【搬運(yùn)】【譯】滾石Rolling Stone評Halsey專輯《Hopeless Fountain Kingdom》
搬運(yùn)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）
翻譯：Tyler Smith
校對：Ryan-Chopin
排版：Lynn Liu
Halsey的第二張專輯以反烏托邦合成器流行音效鋪開了一幅分手畫卷
It makes sense that?Halsey?proclaims herself a “Marvel nerd,” because she definitely nailed the origin story. Born in 1994, just a couple of weeks after Biggie dropped his debut?Ready to Die, she blew up into an out-of-nowhere pop icon with her breakout hymn “New Americana,” speaking for a new generation of electro-angst youth: “High on legal marijuana/Raised on Biggie and Nirvana.” Halsey keeps leveling up her pop-rebel game, being her own loud and messy self in public, with the sass of a confessed “fucked-up stoner kid” who grew up as a suburban Jersey girl named Ashley Nicolette Frangipane and renamed herself after a Bed-Stuy L train station. Bisexual, biracial, bipolar, but definitely not buying your next drink, she comes on like God’s gift to hashtags, almost daring the straight world to keep underestimating her.
Halsey稱自己為忠實(shí)漫威迷是毫不夸張的，因?yàn)樗龑β脊适铝巳缰刚啤?/strong>Halsey出生于1994年，那一年Bggie（聲名狼藉先生）剛剛發(fā)行了他個(gè)人首張專輯《Ready To Die》。這個(gè)年輕女孩憑借一首風(fēng)靡一時(shí)的贊歌“New Americana”成功躋身18線流行偶像，這首歌為口味新奇的新一代發(fā)聲：“High on legal marijuana/Raised on Biggie and Nirvana.（ 合法大麻磕得嗨，聽著Biggie和Nirvana的歌長大。）”Halsey的逆流行游戲越玩越大，她在公眾場合仍然放蕩不羈做自己，無所顧忌地坦白自己曾是個(gè)吸毒成癮的墮落女孩，她向觀眾說明他的來歷——一個(gè)叫做Ashley Nicolette Frangipane的新澤西郊區(qū)女孩，后來又以Bed-Stuy（非洲裔美國人聚居地） L火車站易名。雙性戀、黑白混種、患有雙向心理障礙（指既有躁狂發(fā)作又有抑郁發(fā)作的一類疾?。┑乃?，卻絕不是“輕易喝下你買的酒”的那類輕浮女孩，她生來被上天賦予了各種標(biāo)簽，卻不懼這個(gè)一直看輕她的世界。
Halsey shows off all her wild musical ambitions on?Hopeless Fountain Kingdom, a bold second album that consolidates all the strengths of her 2015 debut?Badlands. It’s her sprawling science-fiction breakup tale, indulging her taste for wide-screen melodrama – she begins the album by reciting the prologue from?Romeo and Juliet, introducing a tale of star-crossed lovers trying to break free from the fatal loins of their families. (Halsey even has a line from?Romeo and Juliet?inked on her arm: “These violent delights have violent ends.”) But of course, in her hands, it turns into the story of a restless young pop star who jets around the world, leaving shattered hearts in her wake, yet still can’t find true love, admitting, “I have spent too many nights on dirty bathroom floors.”
Halsey在她的二專《Hopeless Fountain Kindom（絕望的噴泉王國）》中展現(xiàn)了她的音樂藍(lán)圖，這張野心勃勃的專輯繼承了她2015年首專《Badlands》的優(yōu)點(diǎn)。在她漫無邊際的科幻小說式分手故事里，我們可以盡情欣賞她對銀幕情景劇的品味——她從朗誦《羅密歐與朱麗葉》的序言開始這張專輯，《羅密歐與朱麗葉》講述了一對有著家族世仇的戀人試圖擺脫束縛追求愛情的故事。（Halsey甚至在手臂上寫了一句《羅密歐和朱麗葉》的臺(tái)詞：“這些放肆的快樂終以支離破碎為下場。”）當(dāng)然，經(jīng)她之手，這變成了一個(gè)不安分的年輕流行歌手的故事，她在世界各地飛來飛去，每每醒來便將苦惱忘卻，但仍然找不到真愛，她只好承認(rèn)，“我在骯臟的浴室地板上度過了太多的夜晚?！?/p>
Halsey keeps?Hopeless Fountain Kingdom?moving, going for adult dystopian synth-pop realness. She’s out to make damn sure nobody mistakes her for some harmless starlet who served as sultry hook girl on that Chainsmokers hit; she shakes off that image like she’s dumping a mattress she stole from her roommate back in Boulder.?Hopeless Fountain Kingdom?sounds more like Trent Reznor’s “Closer” than the Chainsmokers’ – with flourishes of industrial clank and guitar grind in “100 Letters” (“I find myself alone at night unless I’m having sex”), “Heaven In Hiding” or “Alone.” Her Shakespeare-as-Depeche Mode concept holds up even as the tracks jump from one usual mega-producer suspect to the next – Gregg Kurstin to Benny Bianco to Lido.
