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：Vivian/Lucia C

校對(duì)：Ryan-Chopin

排版：Emma.Z

Grimes’ first project as a bona fide pop star is more morose than her previous work, but no less camp. Her genuineness shines through the album’s convoluted narrative, and the songs are among her finest.?

Grimes以一個(gè)真正的流行歌星身份創(chuàng)造的第一個(gè)項(xiàng)目比她從前的作品更加陰郁，但稀奇古怪的風(fēng)格卻沒(méi)有減少。她的獨(dú)特性在整張專輯的復(fù)雜敘事中閃閃發(fā)光，而其中的歌曲更能成稱得上是她最好的作品之一。

In 2011, Grimes was eager to say in an?interview?that she had “been studying pop stars.” Since emerging 10 years ago as a DIY ingénue out of Montreal’s freewheeling music scene, Claire Boucher has become known for her experimental production that often traded discernible lyrics for otherworldly and synthetic vocal textures. The words she sang didn’t figure into what made her music so fascinating—it was how she used her vocals to mimic whalesong or aliensong, a futurist reimagining of the transfixing voices of Enya and Mariah Carey, over irresistible melodies. Yes, Grimes always wanted to be a pop star, but on her own creative terms.

在2011年，Grimes在某次采訪中興奮地說(shuō)道她在“研究流行歌星”。自從10年前，這個(gè)走DIY風(fēng)格的少女從蒙特利爾隨心所欲的音樂(lè)界脫穎而出，Claire Boucher便逐漸以實(shí)驗(yàn)性的音樂(lè)制作聞名；這樣的制作有著奇幻的、合成的歌聲音質(zhì)，即使這使得歌詞不易辨別。讓她的音樂(lè)那樣出色的原因并不是她唱出的詞句，而是她通過(guò)模仿鯨魚或外星人達(dá)成的對(duì)Enya和Mariah Carey那樣具有穿透力嗓音的未來(lái)主義重構(gòu)，以及搭配歌聲的讓人無(wú)法拒絕的旋律。是的，Grimes一直都想當(dāng)個(gè)流行歌星，但她有自己的創(chuàng)意。

Miss Anthropocene?is Grimes’ fifth album and her first as that bona fide pop star—the result of widespread acclaim for both 2012’s?Visions?and 2015’s addictive and upbeat?Art Angels. With this new celebrity, accelerated by her relationship with tech billionaire Elon Musk, Grimes wants to talk about the?climate crisis—although she doesn’t use that?more accurate?phrasing herself. “I wanted to make climate change fun,” she’s said in interviews and on her Instagram. Meaning, Grimes is using her preferred lenses of fantasy, villainy, and pop iconography to attempt to engage with reality.

《Miss Anthropocene》是Grimes的第五張專輯，也是她作為一個(gè)真正的流行歌星的第一張專輯----她口碑極佳的2012年專輯《Visions》和2015年令人上癮的動(dòng)感專輯《Art Angels》為她帶來(lái)了很大的名氣。她和科技巨頭Elon Musk的戀愛(ài)關(guān)系更提升了她的知名度，她想用這樣的影響力討論氣候危機(jī)----不過(guò)她自己并不用這樣的詞語(yǔ)。“我想要讓氣候變化變得有趣?！彼诓稍L中和Instagram上說(shuō)道。這意味著，Grimes想要用她喜歡的奇幻、罪惡、流行偶像的方式參與進(jìn)現(xiàn)實(shí)。

The result is a record that’s more morose than her previous work, but no less camp.?Art Angels?was the result of a decade spent feverishly honing the tenets of songwriting, production, and engineering in order to show listeners who she was, and what she could do (be a pop star).?Miss Anthropocene?is the willful destruction of that self-conception. Grimes calls the sound “ethereal nu metal,” and the vibe is more honest to the pensive, sometimes cynical, public persona Grimes has shared in public over the last decade.

