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 |?ConigliaFolle

審譯 |?Lynn Liu

排版 | Richard Z

Lana Del Rey?has become a hugely adored miserablist thanks to a perpetually wounded voice and plainspoken poetry. Her fourth album as Lana Del Rey luxuriates in warm textures and laconic tempos that recall pre-rock-era pop, her voice given Rick Nelson levels of reverb that adds ruminative weight to even her most basic observations. Shying away from the big riffs of 2013’s?Ultraviolence?and the glossy noise of 2015’s?Honeymoon,?Lust for Life?is almost like a fan service album, solidifying the idea of Del Rey as a trapped-in-space pop star of yore who happened to touch down in Los Angeles in the era of streaming music and sponsored afterparties.

因?yàn)長(zhǎng)ana del Rey不變的悲痛嗓音和歌詞中直白的詩(shī)意，她已經(jīng)成為一位深受喜愛的愁苦歌者。在Lana del Rey的第四張專輯中，她沉浸在溫暖的音樂織體和明快的節(jié)奏中，令人想起前搖滾時(shí)代的流行歌曲，（制作人）Rick Nelson給她歌聲設(shè)置了混響，這在她原本的想法上增添了沉思的力量。從13年專輯Ultraviolence的重復(fù)樂段風(fēng)格，再到15年Honeymoon中絲滑的騷動(dòng)，相比之下，Lust for life就像一張粉絲專屬的專輯一樣，再次奠定了她作為一名昔時(shí)流行音樂巨星的角色，曾因身處洛杉磯這一流媒體音樂與狂歡之城而名聲大噪（此處是指她從演藝模特圈轉(zhuǎn)向歌壇，并且轉(zhuǎn)型成功）。

For much of the record, Del Rey sounds at her most contented when she’s indulging nostalgic impulses, whether her own or borrowed. Allusions to her previous records dot the lyrics; the spacey, surprisingly touching “Heroin” is littered with references to Charles Manson and M?tley Crüe. The hiccuping “Coachella – Woodstock in My Mind” portrays being in the moment as an impossible dream, with the watercolor portraits of the distant past as an ideal to match. From it’s title on down, “Tomorrow Never Came” reaches for the “Beatles-esque” tag, and it largely succeeds: Sean Ono Lennon produced the track, performed the “Across the Universe”-echoing instrumental and provides a vocal track that brings to mind his dad’s shaggier outings.

Lust for life采用了Walker Brothers六十年代憂郁的音樂風(fēng)格，通過單純的trap音樂觸感，影射當(dāng)代社會(huì)問題，并且偏好時(shí)長(zhǎng)稍長(zhǎng)的歌曲。這張專輯內(nèi)容充實(shí)但又有留白，還暗藏著讓人眼前一亮的小驚喜：“當(dāng)世界交戰(zhàn)之時(shí)我們依然在跳舞，”Del Rey借此表達(dá)了對(duì)國(guó)家前途的擔(dān)憂，巴恰塔吉他悄悄營(yíng)造著焦慮的氛圍。

Stevie Nicks drops by for the mournful “Beautiful People, Beautiful Problems,” which could be a thesis statement for Del Rey’s career up to this point. The flashy cameos by A$AP rocky and Playboi Carti on the spiky “Summer Bummer” and the fever-dreamy “Groupie Love” seem to underscore this point – their verses aren’t in dialogue with their host as much as they are using her as a platform for self-promotion. (At least the Weeknd sounds intrigued by the idea of being in Del Rey’s orbit on the glittering, glacial title track)

