翻譯：Nomanlandever

At barely 21, Sky Ferreira’s had a musical career burdened—and bolstered—by so many warring external forces that the sheer existence of her debut album is a minor miracle. It’s both a relief and a bit of a shock that?Night Time, My Time?is not only here, but that it’s one of the most pleasing pieces of pop-rock to come along this year.

年僅21歲，Sky Ferreira的音樂(lè)事業(yè)卻寸步難行，受諸多外部阻力影響，這張專輯的面世已是一個(gè)小小的奇跡。令人感到寬慰和有點(diǎn)震驚的是《Night Time, My Time》不只是現(xiàn)在，更是今年發(fā)行的最有趣的流行搖滾專輯之一。

About 17 and a half minutes into her debut album,?Sky Ferreira?prods you to consider how strange it is that you’re listening to it at all. “I just want you to realize I blame myself,” she sings, “for my reputation.” The last word there is the slippery one: It’s difficult to pinpoint what exactly Ferreira’s reputation?is?at this point, or whom she might be shifting blame from. Maybe she has in mind her young parents, who put her upbringing in the hands of her grandmother. Or perhaps she’s talking to the A&R team at Capitol Records, who signed her at age 15 in the hopes that she’d become the next Britney. The label orchestrated some minor singles for her (“One” and "Obsession”), only to let her planned full-length sputter and die along with her recording budget.

開(kāi)始播放這張專輯17分30秒左右，Sky Ferreira很難不讓你感慨這張專輯的奇怪聽(tīng)感?“I just want you to realize I blame myself,”?“for?my reputation.”她唱道。最后一個(gè)詞令人抓不著頭腦，很難猜想此處Sky Ferreira的名譽(yù)具體指什么，或是誰(shuí)讓她把責(zé)怪的矛頭轉(zhuǎn)向自己。也許她想到她年輕的父母，把她轉(zhuǎn)讓給奶奶撫養(yǎng)?；蚴桥cCapitol唱片公司藝人作品部的談話，該廠牌在她15歲時(shí)便簽下她，想把她培養(yǎng)成下一個(gè)Britney。廠牌只為她精心策劃了一些小單曲(“One” 和"Obsession”)，只為阻礙她出道專輯的制作進(jìn)程，企圖讓專輯因預(yù)算問(wèn)題流產(chǎn)。

It’s also possible she’s addressing the horde of fashion-world supporters who helped her become a raccoon-eyed ingenue better known for looking cool on Terry Richardson’s Tumblr and modeling Hedi Slimane’s Saint Laurent pieces than making music. More plausible still, her followers at large for being seduced by the socialite component while failing to invest in her musical aspirations. And what of her boyfriend, Zachary Cole Smith of bedroom-rock band?DIIV, the guy carrying a bunch of heroin when the two were arrested together in upstate New York this fall? At barely 21, Ferreira’s had a musical career burdened—and bolstered—by so many warring external forces and unconventional zig-zagging that the sheer existence of her debut album is a minor miracle.

也有可能，她是在向時(shí)尚界里一群支持她的人致詞，那些人幫助她成為一個(gè)成天畫(huà)著煙熏妝的天真無(wú)邪少女，在Terry Richardson的Tumblr賬號(hào)上驚艷亮相，為Hedi Slimane的時(shí)尚品牌Saint?Laurent做模特，而不是做音樂(lè)。更可信的是，她的粉絲很大程度上是被她社交名流的身份所吸引，并不愿意關(guān)注她的音樂(lè)志向。還有她男朋友Zachary Cole Smith，臥室搖滾樂(lè)隊(duì)DIIV成員之一，一個(gè)大量私藏海*因的男人，據(jù)傳兩人今年秋季在紐約州北部被逮捕。年僅21歲，Sky Ferreira的音樂(lè)事業(yè)卻寸步難行，受諸多外部阻力和非常規(guī)因素影響，這張專輯的誕生已是一個(gè)小小的奇跡。

So it’s both a relief and a bit of a shock that?Night Time*, My Time* is not only here, but that it’s one of the most pleasingly conventional and cohesive pieces of pop-rock to come along this year. Particularly given last year’s uneven?Ghost?EP, which rode the success of?“Everything Is Embarrassing”?and used big-name collaborators to dabble in a sometimes-confusing assortment of styles—Shirley Manson-stamped grunge, singer-songwritery folk, electro-pop.?Night Time*, My Time* finds Ferreira navigating her tastes more gracefully, bridging the gaps between 80s pop sparkle and full-bodied 90s grunge in a streamlined way. Her primary collaborator this time is producer Ariel Rechtshaid (Solange,?Haim,?Charli XCX,?Vampire Weekend,?Usher), a guy known for adding both big-league pop polish to smaller acts and fine-tuning to bigger ones.