這樣的結(jié)果是一張比她先前的作品更加陰郁的專輯，但稀奇古怪的風(fēng)格卻絲毫不減。《Art Angels》源于她十年間不停打磨詞曲寫作、設(shè)計(jì)和制作，以此向聽(tīng)眾展示她真正的自己和她成為一個(gè)流行歌星的潛力?！禡iss Anthropocene》卻打破了那樣的自我概念。Grimes將這樣的新效果稱作“空靈的新金屬”，比她過(guò)去十年?duì)I造的悲傷、時(shí)而憤世嫉俗的公眾形象更加坦率。

In November 2018, Grimes released “We appreciate Power,” a collaboration with her best friend HANA, and a cunningly meta prelude to?Miss Anthropocene. Though the propulsive, guitar-driven track didn’t end up on the album, it reveals the aesthetic cynicism behind it: a beckoning chant about capitulating to A.I. supremacy from the perspective of a girl group, the ultimate vessel for artifice and propaganda. Surprisingly—or not, given Grimes’ track record of being more outspoken on Twitter and Tumblr—the 10 tracks that make up?Miss Anthropocene, are lyrically more ambiguous about this ambitious theme. Instead, we’re left with a convoluted narrative about personifying climate change through a fictional cosmology of demons and villainesses giddily celebrating global warming?as a force of good. In that sense,?Miss Anthropocene?reflects the creative state in which it was made: “negative, aggressive, and isolating.”

在2018年十一月，Grimes釋出了《We appreciate Power（我們感激力量）》”，這首與她最好的朋友HANA合作的單曲是開(kāi)啟《Miss Anthropocene》的巧妙序曲。即使這首有力的、以吉他為主的歌并沒(méi)有進(jìn)入專輯，它卻揭示了專輯背后的憤世嫉俗美學(xué)：這是一首引誘人屈服人工智能的歌曲，演唱者是一個(gè)少女組合----高超的詭計(jì)和宣傳方式。令人吃驚地----也許并不，畢竟Grimes總是在Twitter和Tumblar上更加直接地表達(dá)意見(jiàn)----新專中十首歌的歌詞在傳遞這個(gè)主題上比較模糊。取而代之的是一段將氣候變化擬人化的復(fù)雜敘事，在一個(gè)虛擬宇宙中，各種女惡魔、反派令人眼花繚亂地慶祝著全球變暖。在這個(gè)意義上，《Miss Anthropocene》反映了Grimes的創(chuàng)意觀念：“負(fù)面的、攻擊性的、孤立的”。?

When Grimes veers away from high concept toward examining intimate and relational forms of human erosion,?Miss Anthropocene?finds some clarity. “We don’t love our bodies anymore,” she intones over the droning wasteland of “Darkseid,” which also features metallic vocals by the Taiwanese-rapper 潘PAN (formerly Aristophanes). “So Heavy I Fell Through The Earth,” introduces this conceit, weighed down by a simple drum pattern. It’s a lament about the ways in which women are domesticated through patriarchal forms of control. “Specifically how when a dude cums inside you, you become in their thrall,” she said in an April 2019 interview, alluding to her relationship with Musk, who is now thought to be the father of her expected child. “Love can be this beautiful thing, but then love is the thing that’s fucking up my career. The biggest change … is losing my hardcore masculinity. I used to just be free of all this bullshit all the other girls were going through, and now I feel like I’m not.” (She’s more besotted, jubilant even, on the winsome closer “IDORU.”) And on “Delete Forever,” she shifts focus to addiction, vocals high and clear in the mix as she sings over a freakin’ banjo: “I can’t see above it, guess I fuckin’ love it.” It’s a sublime, mood-perfect vignette of self-destructive nihilism. Grimes wrote it the night?Lil Peep?died of an accidental overdose.

