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：Simon Joanne

校正：Lynn Liu

作者：?Stacey Anderson

在這張大膽而絢麗的處女作中：哥特式風(fēng)格、重低音泛濫，這位冉冉上升的流行新星創(chuàng)造了自己音樂(lè)世界。

Billie Eilish has suddenly become an obscenely famous pop star—the kind with 15 million Instagram followers, sold-out shows around the world, a haute modeling contract, and couch time with Ellen DeGeneres. Her brilliance is an obvious truth; just ask any teenager in America as they wait patiently for the rest of the world to catch up to their consummate taste in pop music.

Billie Eilish在突然之間變成了一位炙手可熱的知名流行歌手——在Instagram上擁有一千五百萬(wàn)名粉絲、世界各地極其賣(mài)座的演出、與Haute簽下了一份模特合同，還上了艾倫秀。她的才華毋庸置疑——你問(wèn)一問(wèn)美國(guó)現(xiàn)在的年輕人就知道，世界上的人們都等不及想要趕緊跟上他們的流行音樂(lè)品味。

Of course, the 17-year-old Eilish is still waiting for her teeth to straighten out. This fact trumpets the arrival of her debut album?When We All?Fall Asleep, Where Do We Go?: For its intro, Eilish removes her?much-loathed?transparent braces in a series of lightly gross, ASMR-worthy slurps, and proclaims, “I have taken out my Invisalign and this is the album.” She then dissolves into heaving cackles, the kind that alienates any onlookers too prissy to partake. There are several more oddball moments like this—absent-minded humming to a track, giggling asides—that remind us she’s still a precocious, creative teen girl on this rocket, and all her gothic proclivities don’t cancel out how much she’s enjoying the ride.

當(dāng)然，17歲的Billie依然在等待著嶄露頭角，而這便造就了她首張個(gè)人專(zhuān)輯（《When We All Fall Asleep, Where Do We Go?（陷入睡眠之后的我們都去了哪里？）》）。在開(kāi)場(chǎng)曲中，Eilish在一系列略顯粗俗、讓人討厭、類(lèi)似于ASMR的聲音中，摘下了她的透明牙套，并宣稱(chēng)：“我把我牙套拿出來(lái)了，這就是我的專(zhuān)輯?！彪S后她開(kāi)始大笑出起來(lái)，這種笑聲足以讓任何旁觀者放下包袱來(lái)真正參與到這張專(zhuān)輯的音樂(lè)之中。專(zhuān)輯中有一些古怪的片段——比如對(duì)著伴奏發(fā)出心不在焉的哼鳴，或者是在一旁發(fā)出咯咯的笑聲——她好像一直在提醒我們她依舊只是一個(gè)早熟并極具創(chuàng)造力的青少年罷了，而這些音樂(lè)中的哥特風(fēng)傾向也并沒(méi)有抹掉她對(duì)于這趟音樂(lè)旅途的享受。

Her rise has been striking: At 14, she put the song “Ocean Eyes” on SoundCloud, a glassy, straightforward ballad with tearful synths and woozy, Lana Del Rey-indebted crooning. She snared a young fanbase with her hooks and raised her middle finger to pop’s status quo; here was this music that shifted between genres—from pop to Trap and EDM—made by a lawless young female singer sporting baggy, androgynous clothes. She cast her bored, listless eyes upward instead of batting them at the camera. She filled her videos with?flowing black tears,?plunging needles, and?arachnid hors d’oeuvres?instead of twirling around sleek cityscapes. Eilish’s creepy eccentricity feels so removed from the pop formula; it helps distance her from the music industry’s historically lewd maceration of teen idols. Eilish just seems sharper, meaner, more self-sufficient—a young star from Los Angeles, in the grand tradition, but one that could only have come along while its hills are burning.

