搬運自：微信公眾號【評論搬一堆】（在原文基礎上添加了英語原文與排版調整）?

翻譯：Tyler Smith

校正：Ryan-Chopin

排版：Ryan-Chopin

From clumsy stadium rock to unacceptable ska, Logic’s overly ambitious album is a painful slog.

粗糙的體育場搖滾到生澀的斯卡樂，Logic這張專輯可謂費力不討好

Four minutes into “Bohemian Trapsody,” the hamfisted opener of?Logic’s new album,?Supermarket, and you find yourself inside a never-ending Pro Tools session. The track’s acoustic guitar and four-on-the-floor bass—which sound ripped from a karaoke instrumental of a Gorillaz song—have faded away to make room for a trip-hop drum break that then falls into a stuttering Trap drop.

新專輯《Supermarket》的開場曲目“Supermarket”是一首四分鐘的“波西米亞狂想曲”，但模仿得只能說是笨手笨腳，聽眾仿佛置身一個永無止境的工具殘缺的演奏會。這首歌里的原聲吉他和四四拍貝斯聽起來像是從卡拉OK里“街頭霸王”（一個虛擬樂隊）的一首歌中硬生生截出來的，之后便是吹泡鼓的專場，緊接著是Trap橋段的高潮部分。

In all, “Bohemian Trapsody” contains three beat changes, no rapping, and a space-rock chorus. It is also nowhere near the most ridiculous thing recorded for a project that also features an acoustic?A Tribe Called Quest?cover, multiple?Thom Yorke?impressions, and two?Mac DeMarco?features. From clumsy stadium rock to reggae-tinged ska,?Supermarket?is a painful journey across guitar music of the past five decades and makes Lil Wayne’s?Rebirth?look well-thought-out in comparison.

而“波西米亞狂想曲”原曲包含三種節(jié)拍變化和太空搖滾的副歌，但沒有說唱。十分荒謬的是，這張專輯采樣了A Tribe Called Quest樂隊原聲專輯的封面，零零散散地模仿了Thom Yorke，效果卻略顯滑稽，此外，居然還有兩處Mac Demarco的特征。從笨拙的體育場搖滾到雷鬼風的斯卡樂，《Supermarket》是過去幾年失敗的吉他演奏集合，它讓同期回歸的Lil Wayne顯得選對了時候。

The album stems from Logic’s novel of the same name, which quickly became the No. 1 bestseller on Amazon despite the rapper admitting that?he’s not much of a reader. That sort of chutzpah has always been at the center of his artistry, which is based around regurgitating the styles of abstract, genre-pushing MCs into earnest, easier-to-digest forms. This dumbing-down process has allowed him to reach younger audiences who crave the wordplay of golden-age hip-hop but aren’t necessarily interested in its grittiness. It’s also given him free rein to be as nerdy and uncompromising as he’s wanted to be, from releasing?an album that takes place in outer space 100 years in the future?to?a record narrated by astrophysicist Neil deGrasse Tyson?to a Wu-Tang Clan tribute?featuring every living member of the group. But the vital difference between those projects and?Supermarket?is that his rubbery rapid-fire delivery, the one skill that earned him enough points as an MC to continuously reinvent himself, is almost entirely absent here.

這張專輯靈感來自于Logic的同名小說，它曾迅速登頂亞馬遜的暢銷書榜單，然而，這位嘻哈歌手坦言他自己并沒有讀過很多書。這種勇于嘗試的膽量一直都是Logic藝術風格的核心，也就是將抽象而流派化的說唱轉化為更真誠的易消化的形式，這種簡化的過程使他能夠接觸到更年輕的聽眾，這些聽眾追求鼎盛時期的嘻哈中的文字游戲，卻并不在乎其創(chuàng)作過程中的艱辛。同時，這份膽量也讓他放飛自我變得書呆子般執(zhí)拗。一張應存在于外太空的未來式專輯，天體物理學家Neil deGrasse Tyson講述的歷史記錄以及Wu-Tang Clan樂隊在世成員創(chuàng)作的頌歌，列舉的這幾項與專輯《Supermarket》最大的不同點是Logic富有彈性，急速射出的吐詞方式，這一點充分證明他是一個熟練的說唱歌手并且在不斷地自我創(chuàng)新，不過不幸的是Logic在這張專輯中也喪失了這一大優(yōu)勢。

