搬運自：微信公眾號【評論搬一堆】（在原文基礎上添加了英語原文與排版調整）

翻譯|Sookie. Z

校對|Lynn Liu

排版|Simon Yelich

The stakes have never been higher. In Lana Del Rey’s latest song “The Greatest,” an entire generation is burned out. The world is getting hotter. Hope is a dwindling resource. We don’t have much time left. Worst of all, the old highs aren’t hitting quite the same. “I want shit to feel just like it used to,” she sings with a quiver as a sad piano motif descends behind her. Lana’s songs have always sounded like lonely missives from the end of the world with a beachside view; the difference is now we’re watching the clock tick down alongside her. “If this is it,” she sings, “I had a ball.”

賭注從未如此高過，Lana Del Rey最新的單曲“The Greatest（最偉大的）”中，整個時代都燃燒殆盡，世界不斷在燃燒，希望逐漸萎縮，我們的所剩之時已經不多。最壞的是，過去的樂趣已不如當初那般有趣。她用顫音唱出“I want shit to feel just like it used to（多想，讓世界重歸往日的美好—源于網易云音樂）”，之后跟一個悲傷的鋼琴旋律。Lana的歌聽起來總是像來自海灘邊世界盡頭的一封封孤獨的信件，不同的是現在我們同她一起，看著時鐘滴答走。她唱道“If this is it, I had a ball（如果這就是未來，我寧愿盡情歡樂—源于網易云音樂）?！?/p>

Like everything we’ve heard from upcoming album Norman Fucking rockwell!, “The Greatest” is a kaleidoscope of classic-rock radio transmitted through Lana’s hushed, psychedelic lens. The drums roll in slow motion, the guitar solos are fuzzy, the piano is recorded so that you can feel the shag carpet beneath it. Instead of luxuriating in vintage textures, Lana is restless, eulogizing her listless youth while repeatedly incorporating the words “the culture is lit,” as if attempting to dance through the tears. Her new video pairs the ballad with “Fuck It I Love You,” an ode to California and self-destruction. The juxtaposition of the songs seems inevitable; her dreams of escape always lead to the same place.

就像我們在即將發(fā)行的專輯《Norman Fucking rockwell!》會聽到的音樂一樣，“The Greatest”是一首充滿低音、安靜迷幻的經典搖滾樂，它配合著慢節(jié)奏、持續(xù)的鼓點，模糊的吉他獨奏和鋼琴伴奏，聽眾可以感受到地毯般毛絨絨的質感。Lana沒有沉溺于復古的風格，而是一遍遍重復著“the culture is lit（人類文化之火已經點燃—源于網易云音樂），”焦躁不安，贊頌著她百無聊賴的青春，好像在用淚水起舞。她把這首慢歌同一首謳歌加州和自我毀滅的歌曲“Fuck It I Love You（去他的，我愛你）”合起來制作了一個音樂視頻，這兩首歌的并列似乎是不可避免的，因為她的逃離之夢總是通往同一個的目的地。

Like a long, dramatic shot of a drifter leaving the scene, “The Greatest” fades with a list of rhyming epitaphs that build to a stunner of a coda: “L.A.’s in flames, it’s getting hot/Kanye West is blonde and gone/‘Life on Mars’ ain’t just a song,” she sings before snapping back to the current moment: “Oh, the live stream’s almost on.” It’s a playful, graceful way to voice a common feeling of helplessness and overstimulation. And if she sounds more at peace than the rest of us, it’s because she’s been here a while, waiting for us to catch up before it’s too late.

像一艘漁船慢慢駛離畫面的一個戲劇化的長鏡頭一樣，Lana在尾聲部分唱道“L.A.’s in flames, it’s getting hot/Kanye West is blonde and gone/‘Life on Mars’ ain’t just a song（洛城置身于火焰之中，愈演愈烈，侃爺死板至極，老氣橫秋， ‘火星上的生活’不再只是一首歌—源于網易云音樂）”，“the Greatest”隨著一串押韻的墓志銘式的詩文漸行漸弱，給結尾部分增添了濃墨重彩的一筆。之后她又用“Oh, the live stream’s almost on（生命的河流依舊川流不息）”迅速回到當下。這是歌唱無望、過激的人類普遍情感的一種玩笑且優(yōu)雅的方式。如果她的訴說聽起來比我們安靜地多，只是因為她已經在那呆了好一會了，等待我們在來不及之前追上她的步伐。