搬運自：微信公眾號【評論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：油條糖餅

校正：Cyana Lu/Ryan-Chopin

這位搖滾明星、饒舌歌手沉迷于自憐之中，有時甚至超越了自憐。

Post Malone?isn’t into labels. “I don’t want to be a rapper,” said the 22-year old in a recent?interview. “I just want to be a person that makes music.” That’s a pretty convenient line of logic for a white guy who’s made millions, since his 2015 breakthrough hit “White Iverson,” off a warbly hybrid of singing and rapping that owes a significant debt to traditionally black musical styles. With sing-song melodies and dreamy trap-lite beats, Post’s songs re-package existent rap trends for people who might not particularly like rap at all – including, it would seem, the artist himself. “If you’re looking for lyrics, if you’re looking to cry, if you’re looking to think about life, don’t listen to?hip-hop,” he proclaimed in an interview last year, taking a time out from genre agnosticism to big up Bob Dylan.

Post Malone不喜歡標(biāo)簽。這位22歲的歌手在最近的一次采訪中說“我不想成為一名饒舌歌手，”“我只想成為一個音樂制作人?！睂τ谝粋€已經(jīng)身家數(shù)百萬美元的白人來說，這是一條相當(dāng)方便且符合邏輯的路線。自2015年的熱門歌曲“白衣艾弗森” (white Iverson)取得突破以來，他的音樂風(fēng)格轉(zhuǎn)變?yōu)榻Y(jié)合了旋律的說唱，這種風(fēng)格和傳統(tǒng)的黑人音樂風(fēng)格大相徑庭。伴隨著歌曲的旋律和夢幻的節(jié)奏，馬龍的歌曲為那些可能根本就不喜歡說唱音樂的人們重新打造了當(dāng)今的說唱趨勢，藝術(shù)家本人似乎也對說唱失去了興趣?！叭绻阆雽ふ液玫母柙~，如果你想哭，如果你想思考人生，不要聽嘻哈，”他在去年的一次采訪中這樣說道，同時還對鮑勃·迪倫這種風(fēng)向標(biāo)人物態(tài)度模糊。

With his second record,?Beerbongs & Bentleys, Post hopes to?“push the genre”?of hip-hop – a claim that probably isn’t hard to back up when you are working within a field you actively disdain. Multi-platinum lead single “rockstar” is the marquee hit of the past year’s rap-rock revivalist movement, with shouts out to Bon Scott and lines about throwing TVs out of hotel windows; it is one of many currently popular songs with minor-key synths, trap 808s and downcast melodies that presents unlimited money and drugs as a tedious bummer. Post Malone is sad, guys – rich?and?sad, a condition he outlines with singular nuance on “Rich & Sad,” in a purposefully under-enunciated delivery I can only describe as “mushy-sounding.” Unfortunately, Post laments, he was unable to literally buy the love of his girlfriend he rampantly cheated on: “Plenty sluts, grabbing on my nuts/Might have fucked, it was only lust/I was living life, how could I have known?” Who wouldn’t empathize with that?

少有人能對馬龍有好的印象，因為專輯中的第18首歌是“金錢時代”自戀的新終結(jié)曲:Post對炫耀、聚會和尋歡作樂的癡迷成為了一種日益增長的偏執(zhí)情感，并且以為周圍的人只喜歡他這些特質(zhì)。諷刺的是，專輯中最讓人安心的時刻發(fā)生在他放下說唱歌手的偽裝，變成孤獨的牛仔時。alt-rock跨界歌曲“Otherside”的聲樂旋律是專輯中最吸引人的，打破了那種催眠的搖籃曲旋律和對押韻近乎瘋狂的執(zhí)著;在“Stay”中，他用對George Harrison那種感傷的口吻大聲唱到:“You put your cigarette out on my face.”在這一難得的時刻，馬龍似乎沒有什么東西要證明，像是一個有趣的唱作人出現(xiàn)了，卻又消失在他無盡的酒店派對中。