Halsey一直在為她的“絕望噴泉王國”注入活力，實(shí)現(xiàn)了把它打造為反烏托邦合成器流行樂的目標(biāo)。她借此向所有以為她不過是一個(gè)在The Chainsmoker（煙鬼）的“Closer”中賣弄風(fēng)騷的18線女星的人證明了他們是錯(cuò)的，她擺脫了那個(gè)形象，就像她把從室友那兒偷來的床墊扔回了博爾德一樣【“Closer”歌詞中唱到：“Pull the sheets right of the corner of ?the mattress that you stole from your roommate back Boulder.（把床單扔到一旁，我們在你從博爾德的室友那兒偷來的床墊上纏綿）】。比起煙鬼的“Closer”，《Hopeless Fountain Kindom》聽起來更像Trent Reznor的“Closer”?！?00 Letters”里繁雜電氣咚咚聲和吉他琴弦摩擦聲交錯(cuò)（不做愛的夜晚我只能一人獨(dú)眠） “Heaven In Hiding” 與“Alone”里也有類似橋段。即使歌曲背后的優(yōu)秀制作人從Gregg Kurstin 到Benny Blanco到Lido風(fēng)格各異，但她莎士比亞式的時(shí)髦依舊延續(xù)著。
She?duets with Migos’ Quavo in “Lies,” which presents both sides of a strange relationship gone off the rails, as she sneers, “Are you misled?/I gaveyou the messiest head.” “Good Mourning” is an odd one-minuteinterlude with a little kid saying, “All I know is a hopeless place that flows with the blood of my kin.” “Bad at Love” is a Kiss-worthy tour of beds she’s wrecked around the world, from “I got a boy back home in Michigan/And he tastes like Jack when I’m kissing him” to “Got a
girl with California eyes.” Most daringly of all, Halsey strips down musically to lean on her voice in the vulnerable piano ballad “Sorry,” where she worries whether she’ll ever like herself enough to let anyone getclose to her. She’s hardly the first twenty-something pop upstart to face this dilemma. But judging from?Hopeless Fountain Kingdom, Halsey could
go anywhere from here.
她與Migos成員Quavo合作的“Lie”里展現(xiàn)了一段離經(jīng)叛道的奇怪關(guān)系，她冷笑道：“Are you misled?/I gave you the messiest head.” （你誤入歧途了嗎？/我讓你思緒陷入混亂。）而“Good Mourning”是一首詭異的插曲，歌里一個(gè)小孩說道：“All I know is a hopeless place that flows with the blood of my kin.”（我只知道有一個(gè)絕望之地，那兒流淌著我親人的鮮血。）“Bad at Love”是她在世界各地破碎感情的回憶錄。歌詞從 “I got a boy back home in Michigan/And he tastes like Jack when I’m kissing him”（我把一個(gè)男孩帶回密歇里根的家里/我親吻他時(shí)仿佛嘗到了Jack的感覺）到 “Got a girl with California eyes.” （我遇到一個(gè)擁有迷人雙眼加利福尼亞女孩）最大膽的是，Halsey在鋼琴民謠“Sorry”中褪祛了華麗的合成音效，用人聲搭配純鋼琴伴奏來完成了整首歌，在這首歌里她抒發(fā)了自己的焦慮，擔(dān)心自己不足夠自愛，以致于顯得生人勿近。她是少數(shù)幾個(gè)二十多歲的新興流行勢力中能直面這個(gè)難題的人之一。從Halsey在《Hopeless Fountain Kindom》里的表現(xiàn)來看，她的潛力無可限量。
