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：Joonly EC

審譯：Whitney. L

排版：Ryan-Chopin

Mannequin Pussy are inherently unforgettable. For starters, there’s the name, conjuring images of plastic clits and keeping the prudes away. (For me, I think of German surrealist Hans Bellmer’s?doll project, a series of dismembered female mannequins arranged in fetishistic, voyeuristic, and ultimately unsettling manners). Then there’s the music itself, which summons a different type of terror. Beginning with their 2013 debut?Gypsy Pervert, Mannequin Pussy have whipped up breakneck punk tornadoes with equally brutal names like “Meatslave.” But beneath that fury are tender confessionals about love, heartbreak, and trauma, which were explored more deeply on 2016’s?Romantic.

Mannequin Pussy似乎擁有與生俱來就令人過目不忘的魅力。首先，這個名字會讓人聯(lián)想到塑料陰蒂(譯者注:Pussy有陰蒂之意)，讓談性色變者趨之若鶩(說實話，這讓我想到了德國超現(xiàn)實主義者Hans Bellmer的玩偶計劃，一系列被肢解的女性人體模型以那些拜物教、窺陰癖崇尚的一系列令人感到不安的方式排列在一起)。其次，談到音樂本身，它喚起了一種風(fēng)格迥異的恐懼。自從他們2013年的首張專輯《Gypsy Pervert(吉普賽的性變態(tài))》開始，Mannequin Pussy就刮起了一陣令人瞠目結(jié)舌的朋克龍卷風(fēng)，這陣風(fēng)就如同Meat Slave(譯者注:專輯中的曲目名:血肉奴隸)一樣殘暴。但在朋克風(fēng)這層看似兇猛的狼皮下，藏著的卻是一只溫順的綿羊，輕聲吟唱著對愛、心碎和創(chuàng)傷的懺悔，這些懺悔在2016年的專輯《Romantic(羅曼蒂克)》中得到了更深刻的闡述。

On their third record,?Patience, Mannequin Pussy have achieved a balance between seething chaos and quietly devastating vulnerability. Working alongside beloved emo producer?Will Yip,?Patience?is their most expansive album yet, and not just because it’s their first to pass the 20-minute mark. Though some songs sprint by in under 60 seconds, most luxuriate in the amount of room they are now afforded. Intricate melodies that were once buried beneath sludge have been polished so that the glimmer shines through the grit. As exemplified by their journey, Mannequin Pussy—guitarist and vocalist Marisa Dabice, guitarist Athanasios Paul, bassist Colins Rey Regisford, and drummer Kaleen Reading—suggest that if patience is a virtue, then so is pop-punk.

在他們的第三張唱片《Patience》中，Mannequin Pussy在喧囂和寂靜之間尋求到了平衡。自從與他們深愛的Emo(譯者注:一種歌曲類型，風(fēng)格接近朋克，但歌詞更細(xì)膩化，多沮喪類表達(dá))制作人Will Yip合作以來，《Patience》是他們迄今為止最具擴張性的專輯，當(dāng)然了，不僅僅是因為這是他們第一張超過20分鐘的專輯。雖然有些歌曲在60秒內(nèi)就能播放完，但大多數(shù)歌曲都能被發(fā)揮的淋漓盡致。那些曾經(jīng)被埋藏在爛泥下的復(fù)雜旋律，現(xiàn)今已經(jīng)被洗凈打磨，閃耀著灼灼的光芒，穿透沙礫。吉他手兼歌手Marisa Dabice，吉他手Athanasios Paul，貝斯手Colins Rey Regisford和鼓手Kaleen read的經(jīng)歷證明，如果耐心是一種美德，那么流行朋克也是。

Ironically, then, the stories on?Patience?demand urgency as Dabice struggles to extract herself from toxic relationships or attitudes. Sometimes Dabice’s body is not her own, either because someone has possessed it or she has temporarily dissociated for escape. She recounts this loss with unflinching candor, describing herself being pinned down, shoved against the sink, spit on, and objectified. “When you hit me it does not feel like a kiss like the singers promised,” she murmurs on “Fear + Desire.” Those words,?so blasély sung by the Crystals in 1963, were just “a lie that was written for them,” a twisted logic we tell ourselves to survive.