令人感到寬慰和有點(diǎn)震驚的是《Night Time, My Time》不只是現(xiàn)在，更是今年發(fā)行的最有趣，最具凝聚力的傳統(tǒng)流行搖滾專輯之一。特別是考慮到去年的《Ghost》EP表現(xiàn)不佳，該EP憑借單曲“Everything Is Embarrassing”的成功，與大牌制作人合作，涉足了一些令人迷惑的風(fēng)格—Shirley Manson式的車庫(kù)搖滾，原創(chuàng)詞曲的民謠，電子流行，專輯《Night Time, My Time》里可以發(fā)現(xiàn)Sky Ferreira更能得心應(yīng)手地掌控自己的風(fēng)格，將80年代的流行韻律與90年代的車庫(kù)搖滾以一種流線型的方式結(jié)合起來(lái)。這次她的主要合作伙伴是制作人Ariel Rechtshaid?(曾為Solange,?Haim,?Charli XCX,?Vampire Weekend,?Usher制作)，他以在小眾音樂(lè)中加入頂級(jí)流行元素進(jìn)行微調(diào)并使歌曲大獲成功而知名。

Night Time, My Time?resists the self-serious instinct to position Ferreira as an?artist?artist— which might have been an especially powerful temptation considering she's a young woman in the music industry who’s spoken about coming into her own sense of agency. She examines emotional neglect (“Nobody Asked Me (If I Was Okay)”) and self-loathing, but also sings clever songs about lifestyle posturing—“Stabbin’ pens in my hand/ But I’m never workin’, just spending/ A giant comedy with museums and shopping with Kristine,” she sings on “Kristine”, a giddily odd track with ska undertones. She’s does her glummest?Chan Marshall?impersonation (“Night Time, My Time”), but she also refers to the men in her life as simply?boys?and isn’t afraid to address them in a purposefully grade-school tone: “Boys, they’re a dime a dozen,” she mutters. “Boys, they just make me mad.”?Night Time, My Time?isn’t the reactionarily somber anti-pop drag it could have been—instead, it’s a smart Kelly Kapowski hair-whip and loud bubblegum-crack of a record that lends itself to compulsive listening.

專輯《Night Time, My Time》拒絕我們將Sky Ferreira先入為主地定位為一位很藝術(shù)家做派的藝術(shù)家——考慮到她是位在音樂(lè)產(chǎn)業(yè)中談?wù)撟晕乙庾R(shí)的年輕女性，這可能是一個(gè)強(qiáng)大的誘導(dǎo)因素。她審查自己在情感上的被忽視(“Nobody Asked Me (If I Was Okay)”)和自我厭惡，但也會(huì)發(fā)布提倡健康生活的歌曲——“Stabbin’ pens in my hand/ But I’m never workin’, just spending/ A giant comedy with museums and shopping with Kristine,”她在歌曲“Kristine”中唱道，一首帶斯卡低音的眩暈古怪的歌曲。(專輯同名曲“Night Time, My Time”里)她扮演了憂郁之極的Chan Marshall，但她也把現(xiàn)實(shí)生活中的男人稱作男孩且并毫不畏懼地故作小學(xué)生腔調(diào)向他們喊話，“Boys, they’re a dime a dozen,”?她喃喃細(xì)語(yǔ)道“Boys, they just make me mad.”專輯《Night Time, My Time》不是極度陰沉的反流行音樂(lè)，盡管可以走這種路線。相反，專輯是Kelly Kapowski式的狂甩秀發(fā) 和砰砰作響的泡泡糖音樂(lè)，讓聽(tīng)眾欲罷不能。

All of which was made possible by the unlikely power of “Everything Is Embarrassing”, the subdued electro-pop gem that reoriented Ferreira’s career map altogether last year. (Ferreira is one of the rare artists for whom the word “crossover” has meant a foray into the indiesphere.) The only flashes of that song’s anthemic pop fizz are found on “I Blame Myself”, an uptempo beast that sparkles with the promise of a song destined to become some kind of hit. What’s especially remarkable is that the song achieves the impact of “Everything Is Embarrassing” without its seductive too-cool vacancy—Ferreira now sounds like she has her head held up high instead of glancing down at the floor, bored and ready to leave the party. For someone whose voice often registers at a depressive whisper, she also knows how to look listeners directly in the eye and get them to?just listen to her. Finally. She's at the center of her music now, blissfully free of anyone else to blame.

這一切的震撼效果都要?dú)w功于“Everything Is Embarrassing”這首神曲，這首沉悶的電子流行巨作在去年徹底改變了Sky Ferreira的職業(yè)生涯。（Sky Ferreira是罕見(jiàn)的將“跨界”一詞視作進(jìn)軍獨(dú)立音樂(lè)的藝人之一）這首歌轉(zhuǎn)瞬而逝的的頌歌式流行嘶嘶聲可以在歌曲“I Blame Myself”里找到，“I Blame Myself”這首快節(jié)奏爆曲注定會(huì)成為熱單。值得矚目的是這首歌在沒(méi)有“Everything Is Embarrassing”?性感冷酷留白的情況下達(dá)到了“Everything Is Embarrassing”? 的水準(zhǔn)——Sky Ferreira現(xiàn)在聽(tīng)起來(lái)像高昂著頭，而不是低頭看地板，感到無(wú)聊，準(zhǔn)備離開(kāi)派對(duì)。對(duì)于一個(gè)抑郁耳語(yǔ)型的聲音來(lái)說(shuō)，Sky Ferreira也知道如何在直視聽(tīng)眾眼睛的同時(shí)捕獲他們的注意力。最終，現(xiàn)在Sky Ferreira成為了自己音樂(lè)的掌舵人，幸福地?cái)[脫了其他人的陰影。