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：Whitney.L

校正：Cyana Lu/Ryan-Chopin

B+

Avril Lavigne’s twice-married, pushing 30—and speaking for sloppy teens like the Lorax who grabbed the axe. We’re supposed to hope for more from a star releasing her fifth album (which is streaming now on iTunes, a week ahead of its release), never mind one doing it at a time when even music’s biggest brats get folks clucking about high-toned topics like appropriation and blasphemy.

今年快30歲的艾薇兒，在經(jīng)歷過(guò)兩段婚姻之后，卻還保存著慵懶的少年感，仍像Lorax（動(dòng)畫片《The Lorax》中的主人公）一樣歡快地?fù)]霍著一切。當(dāng)樂(lè)壇的大腕們還在樂(lè)此不疲地對(duì)侵權(quán)和褻瀆此類高深的話題展開討論時(shí)，正如我們盼望了許久的那樣——艾薇兒已經(jīng)在準(zhǔn)備發(fā)行她的第五張專輯(目前上架于iTunes，比約定發(fā)行時(shí)間提前一周)。

Avril, who turned 29 last month, can’t compete with Miley and Kanye when it comes to making a spectacle of pop spectacle. But the irresistibly zippy, perceptive and, on two (possibly three) occasions, deeply weird Avril Lavigne reminds us that maturity sometimes means doubling down on what’s expected of you—even when that involves rapping about the “motherf—ing cops” on a fleet little song called “Bitchin’ Summer.”

上個(gè)月剛過(guò)完29歲生日的艾薇兒，在如何演繹流行音樂(lè)方面，可能無(wú)法與麥莉和坎爺相比。但艾薇兒用她不容忽視的反應(yīng)力和敏銳的洞察力，數(shù)次提醒著我們，成熟有時(shí)意味著，未來(lái)的成就將更值得我們期待——即使她依舊在“Bitchin’Summer”中不顧一切地唱到“motherf-ing cops”。

It takes a village to write a proper teen album, and here, Avril mainly relies on her new hubby, Nickleback frontman Chad Kroeger, and two other non-Swedes who’ve done time in bands, Martin Johnson and David Hodges. But when she shouts about living “l(fā)ike rock stars” in “Here’s to Never Growing Up,” the biggest and best of her first three singles from the album, it’s from the sloshed perspective of hellion high schoolers, not crusty groupie seekers.

要制作出一張適合青少年的專輯，要有適當(dāng)?shù)膭?chuàng)作環(huán)境從而生發(fā)靈感。但在這張專輯中，艾薇兒從她的新任丈夫，Nickleback的主唱Chad Kroeger，和另外兩位在樂(lè)隊(duì)待過(guò)的樂(lè)手，Martin Johnson和David Hodges中獲得了靈感。艾薇兒率先發(fā)行了三首單曲，當(dāng)她在最出色的一首“Here’s to Never Growing Up”中吶喊到“l(fā)ike rock stars（像搖滾明星一樣活著）”的時(shí)候，她就已經(jīng)是從一個(gè)散漫的高中生角度出發(fā)，而不是以一個(gè)固執(zhí)的追星族來(lái)演繹這句話。

In fact, hardly any of Kroeger’s oiliness seems to have seeped into Avril’s sound. Beyond, that is, their monster duet “Let Me Go,” which might be deeply weird because it is newlyweds singing what seems to be a breakup ballad, or might be completely unremarkable because it sounds like a Nickleback song. And although Hodges cofounded Evanescence, Avril’s actually done away with the doomy elements she borrowed from that band on her last disc, Goodbye Lullaby.

事實(shí)上，Kroeger的聲音幾乎沒(méi)能和艾薇兒的聲音融合在一起。而且，他們的合唱歌曲“Let Me Go”聽起來(lái)也有些奇怪，因?yàn)檫@對(duì)新婚夫婦唱的是分手歌謠，也許人們根本沒(méi)有刻意去注意這些，因?yàn)檫@首歌完全就像Nickleback的風(fēng)格。盡管Hodges已經(jīng)跳槽到了Evanescence樂(lè)隊(duì)，但艾薇兒實(shí)際上已經(jīng)褪去在上一張專輯《Goodbye Lullaby》中受到Nickleback的消極影響。

