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）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/?

翻譯：Vivian

校對：Tyler Smith

推送：Lynn Liu

When Kelela debuted with?Cut 4 Me, she solidified an experimental bass movement into something that felt human, as if a team of extraterrestrial scientists finally made contact. The mixtape was welded by a group of producers from UK imprint Night Slugs and their L.A. sister label Fade to Mind who bent elements of drum’n’bass, dubstep, techno, grime, and footwork into sparse soundtracks for the club underground. Kelela was the skeleton key to the crew’s disparate styles, a siren who could unlock a matrix of synths, shattering glass, and sputtering bass to reveal the soul hiding in the pauses between. It’s rare when something is both so clearly reflective of its time and predictive of the future, and?Cut 4 Me?was just that. –Puja Patel

當(dāng)Kelela的首張專輯?Cut 4 Me?亮相時，她把實驗性質(zhì)的貝斯和弦編排得富有人味，仿佛一群外星科學(xué)家們終于在宇宙中取得了聯(lián)系。這張混音帶由英國廠牌Night Slugs和其洛杉磯姐妹廠牌Fade to Mind聯(lián)合制作。制作人們?nèi)诤狭斯拇蜇愃埂⒒仨懾愃?、鐵克諾、車庫饒舌、footwork等元素，讓稀稀疏疏的單曲成了地下俱樂部的背景歌單。Kelela是制作團隊中的骨干，是高歌的塞壬——帶領(lǐng)我們解開繁復(fù)的合成音，打碎玻璃，在噴濺的貝斯間隙領(lǐng)悟到音樂的靈魂。一張專輯很少能在反思當(dāng)下的同時預(yù)言未來，但?Cut 4 Me?顯然做到了這點。