具有諷刺意味的是，當(dāng)Dabice努力從病態(tài)的關(guān)系和態(tài)度中掙脫出來時，《Patience》中所敘述的故事就會缺乏緊迫性。有些時候，Dabice的身體并不是她自己的，要么是因為有人占據(jù)了它，要么是因為她為了逃避而暫時游離。她以毫不畏縮的坦率闡述了這次失敗，描述了自己被碾壓于地，被推搡至水槽邊，被唾沫淹沒，被物化?！爱?dāng)你打我的時候，感覺不像歌手那樣承諾的親吻，”她低聲吟道，“恐懼+欲望(譯者注:此處雙關(guān)，專輯中有首同名單曲)?！?963年Crystal(水晶合唱團(tuán))娓娓道來的那些旋律，只不過是“為他們寫的一個謊言”，是我們告訴自己仍要生存下去的扭曲邏輯。

The effect is radically complex, championing the ability for women to be weak and strong, fragile and larger-than-life, often at once. These contradictions are expressed in the title of “Fear + Desire,” which stretches violence into a forlorn expanse that ends in a blast of feedback. The subsequent “Drunk I,” on the other hand, jumps between throat-shredding rage and airy backing vocals so quickly that the song ends before the dynamic has a chance to settle. The biggest moment of catharsis arrives via the slow-burning “High Horse.” As Dabice painfully conjures the details of an abusive relationship—hot breath, a taste that lingers on the teeth—the subdued rhythm section winds tighter and tighter through ambient haze. Finally, her voice blasts off. “I fucked up,” she screams in an eruption of pain and regret. But as a final, crucial gesture of defiance, Dabice proudly reclaims her self-importance. “Your world’s on fire, as I watch up from my high horse/Your world’s on fire, and I walk away,” she howls. That last image, of Dabice calmly strolling away from the burning ruins, is delivered with a softness that lingers on long after the song itself.

這種影響是極其復(fù)雜的，它支持女性變得既柔弱又堅強、既委曲求全又獨立自強，并且，是同時具備這些特質(zhì)的能力。這些看似矛盾的特征在單曲“Fear+Desire”的標(biāo)題中得到了表達(dá)，這個標(biāo)題將暴力延伸到一片荒蕪之地，并以一連串的反饋告終。另一方面，隨后的單曲“Drunk I(醉1)”在嘶吼的憤怒和輕快的伴音之間跳來跳去，節(jié)奏如此之快，以至于這首歌還沒等節(jié)奏穩(wěn)定下來就結(jié)束了。給人印象極深的宣泄時刻通過緩慢燃燒的“High Horse(趾高氣昂)”到來。Dabice痛苦地回憶起一段虐待關(guān)系的細(xì)節(jié)——熾熱的氣息，一種縈繞在蓓蕾上的味道——柔和的節(jié)奏在周圍的迷霧中越吹越緊。終于，她的聲音爆發(fā)了?！拔腋阍伊??！钡鳛榉纯沟淖詈笠粋€關(guān)鍵姿態(tài)，Dabice自豪地重申了自己的重要性?！澳愕氖澜缰鹆?，而我在一旁傲慢地隔岸觀火/你的世界著火了，我大步走開?！彼缓鸬馈Ｗ詈笠粋€畫面，Dabice平靜地從燃燒的廢墟中漫步離去，在歌曲結(jié)束的很長一段時間里，都有一種溫柔在余音繚繞。

Because what happens after you walk away? How do you unlearn self-hate and how do you begin to dismantle the systems that teach and uphold that behavior? This seems to be the part where patience is most crucial. On the gigantic, grungey lead single “Drunk II,” Dabice wrestles with the end of a relationship, drinking and partying to numb her pain. “I still love you, you stupid fuck,” she spits, exasperated and wistful. Finally, after much self-loathing, she comes to terms with heartbreak, realizing that on some level a breakup is an important expression of truth. “Cream” practically crawls out of its skin with pummeling harshness as Dabice promises to treat herself better. “Gonna feel love/I want it to be everything/And unlearn to be like that,” she sings before bursting into a torrent of enraged Spanish.