Billie的爆紅讓人震驚：14歲時(shí)就在SoundCloud上上傳了“Ocean Eyes”這首歌，這是一首透亮又直白的抒情歌曲，你可以在其中聽(tīng)到感傷合成器音色，也可以聽(tīng)到類(lèi)似與Lana Del Rey的迷幻低吟。她以個(gè)人魅力收獲了第一批粉絲并向流行音樂(lè)界豎起了中指。專(zhuān)輯中的音樂(lè)在不同流派間一直轉(zhuǎn)換：從流行到Trap再到電子舞曲，它們都是由這樣一個(gè)喜歡穿寬松中性工裝服、放縱不羈且年輕女歌手創(chuàng)作出來(lái)的。她總是將自己倦怠厭世的眼神向上眺起、跳離鏡頭。她的音樂(lè)錄像帶沒(méi)有平滑旋轉(zhuǎn)的城市風(fēng)光，卻充斥著黑色眼淚、背扎針管、生吞活蛛的怪異畫(huà)面。Billie帶有點(diǎn)駭人色彩的古怪風(fēng)格與流行音樂(lè)的標(biāo)準(zhǔn)相去甚遠(yuǎn)，這也使得她不用像音樂(lè)產(chǎn)業(yè)中的其他偶像那樣靠絕食來(lái)塑造完美的性感形象。Billie看起來(lái)就像一個(gè)銳氣十足、刻薄自大的年輕人——一個(gè)來(lái)自洛杉磯的明日之星，雖依舊沒(méi)有脫離大的傳統(tǒng)，卻能獨(dú)當(dāng)一面。

The best moments of?When We All Fall Asleep?play firmly into this formula. Inspired by Eilish’s frequent night terrors and lucid dreams, the album juggles dark compulsions with grim eulogies, balancing her feathery vocals with deep, grisly bass. Like her spirit animal, the spider, Eilish can weave something that is at once delicate and grotesque: In “you should see me in a crown,” she lulls the listener into a false idyll with her murmured lilt, then leaps off the cliff of a tectonic dubstep bass drop, her sneer fully audible. (That the title is?cribbed from Moriarty, the beguiling psychopath of television’s “Sherlock,” also speaks to her pull toward the sinister.)

這張專(zhuān)輯里的最佳時(shí)刻始終緊密地遵循著這一規(guī)范。受到自己頻繁出現(xiàn)的夢(mèng)魘和清醒夢(mèng)的啟發(fā)，Billie在這張專(zhuān)輯中有機(jī)協(xié)調(diào)了黑暗的沖動(dòng)與冷酷的頌詞，并在自己羽毛般柔和的聲音與強(qiáng)勁壓抑的重低音中找到了完美的平衡。就像她的靈獸——蜘蛛一般 ，她總能將普通的事物立馬編制成一張精致卻怪誕的網(wǎng)：在“you should see me in a crown（你應(yīng)該看見(jiàn)我?guī)е使冢敝?，她用低吟出歡快的曲調(diào)，給聽(tīng)眾造出一種平和的假象，接著她便從懸崖邊一躍墜入Dubstep電音的低音鼓點(diǎn)之中，她的譏笑卻變得透徹響亮。（這首歌的歌名化用了電視劇《神探夏洛克》中莫里亞蒂——這位滿(mǎn)口謊言的精神病患者對(duì)惡靈說(shuō)的話。）

“xanny” plumbs sincere anxiety over more marrow-shaking bass, the kind that could blast apart a few pairs of headphones. Eilish’s voice crossfades over the narcoleptic beat, and slips into full despair, whimpering her most self-aware lines on the record: “Please don't try to kiss me on the sidewalk/On your cigarette break/I can’t afford to love someone/Who isn't dying by mistake in Silver Lake.” Eilish’s lyrics wonderfully underScore how all teen angst is both fiercely sincere and an affect of being only partially informed.

“xanny”一曲，用震徹骨髓、強(qiáng)大到甚至可能震壞某些耳機(jī)的低音刻畫(huà)出一種真實(shí)的焦慮感。Billie的聲音穿插于這些間歇出現(xiàn)的低音之中，淡入淡出，滑進(jìn)徹底的失落，嗚咽般得道出專(zhuān)輯中自我意識(shí)最強(qiáng)烈的歌詞：“請(qǐng)別在吸完煙后，在路邊親吻我，愛(ài)上一個(gè)人太難，但誰(shuí)又不想要這銀湖邊的浪漫把戲呢？”這些歌詞巧妙地表現(xiàn)了現(xiàn)代青年的焦慮——它是如此殘酷地現(xiàn)實(shí)，也是只部分知情的影響。

A similar spirit drives “bury a friend,” another early single. Despite the vocoder-style distortion, Eilish’s voice feels even more intimate as she hisses, “Step on the glass, staple your tongue” in a farcical singsong. Eilish has namechecked?Tyler, the Creator?as one of her greatest influences; in her slightly jazzy trill, too, she also nods to her clearest pop progenitor,?Lorde, who cleared much of Eilish’s path with her autonomous creative control, heavy-lidded social observations, and blithely goth aura.

