為了專(zhuān)輯的連貫性，但其神秘的歌詞似乎是從一個(gè)更大的故事中提煉出來(lái)的。在附帶的MV中，Olsen的形象介于希臘神話(huà)和科幻小說(shuō)之間，她屈服于沒(méi)有惡魔之手的空虛，經(jīng)歷了一場(chǎng)轉(zhuǎn)變，在某個(gè)煙霧彌漫的煉獄里，用戴著王冠的二重身鎖住了雙眼。在合唱中，她暗指所有這些自我，把自己的倒影描述為不斷變化的東西，有完全消失的危險(xiǎn):“至少它有時(shí)認(rèn)識(shí)我，”她面對(duì)著神秘，對(duì)它吟唱。