那么你離開之后會發(fā)生什么?你如何忘卻自我憎恨，如何拆除和維護(hù)導(dǎo)致這種行為的系統(tǒng)?這似乎是耐心最重要的部分。在“Drunk II(醉2)”中，Dabice在結(jié)束一段戀情后掙扎著，一邊灌醉自己，一邊參加派對，試圖麻痹自己的痛苦。“我還是愛你的，你這個笨蛋。”她憤怒又不舍地罵出這句歌詞。最后，在多次自我厭惡之后，她終于接受了心碎的事實，意識到在某種程度上，分手是真相的重要表達(dá)。當(dāng)Dabice承諾要好好地對待自己的時候，“Cream(奶油)”幾乎從她的皮膚里涌現(xiàn)出來，告訴她，這根本不可能?！拔乙ジ惺軔?我想要它成為一切/不要永遠(yuǎn)變成那樣，”她唱著，然后爆發(fā)出一陣憤怒的西班牙語。

But even when Mannequin Pussy venture to truly dark places,?Patience?is such a pure joy to listen to. In its biggest moments, Dabice’s raw edge is matched by equally colossal riffs, explosive energy, and surging momentum.?Patience, is without a doubt, one of the year’s strongest punk rock records. Mannequin Pussy prove that there is still so much untapped potential in the genre, and that the people who are doing the heaviest excavating are the ones?most?often?overlooked.

但即使是當(dāng)Mannequin Pussy到真正黑暗的地方去開始探險，《Patience》帶來的仍然是一種純粹的快樂。在它最重要的時刻，Dabice那未加工的聲線剛好和同樣重要的反復(fù)、爆炸的能量、洶涌澎湃的勢頭完美配對?！禤atience》，毫無疑問，是今年最強的朋克搖滾唱片之一。Mannequin Pussy證明了這一流派仍有很多未開發(fā)的潛力，而那些最用心雕刻的人往往是那些最常被忽視的人。

As if to say that there is always light at the end of the tunnel,?Patience?concludes with some levity. On the hooky “Who You Are,” Dabice gives a pep talk to her younger self, her once scorched-earth attitude replaced by gentle empathy and a surge of gleeful power chords. The optimism pours over to closer “In Love Again,” a hopeful song about starting over and rediscovering the intoxicating thrill of new love. “I’m so happy/Laying here with you/I’m in love with you,” Dabice sings. Her voice fades away and a light congregation of handclaps and keys begin to soothe the wounds that were so raw in the album’s opener. Patience is never easy, but Mannequin Pussy make it worth it.

就好像說隧道的盡頭總會有光明一樣，《Patience》以某種輕率而告終。在簡單動聽的“Who You Are(做自己)”中，Dabice給年輕的自己打氣，她曾經(jīng)消極的態(tài)度被撫慰人心的同理心和充滿歡快的力量的和弦所取代。樂觀情緒涌向“In Love Again(再相愛)”，這是一首充滿希望的歌曲，講述的是重新開始，重新發(fā)現(xiàn)新戀情中令人陶醉的激情?！拔液芨吲d/和你躺在一起/我愛上了你，”Dabice唱道。她的聲音漸漸消失，一堆輕拍和音符開始撫平這張專輯開場時的傷痛。保持耐心從來都不是件容易的事，但是Mannequin Pussy讓這件事變得值得。