搬運(yùn)自：網(wǎng)易云音樂專欄【Music Online Zine Courier】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：Beans_Beans

Many young female musicians who wereheralded as prodigies have made music this year revisiting the barbarity ofthat early renown, the powerlessness they felt as teenagers trapped in anall-consuming gaze. Lorde described having “nightmares from the camera flash”;Billie Eilish observed “a stalker walking up and down the street”; Clairo spokeabout being “just useless and a whore” but still getting cosigned by “your favoriteone-man show” after being sexualized in the industry. To deal with theaftereffects of a “young life colliding with sudden fame,” Lindsey Jordan of??Snail Mail—who became an indie rock phenom after she released her debut album,Lush, at 18—spent time at a recovery facility. There she charted outarrangements for what would be her upcoming second album, Valentine, laterbuilding on and refining those sketches in North Carolina with producer BradCook. Her intimate worlds, usually confined to a “you” and “I,” now faceunwanted intruders: “Careful in that room,” she warns a lover on Valentine’stitle track. “Those parasitic cameras, don’t they stop to stare at you?”

許多曾被譽(yù)為神童的年輕女性音樂家在她們今年發(fā)行的音樂作品中重溫了在早期極負(fù)盛譽(yù)時(shí)的野蠻一面，以及她們作為青少年卻被暴露在全方位注視下的無助。Lorde曾談到“相機(jī)閃光燈帶來的噩夢”；Billie Eilish也總是能察覺到“一個(gè)狗仔在街上跟著她寸步不離”；Clairo甚至說到對(duì)此自己“就是個(gè)沒用的女表子”，但她們?nèi)阅茉谶@個(gè)尤為看重性別的行業(yè)中得到" your favorite one-man show "的簽名。為了處理“青春與突如其來的名聲碰撞”帶來的后遺癥，Lindsey Jordan (a.k.a. Snail Mail)——在18歲時(shí)發(fā)行了她的首張專輯《Lush》，成為獨(dú)立搖滾的又一杰出存在——也曾在康復(fù)機(jī)構(gòu)度過了一段時(shí)間。在那里，她著手為即將發(fā)行的第二張專輯《Valentine》制定了計(jì)劃，后來在北卡羅來納州與制作人Brad Cook一起重建完善了這些Demo。她的內(nèi)心世界——通常被限制在“你”和“我”之間——如今面臨著不受歡迎的闖入者?！癈areful in that room,”她在《Valentine》的同名曲中警告一個(gè)情人。“Those parasitic cameras, don’t they stop to stare at you?”

The most striking change on “Valentine” isJordan’s voice, which is deeper, hoarser, and more mature than before. It cutsthrough foggy, cinematic synths as she lays out the unsteady dynamics of arelationship (“You’ve gotta live/And I gotta go”) while emphasizing the forceof her devotion (“Fuck being remembered/I think I was made for you”). “Valentine”is accompanied by a gory, high-drama music video in which Jordan plays achambermaid to a high-society woman with whom she has an illicit affair;crestfallen and crazed after seeing her lover with a man, she binge-drinks,stuffs her face with cake, and eventually murders him. The song ratchets upfrom slow-jam to power pop, souring in an instant as Jordan reels frombetrayal: “So why’d you want to erase me?” she cries, speeding into thequestion with all of her might. Jordan is shattered yet hopeful, anticipatingfuture envy upon seeing her lover with someone else and preparing for when, notif, they change their mind. Undergirding all these emotions is a simple truth:“I adore you.”

“Valentine”中最引人注目的變化是Jordan的聲音，比以往更深沉、更嘶啞，也更顯成熟。在她娓娓道來這一段不穩(wěn)定的關(guān)系（“You’vegotta live/And I gotta go”），強(qiáng)調(diào)著她為此做出的種種犧牲（“Fack beingremembered/I think I was made for you”）時(shí)，它穿梭在迷霧一般、極具電影感的合成器聲效之間。“Valentine”的發(fā)行伴隨著一個(gè)血腥的、高度戲劇化的MV，Jordan在其中扮演一個(gè)與她有不正當(dāng)關(guān)系的上流社會(huì)女主人的女仆；但當(dāng)她目睹了情人竟與一個(gè)男人在一起后，沮喪和瘋狂涌上心頭，她喝的爛醉，用蛋糕糊滿自己的臉，拿起叉子捅進(jìn)那個(gè)男人的咽喉。這首歌從緩慢敘事到?jīng)坝颗炫鹊那楦斜l(fā)，當(dāng)喬丹從背叛中回過神來時(shí)，歌曲瞬間變臉——“So why’d you want to erase me?”她哭著說道，接著用盡全身力氣加速回答這個(gè)問題。Jordan內(nèi)心已經(jīng)粉粹，但又充滿希望，在看到她的愛人和別人在一起時(shí)，她期待著、羨慕著，幻想著她和他“一定會(huì)”改變主意，而不是“是否會(huì)”。而支撐所有這些情愫的是一個(gè)簡單的事實(shí)——"我愛慕你"。