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）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-200-best-songs-of-the-2010s/

翻譯：谷璞 Alice Gu

審譯：Joonly EC

推送：Lynn Liu

By picking up on narrative threads of past country rebels, from Loretta Lynn’s sexual frankness to Willie Nelson’s penchant for mind-expanding flora, Kacey Musgraves’ lyrics have been defiant and open-minded, even when her music has sounded more traditional. But on?Golden Hour, her third album, it’s the arrangements that catch your attention. Its opening track, “Slow Burn,” begins by evoking sunny Laurel Canyon soft rock as much as it does country, with a serene melody and gently strummed acoustic guitar. But midway, after the introduction of a drumbeat and bassline, it takes on shades of trip-hop, as though filtering Patsy Cline through a Portishead prism. “Slow Burn” is not so much a genre crossover as an open-ended journey, like the acid trip in the desert that inspired Musgraves to write the song. Rather than leaving country behind, the songwriter has chosen to explore the limits of its territory, and to expand them. –Shuja Haider

同是運(yùn)用過(guò)去鄉(xiāng)村音樂(lè)反叛派的敘事方式，Kacey Musgraves的歌詞創(chuàng)作既不同于Loretta Lynn的大膽奔放，也不同于Willie Nelson的營(yíng)造的感官叢林，她的詞風(fēng)蔑視世俗，又包容開(kāi)明，雖然旋律聽(tīng)起來(lái)偏向傳統(tǒng)。不過(guò)在她的第三張專輯《Golden Hour（黃金時(shí)刻）》中，歌曲的安排才是最大的亮點(diǎn)。第一支單曲“Slow Burn（文火慢熬）”以木吉他輕柔的撥弦開(kāi)頭，讓人想起《月桂谷》中的慢搖和秀麗的鄉(xiāng)間風(fēng)光。但歌曲中途加入了鼓點(diǎn)和大提琴，將樂(lè)曲罩上了迷幻舞曲的色彩，就仿佛透過(guò)Portishead另類搖滾風(fēng)格的棱鏡審視復(fù)古的鄉(xiāng)村天后Patsy Cline。不過(guò)，“Slow Burn（文火慢熬）”并不是一支跨越不同風(fēng)格，無(wú)拘無(wú)束的另類歌曲，也不是Musgraves一時(shí)興起所作的離經(jīng)叛道之作。Musgraves不是想要放棄鄉(xiāng)村風(fēng)格，而是想探尋它的邊界，并在這個(gè)領(lǐng)域內(nèi)開(kāi)拓出新的道路。