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：Ryan Xiang

校對(duì)：Whitney. L

推送：Lynn Liu

Like many of his lo-fi pop contemporaries in the early ’10s, reclusive Midwesterner John Maus pushed underground music forward by looking backward—rejecting digital studio techniques in favor of old drum machines and wonky synths, excavating the dramatic excesses of ’80s stadium pop and sentimental radio jingles as though they held clues to some hard-to-pinpoint generational subconscious. But his actual relationship to such sources could be hard to read: Was Maus poking fun at music’s power to manufacture an emotional response, like when we find ourselves crying in the middle of a commercial, or celebrating its potential to offer us a fleeting moment of ecstasy, a glimpse of a world that is better than our own? Arriving at the end of 2011’s?We Must Be the Pitiless Censors of Ourselves?with the cathartic finality of perfectly curated exit music, this song—with its glittering harpsichord arpeggios, briskly pulsing bass, and grandiose allusions to borderless love—is the closest Maus has ever come to being a true believer. –Emilie Friedlander

與10年代早期的許多劣質(zhì)流行音樂同輩一樣，隱居在美國(guó)中西部的John Maus也通過復(fù)古推進(jìn)地下音樂——他拒絕使用數(shù)碼錄音室技術(shù)，轉(zhuǎn)而使用老式的鼓機(jī)和古怪的合成器，并以此來挖掘80年代體育場(chǎng)流行音樂和感傷的廣播歌曲的夸張戲劇化，仿佛他們已經(jīng)掌握了難以捉摸的下一代人潛意識(shí)的線索。但他與這些靈感的實(shí)際關(guān)系很難理解：Maus是在取笑音樂能讓觀眾看廣告而流淚的煽情力量，還是在慶祝音樂中為我們提供片刻狂歡或是幫助我們窺探美好世界的潛力？到了2011年底《We Must Be the Pitiless Censors of Ourselves（我們必須無情審視自己）》用完美的音樂來宣泄終結(jié)，這首有著閃閃發(fā)光的大鍵琴琶音、輕快的低音和無窮盡的情詩(shī)，標(biāo)志著Maus最接近一個(gè)真正信徒的瞬間。