搬運(yùn)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）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/

翻譯：Ryan-Chopin

審譯：Lynn Liu

推送：Lynn Liu

The sheer audacity of Kanye West’s?My Beautiful Dark Twisted Fantasy?is matched only by its overwhelming appetite. Born in a period of strife amid self-imposed exile, during a near-mythic island summit of rap superfriends in Hawaii,?MBDTF?is an exercise in God-level debauchery. It is at turns baroque and symphonic, with song-length Auto-Tuned codas, posse-cut performances that redefined the form, and an immense phantasmagoria of light and sound that threatens to overshadow its A-list cameos. It was a creation that accurately reflected West’s massive ego, in a period of rare bruising: By 2010, he’d drunkenly antagonized Taylor Swift, symbol of All-American sweetness, and been?called a jackass?by a sitting president. But instead of apologizing, Kanye conjured a warped, all-encompassing vision of excess, a toast to the assholes, a battle cry for fellow monsters. It was a huge risk that proved not just redemptive but deifying.

只有Kanye West的《My Beautiful Dark Twisted Fantasy》中勢不可擋的野心才配得上這張專輯的大膽前衛(wèi)?！禡BDTF》誕生于種種糾紛之后他的自我放逐時(shí)期，他在夏威夷的小島上和一群說唱領(lǐng)域的大佬們像是神話中神仙們集會(huì)似的，創(chuàng)作出了這張堪稱是神級的“放蕩敗壞的”試水之作。專輯中既有巴洛克與交響樂元素，還有著長度抵得上一整首歌的特殊音效尾奏，足以重新定義posse-cut（譯者注：4人及以上說唱歌手分別演唱各自的段落合作的表演形式）這種形式的精彩表現(xiàn)，以及足以讓專輯中最頂級的合作歌手們黯然失色的光影與聲音所制造的浩瀚幻覺。這是一張準(zhǔn)確折射出West那段時(shí)間巨大自負(fù)的創(chuàng)作專輯，也就是那段稱得上不多見的轟動(dòng)時(shí)期：他像個(gè)醉漢似的激怒了當(dāng)時(shí)被所有美國人視為甜心的Taylor Swift，還被時(shí)任總統(tǒng)稱為混蛋。Kanye創(chuàng)造出一個(gè)扭曲且包羅種種放肆行為的幻象，一段對混蛋們的祝酒詞，一聲與他一樣的怪物們共同的戰(zhàn)斗口號。最終證明他的這次巨大冒險(xiǎn)絕不僅僅是救贖，更是神化。

MBDTF’s songs are meticulously designed set-pieces that ably house all their drama. West goes bar-for-bar with Raekwon on “Gorgeous,” leveling some of his sharpest critiques of race, class, and rap iconography, only moments after pairing beatmaking legends RZA and No I.D. together on an epic deserving of an opera house. The endearing douchebag anthem “Runaway” stripped Kanye of any remaining pretense, his singing bald and honest, and reintroduced Pusha T as his attack dog. With the industry in flux and rap sales lagging, the new landscape began to take shape in?My Beautiful Dark Twisted Fantasy’s?wake. It spearheaded the first wave of great albums produced this decade; the two biggest rappers of the next generation, Drake and Kendrick Lamar, followed Kanye’s lead overtly on their breakthrough records. Bon Iver’s profile was exponentially boosted by this album. Pusha and Nicki Minaj aren’t really Pusha and Nicki Minaj without it. And for Kanye,?MBDTF?remains the most pristine jewel in a collection of rare artifacts—a perfectionist’s brush with perfection. –Sheldon Pearce

《MBDTF》中的歌曲都是經(jīng)過細(xì)致安排過的套路，為它們各自的故事提供了絕佳的舞臺。West讓兩位節(jié)奏制作大師RZA和No I.D.湊在一塊，創(chuàng)造了史詩般的歌劇院之聲，隨后在“Gorgeous”中和Raekwon節(jié)節(jié)緊跟，把他對于種族、階級和說唱圖騰最尖銳的批評鋪開。廣受喜愛的人渣之歌“Runaway”剝?nèi)チ薑anye剩下的一切借口，他的演唱赤裸而真誠，并再次把Pusha T作為自己的小弟介紹給大家。隨著音樂產(chǎn)業(yè)的風(fēng)云變幻，說唱音樂銷量步步走低，但嶄新的局面在《My Beautiful Dark Twisted Fantasy》出現(xiàn)后開始逐漸成形。它是本世紀(jì)第一批制作最為優(yōu)秀的專輯先鋒；下一代最富盛名的兩個(gè)說唱歌手Drake和 Kendrick Lamar都顯然在他們自己飛躍式的專輯中追隨了Kanye的腳步。Bon Iver的個(gè)人經(jīng)歷也因?yàn)檫@張專輯而劇烈增色。沒有這張專輯，Pusha和Nicki Minaj也無法成為真正的Pusha和Nicki Minaj。而對于Kanye，《MBDTF》永遠(yuǎn)是他的珍奇工藝品收藏中最純粹的珍寶——一個(gè)完美主義者的完美一筆。