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：JenniferC

審譯：Ryan-Chopin

排版：SpencerC

Mark Ronson新?！禠ate Night Feelings》宛若盡情瘋狂后的傷心自艾

Mark Ronson，這位音樂(lè)制作人是Amy Winehouse以及Bruno Mars的金牌合作人，幫他們制作過(guò)復(fù)古靈魂樂(lè)，也與Miley Cyrus、Camila Cabello等人有過(guò)合作。

Mark Ronson?first branded himself as a nostalgia alchemist with?Amy Winehouse, updating mid-century R&B with a rare-groove-fanatic’s ear for detail. Where super-producers like Diplo might make serviceable magic with anyone, Ronson’s classicism generally requires the wearer to animate it. Winehouse was an ideal match. To a lesser extent, so was?Bruno Mars, another classicist whose RIAA Diamond-selling Prince homage?“Uptown Funk”?proved how lucrative Ronson’s science could be.

在和Amy Winehouse合作時(shí)，Mark第一次嘗試濃濃的懷舊煉金術(shù)士風(fēng)格，而作為一個(gè)靈歌爵士樂(lè)的發(fā)燒友（譯者注：靈歌爵士樂(lè)：20世紀(jì)70年代的funk音樂(lè)，最早由英國(guó)人諾曼杰伊提出），當(dāng)時(shí)Mark還對(duì)中世紀(jì)風(fēng)格的R&B做了一些創(chuàng)新。如果說(shuō)像Diplo這樣的超級(jí)音樂(lè)制作人讓音樂(lè)的魔力直擊每個(gè)人的心口，Mark則偏向古典主義，他的音樂(lè)常常需要讓聽(tīng)眾用心感受，自己賦予音符活力。Amy Winehouse就和他的風(fēng)格很搭。Bruno Mars在一定程度上來(lái)說(shuō)也是古典主義的，他的“Uptown funk”還是RIAA認(rèn)證的鉆石唱片（譯者注：RIAA，美國(guó)唱片業(yè)協(xié)會(huì)，鉆石唱片意味著這支曲目在美國(guó)賣出了一千萬(wàn)張），這就證明了Mark的風(fēng)格有多受歡迎。

Late Night Feelings?is a sort of feminine inverse of Ronson’s 2015?Uptown Special, the latter’s dude-centric roster swapped for a compelling mix of women singers, and its brittle, chromed funk replaced with a plush, dubby,?quiet storm?vibe.?Late Night Feeling?is the better album — rangy, sexy and fairly seamless, an LP to play all the way through after a night of clubbing if you happen get lucky, or if you don’t. If there’s a problem, it’s songwriting and processed vocals that can feel anonymous; bold-faced names lost in string arrangements, pillowy reverb and period simulacra in a way the singers on?Daft Punk’s like-minded?Random Access Memories?managed to avoid.

《Late Night Feelings》有點(diǎn)兒像Mark在2015年發(fā)行的專輯《Uptown Special》的女版?！禪ptown Special》以男聲為主調(diào)，而《Late Night Feelings》則配以迷人的女聲混音。前者是金屬放克風(fēng)，而后者聽(tīng)起來(lái)則有一種絲絨感、靜謐感，有一種“quiet storm（平靜風(fēng)暴）”的氛圍?！禠ate Night Feeling》比前者更優(yōu)——音域?qū)拸V、性感魅人、行云流水。這張唱片更可能在俱樂(lè)部里徹夜單曲循環(huán)。如果要雞蛋里挑骨頭的話，那就是歌曲的創(chuàng)作有問(wèn)題，而且處理后的人聲沒(méi)有特色，聽(tīng)不出來(lái)誰(shuí)是誰(shuí)。歌者特色在弦樂(lè)編排、枕邊式混響和時(shí)代擬像中消失了，并且Daft Punk（譯者注：法國(guó)DJ組合兼電音制作樂(lè)隊(duì)）的專輯《Random Access Memories》和《Late Night Feelings》很像，但前者在某種程度上努力避免了這種消失的情況。

The title track suggests a bottle-service club jam from the moment when late-Seventies disco opulence pivoted into the Eighties freestyle R&B that birthed Madonna;?Lykke Li?delivers it impeccably and unobtrusively (she ups the soul factor on “2 AM,” a hazy booty-call blues). “Find U Again” sees Tame Impala’s Kevin Parker raining glitter over a crushed-out?Camila Cabello, who raps about doing therapy “at least twice a week” to get over it. You wish her well, but may find it hard to recall a minute later.