在專輯中的很多曲目，Del Rey沉浸于回憶里時(shí)的音樂聽起來是最為愉悅的，不管這份回憶是自己的還是他人的。她在歌詞中暗示自己之前所發(fā)行的歌曲；富有模糊、感人的”Heroin”中借鑒了Charles Manson和M?tley Crüe的作品。聽起來斷斷續(xù)續(xù)的 “Coachella – Woodstock in My Mind”展現(xiàn)了她實(shí)現(xiàn)自身夢(mèng)想時(shí)的難以置信之感，也描繪了觸不可及的遙遠(yuǎn)過去。下一首單曲 “Tomorrow Never Came”試圖貼上披頭士的標(biāo)簽，它很大程度上也實(shí)現(xiàn)了目標(biāo)： Sean Ono Lennon制作了這首單曲，同時(shí)也表演了“Across the Universe”——富有回響的伴奏和預(yù)制的聲軌讓人想起他父親粗糙的皮膚。 Stevie Nicks擔(dān)當(dāng)制作了悲傷的 “Beautiful People, Beautiful Problems"，宣告了Del Rey至今為止的事業(yè)。 由A$AP rocky 和Playboi Carti助陣的尖銳單曲 “Summer Bummer”和灼熱而夢(mèng)幻的 “Groupie Love”，像是為了強(qiáng)調(diào)這一瞬間——他們的歌詞部分并沒有和主場(chǎng)歌手的部分形成對(duì)話，而卻利用她為自己宣傳（起碼 the Weeknd在清冷閃亮的主打歌里的伴唱緊緊圍繞著Del Rey的歌聲）

Stevie Nicks drops by for the mournful “Beautiful People, Beautiful Problems,” which could be a thesis statement for Del Rey’s career up to this point. The flashy cameos by A$AP rocky and Playboi Carti on the spiky “Summer Bummer” and the fever-dreamy “Groupie Love” seem to underscore this point – their verses aren’t in dialogue with their host as much as they are using her as a platform for self-promotion. (At least the Weeknd sounds intrigued by the idea of being in Del Rey’s orbit on the glittering, glacial title track)

Del Rey和Nicks的合作讓人懷疑一位年輕歌手的伴唱到底能占全曲中多大的份額：它應(yīng)該像Valley of the Dolls那樣嚴(yán)肅還是像Beyond the Valley of the Dolls那樣荒誕而帶有隱含義？Del Rey的面無表情和華麗的編曲好像傾向于前者，但是像 “Tomorrow Never Came”中哀痛的 “why-why-why-why-why-whyyyy”和In My Feelings”中矯飾又笨拙地模仿俚語(yǔ)的片段昭示了在沙漠中慢慢綻放的自我意識(shí)之花。

The implied wink of the Del Rey-Nicks duet makes one wonder how much of the younger singer’s bummer quotient is rooted in a camp impulse: Is it meant to be self-serious like?Valley of the Dolls, or is she implicit in the ridiculousness, like?Beyond the Valley of the Dolls? Del Rey’s po-faced delivery and the lush arrangements suggest the former, but moments like the moaned “why-why-why-why-why-whyyyy” on “Tomorrow Never Came” and songs like the preening, awkwardly slang-stuffed “In My Feelings” hint at?a slowly blooming desert flower of self-awareness.

最后一首搖曳、女團(tuán)曲風(fēng)的單曲 “Get Free”可能會(huì)給我們一些提示。一個(gè)“現(xiàn)代宣言”，使她想要從悲傷中走出來的意圖更為明晰，最起碼 “out of the black, [and] into the blue.（從黑色中走出來，進(jìn)入藍(lán)色憂郁中）”。

The sweeping, girl-group-echoing closer “Get Free” might be a clue. A “modern manifesto,” it outlines her planned move perhaps away from gloom, or at least “out of the black, [and] into the blue.” Whether that “blue” is a cloudless California sky or a place defined by sadness is what she’s going to figure out: “I never really noticed that I had to decide/To play someone’s game or live my own life/And now I do/I wanna move,” she declares on one verse. It’s an optimistic ending for a singer whose career has been defined by discomfort, and for an album that, at times, can get lost in its own mythology.?

不管這藍(lán)色是加利福尼亞萬里無云的天空還是她心目中的一個(gè)悲傷之地：“我從來沒真正意識(shí)到自己應(yīng)該做出決定/是受他人擺布還是活出自我/現(xiàn)在我決定了/我要作出改變”她在一句歌詞中這樣宣示道。這對(duì)于一個(gè)被定義為事業(yè)令人不適的歌手來說是個(gè)快樂的結(jié)尾，對(duì)于一張有時(shí)會(huì)陷入玄秘的專輯來說也是如此。