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）

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

翻譯：Emma.Z

審譯：Ryan-Chopin

推送：Lynn Liu

With Bon Iver’s second, self-titled album, Justin Vernon leapt from his cabin in the woods into a world entirely of his own imagination. The sweeping compositions were a huge shift from his debut?For Emma, Forever Ago’s spare folk, with arrangements that sounded like they bloomed directly from Vernon’s subconscious. Precise in imagery but hazy in structure, the songs evoke places and moments the way Vernon remembers them: unreliably and romantically. People get mixed up with the landscapes: He whisper-sings about bones and nature in the same breath, painting images of a human frame breaking the curvatures of the sea. And on “Wash.,” he refers to his hometown of Eau Claire just as “Claire,” emphasizing how loving a place is not so different from loving a person, and the memory of one is often entangled in the memory of another. –Michelle Kim

在Bon Iver的第二張同名專輯中，Justin Vernon從林中小屋一躍進(jìn)入了一個(gè)完全由他自己想象的世界。與他的處女作《Emma（愛瑪）》相比，這首氣勢(shì)逼人的曲子是一個(gè)巨大的轉(zhuǎn)變。這些歌曲意象精確，但結(jié)構(gòu)模糊，讓人想起Vernon記憶中的某些地方和瞬間：既不可靠，又很浪漫。人們被這些風(fēng)景攪得暈頭轉(zhuǎn)向：他用同樣的氣息輕唱著骨頭和自然，描繪著人體輪廓打破了大海的弧線。在《Wash（銹與骨）》中他稱自己的家鄉(xiāng)Eau Claire為“Claire”，強(qiáng)調(diào)愛一個(gè)地方和愛一個(gè)人并沒有太大的區(qū)別，一個(gè)人的記憶往往會(huì)和另一個(gè)人的記憶糾纏在一起。