當(dāng)Grimes從高概念轉(zhuǎn)向研究人類在親密關(guān)系中的破壞與毀滅時(shí)，新?！禡iss Anthropocene》清晰地表達(dá)了她的觀點(diǎn)。“We don’t love our bodies anymore. (我們不再愛(ài)自己的身體了)”她在歌曲“Darkseid”創(chuàng)造的荒原上唉嘆。這首歌中的金屬唱腔來(lái)自臺(tái)灣說(shuō)唱歌手潘PAN(原名Aristophanes)?！癝o Heavy I Fell Through The Earth”塑造了專輯的末世感，簡(jiǎn)單的鼓點(diǎn)支撐著歌曲的骨架。她對(duì)女性在父權(quán)控制下被迫接受的規(guī)訓(xùn)感到惋惜。“當(dāng)一個(gè)男人在你體內(nèi)射精時(shí)，你就成了他們的奴隸?！痹?019年4月的一次采訪中，她這樣說(shuō)道，影射她和馬斯克的關(guān)系。公眾猜測(cè)他是Grimes即將出生的孩子的父親?！皭?ài)情是美麗的，但它也搞砸了我的事業(yè)。最大的變化…是失去我引以為豪的硬核男性特質(zhì)。我曾經(jīng)以為自己不需要像別的女孩一樣經(jīng)歷這些破事，但現(xiàn)在我不再這樣認(rèn)為了?！?/strong>（在專輯溫柔的尾聲“IDORU”中，她變得更加熱情，甚至欣喜。）“Delete Forever”探討了上癮的主題，在混音中，她一遍彈著班卓琴，一邊用高亢而清晰的聲音唱到：“I can’t see above it, guess I fuckin’ love it. (我不能看見(jiàn)更多，該死的，我也許是太愛(ài)它）”這是對(duì)自毀式虛無(wú)主義的表達(dá)和升華。在Lil Peep意外死于藥物過(guò)量的那個(gè)晚上，Grimes寫下了這首歌。

《Miss Anthropocene》是Grimes對(duì)懷舊音樂(lè)節(jié)元素和世界流行樂(lè)的又一次引用和發(fā)展，因此顯得激動(dòng)人心?！癡iolence”是專輯主打的人聲迷幻樂(lè)，由Deadmau5旗下的音樂(lè)人i_o共同制作完成，下一步就能登上魯保羅變裝皇后秀的舞臺(tái)。在這首歌里，Grimes呈現(xiàn)了至今最生動(dòng)的演出之一。在飄渺的配音和穩(wěn)定的迪斯科鼓點(diǎn)節(jié)拍下，她時(shí)而嗚咽，時(shí)而咆哮，兩極化的唱法從不同角度刻畫了虐待關(guān)系的實(shí)質(zhì)?！??M”回應(yīng)了他兩年前構(gòu)思的創(chuàng)作想法：“這是果醬味的空靈音樂(lè)，用賽博朋克闡釋寶萊塢歷史奇幻票房贏家《帝國(guó)雙璧》?！?strong>這首歌充滿了意想不到的跨文本指射。這是好萊塢的未來(lái)主義：加速的副歌部分與歌曲勾勒出的東方主義圖景相互呼應(yīng)，仿佛是John Wick打斗場(chǎng)面的配樂(lè)。

So much about the actual music of?Miss Anthropocene?succeeds that the choice to bury it below a warped—and yes, misanthropic—concept about “The Environment” makes it hard to connect with who Grimes is as an artist today. Standing in the way of humans reckoning with climate emergency are multiple delusions: that wealth brings freedom, that boundless acquisition and unchecked growth remain tenable, and that political and economic institutions are inherently trustworthy actors. Grimes?sounds?like the pop star she’s worked very hard to become, but her imagination seems diminished—or, like many of her celebrity ilk, is cordoned off in a bubble floating above the rest of humanity. In 2020, revolutionary pop stardom might try to clarify, rather than obscure, the havoc that systems wreak when it comes to, say, gender roles and social compliance, technology and surveillance capitalism, nationalism and land exploitation, or whiteness and pathological denial.