專輯的同名曲“Late Night Feelings”讓人想起了曾經(jīng)的開(kāi)瓶俱樂(lè)部熱潮（譯者注：開(kāi)瓶俱樂(lè)部：一種VIP服務(wù)，顧客訂酒水以預(yù)定座位），這種熱潮自打上世紀(jì)70年代末迪斯科還風(fēng)靡世界時(shí)就有了，一直延續(xù)到80年代自由藍(lán)調(diào)誕生、麥當(dāng)娜大火。Lykke Li完美又低調(diào)地詮釋了這首歌。（她為“2 AM”這首隱約帶著求愛(ài)藍(lán)調(diào)風(fēng)格的歌曲注入了更多靈魂樂(lè)的因子）。“Find U Again”這首歌有了Tame Impala組合的Kevin Parker的加盟，為歌曲中“心碎”的Camila Cabello的表現(xiàn)錦上添花。Camila Cabello在歌詞中唱到“我每周至少要治療兩次”以愈情傷。聽(tīng)完后你會(huì)希望歌曲中的女主角快快好起來(lái)，不過(guò)一分鐘后你再回頭想想，可能都忘記這首歌唱的啥了。

The lesser-knowns shine hardest. Arkansas church belter YEBBA launches “Don’t Leave Me Lonely” over a sumptuous house groove you might wish was double its 3:36 length. Diana Gordon brings the silk-sheet soul on “Why Hide” with a dubby ache recalling?The xx, fitting since that group’s Romy Madley Croft co-wrote it. Best is “Truth,” delivered by the Last Artful, Dodgr (a.k.a. Portland rapper Alana Chenevert) over gnarly saw- toothed bass, with?Alicia Keys?preaching on the hook, “educatin’ ” and “elevatin’” like it was some great, lost?Sly and the Family Stone?single.

越是不為人知的歌就越是精彩萬(wàn)分。阿肯色教堂的歌手YEBBA在一座豪宅里演唱了“Don’t Leave Me Lonely”，這首歌是如此的動(dòng)人，以至于你期望曲子再長(zhǎng)一些，不是原來(lái)的3分36秒，想將其延長(zhǎng)到它的兩倍。Diana Gordon的演繹使得“Why Hide”這首曲子具有靈魂般的絲綢質(zhì)感，這首曲子中的疼痛感使人想起The xx樂(lè)隊(duì)，其實(shí)，樂(lè)隊(duì)的Romy Madley Croft也有參與這首歌的創(chuàng)作。聽(tīng)起來(lái)最棒的還是“Truth”，由Last Artful和Dodgr (a.k.a. 波蘭說(shuō)唱歌手Alana Chenevert)演唱，不過(guò)歌曲中有粗糙質(zhì)感的低音，伴著Alicia Keys踩點(diǎn)式歌詞中的所謂“教育”“振奮”的說(shuō)教，這首歌聽(tīng)起來(lái)還挺不錯(cuò)，但是陷入了Sly and the Family Stone樂(lè)隊(duì)的單一風(fēng)格。

Honorable mention goes to up-and-coming country singer?Miley Cyrus, who conjures her godmother,?Dolly Parton, on “Nothing Breaks Like a Heart,” a trotting mix of “Jolene,” “I Will Always Love You” and “9 to 5,” perfectly suited for the post-“Old Town Road” urban-cowgirl gold rush. It shows how Ronson’s precision-tooled nostalgia is always somehow right on time.

這次要夸一夸勢(shì)頭正猛的“新進(jìn)鄉(xiāng)村音樂(lè)女歌手”Miley Cyrus，她對(duì)歌曲的演繹讓人想起了鄉(xiāng)村樂(lè)教母Dolly Parton。Miley唱的“Nothing Breaks Like a Heart”仿佛“Jolene” “I Will Always Love You” 還有“9 to 5”的融合，這種風(fēng)格完美的契合了“Old Town Road”（譯者注：這首曲子整體風(fēng)格充滿了美國(guó)西部荒野的氛圍）之后掀起的都市女牛仔淘金熱的風(fēng)格。這也體現(xiàn)了Mark明確又成熟的懷舊風(fēng)格恰合時(shí)宜。