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：Simon Joanne

校正：Ryan-Chopin

排版：Peter D

Last spring,?FKA twigs?revealed in a post on Instagram that she had to have?six fibroid tumors removed?earlier that winter. “Thank you precious body for healing... you are a wonderful thing, now go create and be other once again,” she wrote. Those words were accompanied by a video of her cautiously practicing pole dancing moves, displaying pride in the emerging strength of her body after surgery. Ever since, she has been intermittently posting these videos of her pole dancing progress—in between clips of her martial arts training—showing her becoming more and more skillful and powerful. Now, one year after her operation, on her breathtaking new single “Cellophane,” twigs strips back her usual glitchy and twitchy electronic production to reveal her hypnotizing voice, more exposed than ever before.

去年春天，F(xiàn)KA twigs在Instagram上發(fā)布了一條貼文，表示自己在上個(gè)冬天的早些時(shí)候做了手術(shù)，醫(yī)生從她身體內(nèi)取走了六個(gè)纖維瘤?！案屑み@珍貴的身體能夠逐漸康復(fù)……你是美好之物，現(xiàn)在是時(shí)候讓這副身體繼續(xù)創(chuàng)造和承擔(dān)其他角色了。”她寫道。這條貼文被附上了一支錄像帶，在這個(gè)錄像帶中，twigs做了一場(chǎng)動(dòng)作謹(jǐn)慎的鋼管舞蹈，以此自豪地展示了手術(shù)后自己的身體力量。從此之后，twigs開始時(shí)不時(shí)把一些自己的鋼管舞訓(xùn)練視頻片段上傳到網(wǎng)上（有時(shí)候還會(huì)有練武術(shù)的片段夾雜其中），從中可以明顯看出，twigs的技巧在不斷地進(jìn)步。現(xiàn)在據(jù)手術(shù)結(jié)束已經(jīng)一年，twigs攜新單“Cellphane（玻璃紙）”回歸，在這首單曲中，twigs褪去了她過(guò)去讓人眼花繚亂的電音制作的華麗外衣，轉(zhuǎn)而讓其自身充滿催眠之力的嗓音得到前所未有的展示。

The musical elements accompanying twigs are minimal: there’s the warbling piano that moves at the glacial pace of Erik Satie, someone lightly making chugging noises through their teeth, the soft presence of strings, a random lurch of squelching mechanics. Synths drag in and out, sounding like a massive, rumbling UFO softly circling the song, deciding whether it wants to beam her up. But “Cellophane” doesn’t need much, as twigs’ delicate voice is just impossibly moving here. In between short gasps, she sings uncomplicated words that seem drenched with complicated feelings. “I don’t want to have to share our love,” she sings, like the words are burning the inside of her mouth. But by the end of the song, her falsetto soars, calling upon a philosophy that twigs has often invoked in her songwriting: Vulnerability is your greatest strength.

歌曲中的音樂(lè)元素都異常簡(jiǎn)單：以Erik Satie的冰川速度行進(jìn)的鋼琴延音，以口齒發(fā)出的氣流摩擦聲音，弦樂(lè)的輕微響聲，一串無(wú)規(guī)律的機(jī)器噪音。合成器聲音的進(jìn)入和淡出，聽上去就像是一架無(wú)比龐大、隆隆作響的UFO在圍繞著這首歌曲飛行，在商量著是否要將twigs通過(guò)光束吸上來(lái)。但“Cellophane”并不需要過(guò)度的制作，twigs美妙的聲音已經(jīng)能夠支撐起這首歌曲。喘息之間，她用簡(jiǎn)單的歌詞唱出了復(fù)雜糾纏的情緒?！癐 don’t want to have to share our love（我并不想讓我們之間的愛情成為必須與他人分享之物）”她吐字的方式讓人感覺(jué)這些歌詞似乎在灼傷著她的嘴巴。但在整首歌結(jié)束之前，twigs用假聲突增了力度，依舊呼吁著貫穿自己作品的哲學(xué)——你的脆弱其實(shí)是你最強(qiáng)的力量。

In the accompanying video, directed by?Bj?rk?collaborator Andrew Thomas Huang, twigs performs a stunning lyrical pole dancing routine, pulling off complicated spins and inverted holds at a level of proficiency that makes it hard to believe that she only started learning the art over a year ago. (In a statement, she revealed that she took it up for the sole purpose of including it in the “Cellophane” video.) She pulls herself high on the pole until it becomes a vine, and she encounters a robotic alien fly that has her face. After it kicks her down into an earthy underworld, scrambling women rush to cover her skin with red clay. It’s a mashup of the Icarus myth and the Phoenix myth: twigs’ fall and her rebirth.

在這支由Bj?rk的合作伙伴Andrew Thomas Huang執(zhí)導(dǎo)的音樂(lè)錄像帶中，twigs表演了一套抒情的鋼管舞動(dòng)作，以非常精準(zhǔn)的水品完成了極其復(fù)雜的旋轉(zhuǎn)和倒置，她的舞姿完全不像出自一個(gè)只學(xué)了一年鋼管舞的初學(xué)者（她曾經(jīng)說(shuō)過(guò)她學(xué)鋼管舞的唯一目的就是為了這只音樂(lè)錄像帶）。

在舞蹈過(guò)程中，她不斷將自己拉到鋼管的上端，直至鋼管上端化成了藤蔓，然后一個(gè)和她擁有相同臉龐的蟲形機(jī)器人出現(xiàn)了。然而twigs卻用穿著高跟鞋的腳踢進(jìn)了這個(gè)機(jī)器人的臉，然后她立馬墜入了一個(gè)泥濘的地下世界，周圍爬行著的幾個(gè)女人上前來(lái)用紅色的粘土涂遍twigs的全身。這是伊卡洛斯神話和菲尼克斯神話的升華，然后混雜在一起的產(chǎn)物——這就是twigs的跌落與重生。