《Miss Anthropocene》中的眾多歌曲都取得了成功。Grimes選擇把專輯放在一個(gè)扭曲的，有些憤世意味的“環(huán)境”概念下來(lái)解讀，讓聽(tīng)眾對(duì)她今日的藝術(shù)家身份充滿疑惑。許許多多的妄想阻礙了人類應(yīng)對(duì)環(huán)境危機(jī)：財(cái)富能帶來(lái)自由，無(wú)邊的掠奪和無(wú)限的增長(zhǎng)唾手可得，政治和經(jīng)濟(jì)機(jī)構(gòu)是值得信賴的虛擬演員。Grimes聽(tīng)起來(lái)像她努力想成為的那個(gè)流行明星，但她的想象也有自身的局限——她像周圍眾多名人一樣，漂浮在全人類之上的泡沫中。在2020年，革命性的流行明星們更應(yīng)該澄清眾多壓迫性結(jié)構(gòu)帶來(lái)的傷害。包括性別角色和社會(huì)服從，科技和資本主義監(jiān)視，民族主義和土地開(kāi)發(fā)，白人至上主義在內(nèi)的種種公共討論話題不應(yīng)該被模糊帶過(guò)。

And that’s the obstacle, the slimy mouthfeel, standing in the way of?Miss Anthropocene?offering genuine catharsis: Grimes, the self-taught, self-possessed iconoclast, as insincere. In this very specific political moment rendering climate crisis as dystopian aesthetic is privileged and indulgent, and perhaps even more frustrating given Grimes’ stage wink of an album title. Who exactly is the subject of her misanthropy? Having achieved recognition and acclaim for what she can?do?with?Visions?and?Art Angels, the question remains: Who is she now? And so, some footnotes from Grimes’ life feel useful here: childhood ballerina, daughter of a former accountant and former Crown prosecutor-turned-journalist, and in a relationship with a man whose?real-time net worth?literally jumped from $41 billion to $44.2 billion between drafts of this review. Sometimes it is important to be reminded that celebrity is also a system, a way of distracting the powerless and nurturing ruling class values through notions of exceptionalism and vanity. Perhaps, before she was a pop star, Grimes might have made a statement with this album—but what the world needs now is?less?obfuscation, not more.

所以，有著黏糊糊質(zhì)感的《Miss Anthropocene》并沒(méi)有給聽(tīng)眾提供真誠(chéng)的情感宣泄：Grimes，這個(gè)自學(xué)成才也同時(shí)唯我獨(dú)存的反傳統(tǒng)者并不真誠(chéng)。在這樣的政治背景下，把真實(shí)存在的環(huán)境危機(jī)偷換成反烏托邦式的美學(xué)標(biāo)準(zhǔn)彰顯了創(chuàng)作者的特權(quán)，因?yàn)檫^(guò)于放縱而令人沮喪。誰(shuí)是專輯標(biāo)題“恨事者”瞄準(zhǔn)的對(duì)象？在前兩張專輯《Visions》和《Art Angels》大受好評(píng)的背景下，我們不禁要問(wèn)：現(xiàn)在的她是誰(shuí)？關(guān)于她人生軌跡的注腳也許能為我們提供一些視角：童年時(shí)代的芭蕾舞演員，前銀行家和轉(zhuǎn)行為新聞?dòng)浾叩幕始覚z察官之女，現(xiàn)在正和一個(gè)凈資產(chǎn)在這篇樂(lè)評(píng)定稿前就從410億美元上升為442億美元的企業(yè)家交往。名人效應(yīng)也是系統(tǒng)運(yùn)作的產(chǎn)物，用虛榮和卓越等偽概念來(lái)鞏固權(quán)力階級(jí)的統(tǒng)治，分散其他人的注意力。也許，在成為流行明星之前，Grimes已經(jīng)用這張專輯宣示了自己的觀點(diǎn)。然而，這個(gè)世界現(xiàn)在需要減少誤會(huì)，而不是變本加厲。