【搬運】【譯】NME雜志評Katy Perry專輯《Witness》
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）?
翻譯：Lynn Liu
校正：BigFudge
原網(wǎng)址：https://www.nme.com/reviews/katy-perry-album-witness-review-2085416
Katy Perry?is a changed woman. Well, kinda. For her fourth album under the Perry name – let’s pretend her god-bothering 2001 debut ‘Katy Hudson’ never happened, eh? – she’s attempting to bring a little more meaning to her music. Speaking about the album earlier this year, she proudly stated: “I think it’s definitely a new era for me. I call it an era of purposeful pop.”
水果姐總是在不斷地嘗試著“改頭換面”?！禬itness》是她以水果姐（Katy?Perry）的藝名發(fā)行的第四張專輯（我們假裝2001年水果姐沒有以Katy Hudson的身份出那張基督專輯，好嗎？）她試圖讓自己的音樂更有內(nèi)涵。談到年初的這張專輯，她自豪地說道：“這肯定是我藝術(shù)創(chuàng)作的新時代，我稱之為有社會意義的流行音樂紀元?！?/strong>
The all-new ‘woke’ Katy isn’t just about giving you decent things to dance to on a Friday night or up-tempo fluff for your gym playlist. Instead, she’s pushing the sleek, chart-friendly empowerment of ‘Roar’ and ‘Firework’ even further, into socially aware electropop territory, like ‘The Fame’ period Lady Gaga doing an evening class at SOAS.
全新“覺醒”的水果姐不僅能在周五晚上為你提供跳舞的BGM，或是給你的運動歌單增添節(jié)奏的快感。她還將“Roar”和“Firework”中利于打榜的勵志風格越推越遠，呈現(xiàn)出了一張充滿社會責任感的電子流行專輯，這個結(jié)果有點像在“The Fame”時期的鱉鱉（Lady?GaGa）在倫敦大學(xué)教晚課一樣（你懂得）。
First single ‘Chained To The Rhythm’ nailed the diva-with-a-discourse vibe, fusing an intensely catchy chorus with lyrics that muse on apathy and ignorance. ‘Bigger Than Me’ might not be as big a belter, but her heart’s still in the right place as she muses on her placein the world over icy, shimmering synths: “If I’m not evolving / I’m just another robot / Taking up oxygen.”
專輯的第一首單曲“Chained to The Rhythm”，將歌手敘事的氛圍與極其抓耳的和聲融合，歌詞充滿了冷漠和無知?！?strong>Bigger Than Me”可能不是一首嘹亮的歌，卻充滿了內(nèi)心的平靜：她在深思她在世界中的位置，在冰冷而閃爍的合成音色的襯托下，唱到“If I’m not evolving / I’m just another robot / Taking up oxygen.”
The compelling ‘Hey Hey Hey’ sees Katy dressing up Lorde’s languid, spacious sound, adding some serious girl power – “Because I’m feminine and soft / but I’m still a boss” – and using the kind of retro-meets-trashy Americana imagery?Lana Del Rey?would be proud of, calling herself “Marilyn Monroe in a monster truck”.
在這首吸引人的“Hey??Hey??Hey”中，我們可以看到水果姐的唱腔仿佛Lorde附體一樣，慵懶卻跨度廣大，加入一些女權(quán)呼聲——“Because I’m feminine and soft / but I’m still a boss”；她還使用了打雷姐（Lana Del Rey）常有的這種復(fù)古而頹廢的美國意象，自稱為“怪獸卡車中的瑪麗蓮·夢露(Marilyn Monroe in a monster truck)”。
Calling in?Nicki Minaj’s fast and furious flow for the Fatboy Slim-sampling ‘Swish Swish’, meanwhile, is something of a master stroke, turning a good song into a great one. The high-end guests continue with ‘Bon appétit’, which features Migos and sees Katy dropping the personal politics to sing about the glory of shagging. And why not? Sure, ‘Witness’ isn’t about subtlety, but if you’re going to deliver important messages about female autonomy to a young audience, it’s surely better to shout than whisper.
同時，她與麻辣雞（Nicki Minaj）合作的這首快歌?“Swish Swish”（采樣于?Fatboy Slim’s “Star 69”?），處理得非常巧妙，把一首好歌變成了另一首好歌。在與新晉嘻哈三人組Migos推出的“Bon appétit”中，凱蒂暫時摒棄了個人政治立場，唱出了一首性的贊歌。有什么理由不這樣做呢？誠然，《Witness》傳遞的訊息并不含蓄；但如果你要向年輕聽眾傳達關(guān)于女性自主的重要信息，大聲吶喊肯定比竊竊私語好。