In its place are long stretches of dull, dried-out singing by a guy who can’t sing. Logic’s frail hum mostly comes off lethargic, like on the monotonous “Best Friend,” a glossy Southern rock track without any drama, or the title track, a pre-fab alt-rock anthem that imagines a world where Thom Yorke was a literal?creep: “I’m a weirdo, I’m a freak/I wish I could watch you in your sleep.” The Maryland MC is shameless in his desire to recreate the sounds of influential bands, at some points going so far as to clumsily call them out by name. Rather than coming off like his frontman idols, though, he resembles the lead singer of a cover band on a cruise ship, failing to capture any of the magic of the original material.

專輯里似乎有一個不會唱歌的人發(fā)出沉悶的干吼，Logic微弱的哼唱無精打采，例如無聊的“Best Friend”，作為一首浮夸的南方搖滾，卻無任何戲劇性可言。再比如專輯同名曲，一首組合式的alt-rock頌歌，在這歌里，Thom Yorke變成了個討厭鬼：I’m a weirdo I’m a freak/I wish I could watch you in your sleep.”（我是個怪人，我是個狂人，我希望能看著你入睡。）這位來自馬里蘭州的嘻哈歌手厚著臉皮地對著名樂隊們進行東施效顰，有時甚至蠢到把他們的名字都叫出來了。他并未能夠表現(xiàn)的像他所致敬的偶像一般，反而像極了在游船上表演的翻唱樂隊，總是能夠把原曲的精髓拋掉。

On “Lemon Drop,” for example, he hilariously tries out the funky scat of?Blood Sugar Sex Magik-era Red Hot Chili Peppers, only to come off more like Weird Al’s?1993 impression of the band. And then there’s the two DeMarco-produced tracks, which could serve as parodies of the Canadian singer-songwriter’s sound in how formulaic and insular they sound; it’s like Logic is singing over looped versions of past releases rather than working with DeMarco to create something new.

舉個例子，在“Lemon Drop”這首歌里，他嘗試著再現(xiàn)紅辣椒樂隊的Sugar Sex Magik-era Red中funk式的擬聲唱法，但卻弄巧成拙，把他表現(xiàn)成了音樂惡搞專家1993的滑稽樂隊表演。還有兩首DeMarco制作的單曲，公式化的套用和僵硬的編排只能說是對這位加拿大唱作人自己十分拙劣的模仿。貌似Logic仍在吃老本而毫無創(chuàng)新。

But the most egregious moments on the album come when Logic tries to tack on hip-hop elements as afterthoughts, most painfully on “Can I Kick It,” a soulless A Tribe Called Quest cover. There’s also “Baby,” the millionth rework of Biz Markie’s 1989 classic “Just A Friend” and probably one of the worse versions yet, as well as a handful of Trap drops slapped on the backends of songs, as if during the album’s mastering session Logic had some last-minute concerns about the viability of dropping a project without any hi-hats. In that moment, maybe he realized?his unchecked ambition had finally gone too far.

但這張專輯最過分之處還是在于Logic居然把說唱元素作為一種補救品，對A Tribe Called Quest毫無靈魂的致敬之作“Can I Kick It”最能體現(xiàn)這一慘痛的事實。還有“Baby”這首歌，這是不知道第幾次對Biz Markie 1989年的經典之作“Just A Friend”的改編，但這首可能是最糟糕的一個版本。在許多歌里，Trap高潮隨意地拼接到歌曲的后半段，仿佛在專輯每首歌的制作階段，Logic在每首歌的最后一分鐘都會產生一些“奇思妙想”：說不定能插進一段沒有踩镲的東西呢？在那一刻，他很難意識到自己過于放任的追求實在是有些過火了。