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）

這張專輯的靈感源于她自己，Halsey的第三張專輯將把孤獨的自我意識轉(zhuǎn)變?yōu)橐环N力量，但是這張專輯的某些高光時刻卻被流行音樂的單調(diào)所掩蓋。

After decades of pop-culture hegemony, the gendered tropes around break-ups have finally been supplanted. Instead of tubs of ice cream and days spent wallowing on a couch, modern heartbreak is mitigated by the promise of a social media glow-up and encouraged by a culture obsessed with both wellness and politicizing the personal. A breakup is not the failure of a relationship, this contemporary approach preaches, but an opportunity for growth, no matter how uncomfortable. Or maybe it’s an expression of heteronormative hostility; men, we learn, are trash. Either way, pain can be a messy, divinely timed intervention from the universe.?Manic, the third album by?Halsey, is an unlikely, but effective, manifestation of this new convention. I can imagine many listeners finding comfort across its 16 songs, and similarly bridging angst and self-discovery to navigate personal crises of their own.

在流行文化統(tǒng)治了幾十年之后，關(guān)于分手的性別化比喻終于被取代了?，F(xiàn)代意義上的心碎不再是一桶又一桶的冰淇淋，也不再是整天坐在沙發(fā)上一動不動，社交媒體的興起緩和了人們的這種痛苦，以及注重健康和個人政治化的文化氛圍也支撐著心碎現(xiàn)代化現(xiàn)象?，F(xiàn)在人們普遍認為分手并不意味著一段失敗的關(guān)系，而是一個成長的機會，不管這有多么讓人不爽。也可能是異性戀敵意的一種表達；我們知道的，男人都是大豬蹄子。不管怎么說，痛苦可能是來自宇宙的某種混亂、神圣的定時干預(yù)。雖說可能性不大，但Halsey的第三張專輯《Manic》卻有效地體現(xiàn)了這種新的傳統(tǒng)。我可以想象，許多聽眾在這16首歌中找到了一絲慰藉，并以類似的方式在焦慮和認識自我之間架起橋梁，以應(yīng)對他們自己的個人危機。

A handful of?Manic’s first six singles, among them the “Cry Me a River”-interpolating Billboard No. 1 “Without Me” and the country-pop manifesto “You Should Be Sad,” are rooted in the exploration of deep pain and what Halsey has described as an interest in “female rage.” That explains the lingering influence of artists once written off as angry women: Shania Twain, Alanis Morissette, and pre-acrobatics P!nk. (That more than a third of the album’s songs were released in its lead-up points to an altogether different convention: the pop album as a compilation of market-tested singles.) Notably, Halsey describes the album as the first project she has written as herself, New Jersey’s Ashley Frangipane, and not under the protective cover of her alter ego. Unlike 2017’s?hopeless fountain kingdom?and 2015’s?BADLANDS,?Manic?is not structured around an elaborate fictional framework.

《Manic》的前六首先行單曲，包括了登頂Billboard排行榜第一名的采樣了“Cry Me a River"的“Without Me”和鄉(xiāng)村音樂宣言“You Should Be Sad”，它們都植根于對深層痛苦的探索，以及Halsey對“女性憤怒”的興趣。這就解釋了為什么那些曾經(jīng)被描繪成憤怒女人的藝術(shù)家們依舊影響著我們，比如像Shania Twain、Alanis Morissette還有P!nk。(專輯中超過三分之一的歌曲都已經(jīng)發(fā)行過了，它們都把矛頭指向截然不同的傳統(tǒng)：流行專輯是由符合大眾口味的單曲組合而成的)值得注意的是，Halsey稱這張專輯是她以自己的身份而創(chuàng)作的第一個作品，她是新澤西州的Ashley Frangipane，而不是在另一個自我的保護之下。與2017年的《hopeless fountain kingdom》和2015年的《BADLANDS》不同的是，《Manic》并沒有建立在一個精心設(shè)計的虛構(gòu)框架之上。

For Halsey, autobiography offers opportunity; her ability to translate the arc of her life—schoolyard misfit turned aspiring bohème turned Tumblr microcelebrity turned misunderstood pop star—is among the qualities upon which she has established her career. She does well in framing some of those personal experiences as concepts, on standout songs like the pop-rock drunk-texting anthem “3am” and the melodramatic revenge drama “killing boys,” both of which manage to flip lonely self-awareness into a kind of strength. On the former, a song that deserves a bright future as a karaoke classic, she begs: “My insecurities are hurtin’ me/Someone please come and flirt with me.” Who among us hasn’t been there?