相似的精神同樣主導(dǎo)了另一首早期打單的歌曲——“bury a friend（埋葬一位朋友）”。除了類(lèi)似聲音合成器質(zhì)感的扭曲，Billie在這首畸形的歌曲中發(fā)出的嘶噓細(xì)聲“腳踩玻璃，舌頭釘釘”，顯得她的聲音更加親近。Billie曾提到Tyler, the Creator是對(duì)她影響最大的歌手之一，在她頗具爵士樂(lè)色彩的輕微顫音中，我們同樣能聽(tīng)到Billie對(duì)前輩Lorde的致敬，正是因?yàn)長(zhǎng)orde為Billie這樣的新歌手的發(fā)展道路清除了不少障礙，Billie得以掌握自主創(chuàng)作權(quán)，同時(shí)也能在社會(huì)嚴(yán)格的注視之下，無(wú)拘束地讓自己的哥特?fù)u滾無(wú)限發(fā)光。

Still, all Eilish’s weaponry can’t stop her most overtly pop track, “bad guy,” from going stale. A snappy pulse launches Eilish into a litany of taunts against her partner. Over the rubbery electro beat, she says she’s the “make-your-girlfriend-mad type/Might-seduce-your-dad type.” It gave me pause because it suggests that perhaps Eilish isn’t so far removed from the teen pop continuum as we’ve come to believe: How different is her bragging about statutory rape, culturally, from trussing up 16-year-old Britney Spears in pigtails and plaid? Even if it’s a teen girl’s decision, entirely, to flaunt her sexuality (or engage in provocative roleplay), the line crosses a boundary plenty of adults were happy to cosign.

不過(guò)，Billie擁有的武器卻未能防止“bad guy（壞人）”這首大火單曲變得陳腐老套。時(shí)髦的脈沖將Billie彈射到對(duì)于戀人的嘲諷禱文之上。在這些充滿(mǎn)彈力的電子鼓點(diǎn)之中，她將自己描述成“可能讓你女朋友抓狂、勾引你父親的那類(lèi)人?！边@也讓我遲疑了一下，因?yàn)樗孟褚舶凳玖薆illie也許也和我們漸趨相信的青年流行音樂(lè)統(tǒng)一體差的不是很遠(yuǎn)。吹噓著法定強(qiáng)奸罪的Billie和16歲時(shí)扎著辮子、穿著格子衫的布蘭妮又有多大的區(qū)別呢？即使這都是這些青年完全自主的選擇（展現(xiàn)自己的性感或涉及具有挑釁性質(zhì)的角色扮演）她們跨過(guò)的這條底線依舊迎合了多數(shù)成年人的口味。

The quieter moments of?When We Fall Asleep?nod more to Eilish’s past, and to mixed results. Much like her first EP, 2017’s?Don’t Smile at Me, they skew glum instead of macabre, even briefly twee. “wish you were gay” spotlights Eilish’s vocals, which deserved better than being spackled with canned studio laughter and self-involved lyrics in the lamentable lineage of Katy Perry’s “Ur So Gay.” Minimalist, mournful piano ballads like “l(fā)isten before i go” and “when the party’s over” further prove her vocal talents amid larger inertia. Throw in a cheeky, extended riff on an episode of “The Office” on “my strange addiction”—which smatters in clips of the Dunder Mifflin crew reacting to Michael Scott’s own contentious creative efforts—and you have an album as widely collagist as a teen’s bedroom wall.

這張專(zhuān)輯中較為平靜的一些時(shí)刻大多與Billie的過(guò)去關(guān)系密切，這些事件都有著復(fù)雜的結(jié)局。這些歌曲沒(méi)有非常驚悚或過(guò)度華麗，反而充斥著更多的負(fù)面情緒，這一點(diǎn)更像她在2017年發(fā)行的第一張EP《Don’t Smile at Me(別朝我笑)》。“wish you were gay”中Billie的嗓音得到了突出，這首歌比Katy Perry那首堆砌自嘲歌詞，帶有混響的嬉笑聲的“Ur So Gay”要好得多。其他的一些簡(jiǎn)潔而又悲傷的鋼琴抒情歌曲，如“l(fā)isten before i go”?和“when the party’s over”更進(jìn)一步展現(xiàn)了她的歌唱天賦。在“my strange addiction”中，采樣源于《辦公室》，在劇中，Dunder Mifflin的工作人員們正在談?wù)揗ichael Scott那有爭(zhēng)議的創(chuàng)作（他自編自導(dǎo)了一部同名小電影）——你所擁有的這張專(zhuān)輯就像一個(gè)青少年臥室墻上貼的剪貼畫(huà)組合一樣。