What we do hear sounds like tomboy Taylor Swift, or Paramore for the everygirl. (And on a distant shore, Sheryl Crow watches someone peel the labels off his bottle of Bud.) The songs come in three main categories. There’s straight-up trouble-teen pop rock, like the near-perfect “17,” in which “stealing beers out of the trailer park” leads to “flicking lighters just to fight the dark,” and the hyper acoustic thrum benefits from a spritz of the wistful. Out in left field you’ll find category Come Again?, containing two deeply weird songs: “Hello Kitty,” a dubstep track that seems to acknowledge its own tokenism by adopting a “J-Pop American Funtime Now!” sheen (and whose title may or may not enclose a double entendre that in any case I’d rather not entertain); and the kohl-black but super-bouncy “Bad Girl,” which features Marilyn Manson croaking and Cookie Monstering about his pervy “daddy” fantasies while Avril invites him to “do whatever” and more. The weirdest thing? The pair kick so hard that they jar the misgivings right out of your head. And then, of course, the hooks rush in.

專輯甚至有點(diǎn)Taylor Swift的風(fēng)格，或是Paramore樂(lè)隊(duì)。(在遙遠(yuǎn)的海岸上，Sheryl Crow看到有人把她百威啤酒上的標(biāo)簽撕下。)這些歌曲分為三類。一類是一些直言不諱的問(wèn)題少年所唱的搖滾樂(lè)，比如近乎完美的“17”，從“steal beers out of the trailer park”（從停車場(chǎng)偷出啤酒）到“flicking lighters just to fight the dark”（為了迎接黑暗而點(diǎn)燃火焰），高頻率的打擊樂(lè)使其音樂(lè)充滿了噴薄而出的希望。再看下去，你會(huì)發(fā)現(xiàn)有一個(gè)類別是“Come Again?”其中有兩首非常怪異的歌曲:“Hello Kitty”，一首dubstep風(fēng)格的音樂(lè)，并且似乎在承認(rèn)自己是“J-Pop American Funtime Now!”的光榮象征（不知道這個(gè)歌名是不是雙關(guān)）；還有一首超級(jí)暗黑的歌曲“Bad Girl”，歌曲中Marilyn Manson一直哇哇亂叫，艾薇兒邀請(qǐng)來(lái)“隨心所欲”的Cookie不停地講著他對(duì)變態(tài)“爸爸”的幻想。更為奇怪的是，這首歌的節(jié)奏太強(qiáng)烈了，以至于把你頭腦中的疑慮都震碎了。隨之而來(lái)的又是一波接一波的沖擊。

Probably no one enjoys the thought of Avril Lavigne and Marilyn Manson having to come up with a safe word. (Sk8tr Uncle?) But the whole thing’s so over the top you can’t hate it. Or at least, if you do hate it, double check to make sure you’re not also railing against “slutty” Halloween costumes, because you might just be misdirecting some internalized rage.

應(yīng)該沒(méi)有人會(huì)去思考出一個(gè)形容艾薇兒和 Marilyn Manson 的保險(xiǎn)詞。(叫Sk8tr Uncle?) 這件事雖然有些過(guò)火，但你卻沒(méi)法心生厭惡?；蛘哒f(shuō)，如果你真的很討厭它，那就再聽一遍、再感受一遍，確保你不是在抱怨那些“淫蕩”的萬(wàn)圣節(jié)服裝，因?yàn)槟憧赡苤皇窃诠室庹依碛尚箲崱?/p>

Which brings us to the last category of tracks on the album—the sexual confusion songs. Avril’s commitment to the teen point of view finally yields this: “You Ain’t Seen Nothing Yet,” a pleasure anthem as earnest as anything by T. Swift that nevertheless finds its protagonist rounding “third base and headed for a home run”; and “Give You What You Like,” a sensual-sounding ballad that hints at all the ways people trade sex and affection for attention (and cigarettes). Avril’s no longer bemoaning complications, she’s sticking her nose right in them—and very much revealing her grown-woman wisdom. B+

而專輯的最后一部分是一些關(guān)于“性”的歌曲。艾薇兒以青少年的角度做出解釋:“你只是無(wú)知”。這是一首歡快的圣歌，就像Taylor Swift的歌曲的一樣真摯純潔，不過(guò)，這其中的主題卻是“third base and headed for a home run”（奮力擊向全壘打）；“Give You What You Like”是一首聽起來(lái)很動(dòng)聽的抒情曲，卻暗示著人們要如何用性和情緒來(lái)?yè)Q取關(guān)注(以及香煙)。艾薇兒不再哀嘆，而是學(xué)會(huì)了去深入地探討自己的困境——這也充分展示了一位成熟女性的智慧。