對Halsey來說，她的自身經(jīng)歷為其提供了音樂機會。她有能力將自己的人生軌跡從校園里的不合群轉(zhuǎn)變?yōu)橛斜ж摰牟ㄏＣ讈喨?，從Tumblr上的小網(wǎng)紅轉(zhuǎn)變?yōu)椴槐蝗死斫獾牧餍忻餍?，這些都是她奠定其音樂生涯的一部分品質(zhì)。她擅長將一些個人經(jīng)歷當(dāng)作歌曲的靈感，比如流行搖滾的酒后短信圣歌“3am”和情節(jié)夸張的復(fù)仇劇“killing boys”，這兩首歌都成功地將孤獨的自我意識轉(zhuǎn)化為力量。在“3am”中，她唱道：“My insecurities are hurtin’ me/Someone please come and flirt with me.（我的不安全傷害了我/快來個人來和我打情罵俏吧。）”我們誰又沒這樣過呢。

Sadly, some of the album’s most compelling moments are overpowered by the tedium of modern pop. There are painfully stretched ballads, overly sanitized rhythms, a hint of indeterminately “tropical” energy, and back-to-back booming hooks à la?Sia. (Halsey’s first record company was Astralwerks, the mostly electronic label with whom Sia released an album in 2004.) Alongside guest appearances from Morissette, Dominic Fike, and Suga of?BTS, Halsey’s collaborators on?Manic?include Greg Kurstin, Benny Blanco, and Jon Bellion, some of the world’s foremost hitmakers and shapers of the amorphous, chameleonic pop I’ve come to associate with sitting miserably in the backseat of a Lyft. Their presence here is felt a little too acutely.

遺憾的是，這張專輯的某些高光時刻卻被流行音樂的單調(diào)所掩蓋。痛苦延伸的民謠，過度簡潔的節(jié)奏，某種不確定的“熱帶風(fēng)格的”能量的暗示，以及帶著Sia味道的編曲（Halsey的第一家唱片公司是Astralwerks，這是一家電子唱片公司，Sia在2004年與這家公司合作發(fā)行了一張專輯)。Morissette、Dominic Fike以及BTS的Suga參與了本張專輯的演唱，Halsey在《Manic 》中的合作者還包括了Greg Kurstin、Benny Blanco和Jon Bellion，他們都是馳名世界的流行音樂制作人和塑造者，我常常想起他們坐在網(wǎng)約車后座上的悲慘經(jīng)歷。他們在這張專輯里的存在感讓人感覺有點太過強烈。

Though?Manic?features Halsey’s take on a handful of different genres—broody pop-R&B reminiscent of her early work; alt-rock-lite that is an aesthetic match to her persona; twangy country-pop sure to find a home on certain segments of pop radio—much of it has the same reflective surface and, at some points, the depth of an oil slick. The Morissette collab “Alanis’ Interlude,” which features a reference to?John Mayer’s “Your Body Is a Wonderland,” is almost too irritating to endure: “Your pussy is a wonderland,” the pair warbles, infinitely more times than necessary. It is a low point for someone who is at times a clever songwriter.

雖然Halsey在《Manic》中采用了一小部分不同的風(fēng)格——Broody Pop和R&B，這也很容易讓人想起她的早期作品；另類搖滾風(fēng)格與她的人設(shè)相匹配；在流行音樂電臺的某些部分，輕柔鄉(xiāng)村音樂氣息也有其容身之處——這張專輯的音樂都有著相同的反射面，在某種程度上，其深度就像水上浮油一樣。與Morissette合作的“Alanis’Interlude”引用了John Mayer的“Your Body Is a Wonderland”，這首歌幾乎讓人無法忍受:“Your pussy is a wonderland（你的xx宛如仙境），”兩人低聲吟唱著，次數(shù)未免過多。對于一個時而聰明的唱作人來說，這是一個低谷。

Despite some missteps, Halsey’s appeal is clear: It’s a singularly difficult time to be a young person, and she is warmly attuned to that reality. “I don’t wanna be somebody in America just fighting the hysteria,” she sings on the album opener “Ashley,” framing her personal frustrations within the broader sociopolitical context shaping our collective experiences. What does it mean to be a woman in pain in a country that dismisses you? What is the significance of loneliness in a society that seems to require it? How much compassion does a broken self deserve? On?Manic, Halsey proves she isn’t quite the radical she thinks she is. But maybe she doesn’t have to be.

盡管專輯中有一些失誤，但Halsey的吸引力非常顯而易見：對于年輕人來說，這是一個非常困難的時期，但她能熱情地適應(yīng)現(xiàn)實?！癐 don’t wanna be somebody in America just fighting the hysteria（我不想成為美國的某個大人物，成天歇斯底里地斗爭著）”她在專輯的開場單曲“Ashley”中唱道，在更廣闊的社會政治背景下，塑造了我們共同經(jīng)歷的個人挫折。在一個放棄你的國家里，一個痛苦的女人意味著什么？在一個似乎需要孤獨的社會里，孤獨又有什么意義？破碎的自我值得多少同情？在《Manic》中，Halsey證明了她并不像自己想象的那樣過激。但也許她也不必如此。