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：JenniferC

校對：Tyler Smith

排版：Peter D

Yuna has always made dreamer’s music: ethereal and achy, often centered on the gap between desire and reality. But on?Rouge, the 32-year-old sounds clear-eyed, grounded, and sure of herself.?Rouge?is Yunalis Zara’ai’s fourth internationally released studio album since moving from her home country of Malaysia to L.A. eight years ago and, not inconsequentially, her first as a married person. On lead single “Forevermore,” she croons, “I’ve been dreaming of this light/ Piercing through the darkest night,” and one gets the sense she’s been waiting for this self-trust and certainty a long while. Her 2012 self-titled debut placed her within the world of Ingrid Michaelson-esque folk-pop, but on?Rouge?she’s making simmering R&B bops, pulling from disco and hip-hop along the way.

一直以來，Yuna的音樂都像是夢中人的歌曲：空靈飄渺、疼痛戳心，她的歌曲聚焦于欲望和現(xiàn)實之間的鴻溝。但是，在《Rouge》這張專輯中，這位32歲的女歌手卻目光堅定、腳踏實地、自信無比?！禦ouge》是Yunalis Zara’ai 八年前從馬來西亞搬到洛杉磯發(fā)展后發(fā)行的第四張國際版的錄音室專輯，更值得一提的是，這也是她婚后首張專輯。在主打單曲《Forevermore（直到永遠）》中，她低吟淺唱著“I’ve been dreaming of this light/ Piercing through the darkest night（我一直夢想著這束光/穿透最黑暗的夜晚）”。我們能感受到，這種自信感和確定感，她渴望已久。2012年，Yuna的同名專輯使她進入大眾流行音樂圈，步了Ingrid Michaelson的后塵。而在《Rouge》這張專輯中，她正在嘗試節(jié)奏布魯斯，并且從迪斯科和嘻哈中汲取靈感。

“Amy” drifts like incense, flush with the trappings of?Sade-inspired smooth jazz and?Masego’s shadowy backing vocals. “Pink Youth,” featuring?Little Simz, is a girl-empowerment track that rides a hazy disco beat reminiscent of?Beyoncé’s “Blow,” while “Castaway,” featuring?Tyler, The Creator, is a soft-spoken yet indisputable middle finger to a former lover. Neither song contains their guest artists’ typically sharp bars (Tyler did not need to rhyme “Beer belly is on horizon” with “You really don’t have Verizon”), but texturally, they work. By contrast, on album highlight “Does She,” Yuna’s duet with Jay Park unfolds like actual dialogue, rather than just a requisite 16-bar insertion.

《Amy(艾米）》仿佛一陣游絲般的氤氳香氣，其中洋溢著Sade般的流暢爵士樂，Masego的背景人聲若有若無?！禤ink Youth(粉紅青春）》中Yuna與 Little Simz合作，這是一首激發(fā)女性力量的歌曲，其中隱約的迪斯科節(jié)拍讓人想起B(yǎng)eyoncé的《Blow》?！禖astaway（逃離你）》則是和 Tyler, The Creator合作的，聲線柔情，但卻是對前任毫不留情地豎了個中指。這幾首歌都沒有體現(xiàn)出合作歌手典型明顯的bar（譯者注：bar為說唱中專用語，一句話即一個bar)Tyler其實不用把“Beer belly is on horizon（我們之間無法繼續(xù)就像日薄西山般凄涼）“和“You really don’t have Verizon（你如今聽不到我，是因為你信號不好）”兩句刻意押韻）（譯者注：兩句話結(jié)尾-izon押韻），不過從歌詞文本上來講，效果還不錯。與之相比，專輯引人注目的歌曲《Does She(她是這樣的嗎？）》就好多了，Yuna和 Jay Park（樸宰范）的二重唱就像一場緩緩展開的真實對話，而不是強行插入的歌曲必須的16個bar。

Not every track is so seamless. Album single “Blank Marquee” bumps along to a roller-rink-ready beat that recalls the break in?Prince’s “I Wanna Be Your Lover,” which then dovetails into a woozy?Tame Impala?synth groove, only to be interrupted by a grubby and unpleasant?G-Eazy. On “Likes,” Yuna’s plum-sweet voice rides atop an aquatic wash of Rhodes piano chords with trumpet lines recalling?Donnie trumpet & the Social Experiment’s?Surf. She sings of the double standards she faces as a Muslim woman in the American music industry; if people aren’t knocking her for dressing modestly or not drinking, they’re complaining that it isn’t a Muslim woman’s place to be singing on stage in public. It’s one of the more personal moments on the album—until?KYLE?enters, and his verse zaps the mood almost as effectively as?J. Cole?on?Jeremih’s “Planez.”

當然了，不是每首歌都銜接得這么流暢。專輯單曲《Blank Marquee（一片空白）》的節(jié)奏仿佛滑過溜冰場，使人想起Prince的《I Wanna Be Your Lover（我想要成為你的愛人）》中的強烈律動?！禕lank Marquee》和 Tame Impala昏昏沉沉的混音旋律不謀而合，只不過后來被討厭的 G-Eazy強行插入打斷了。《Likes(喜歡的）》中，Yuna甜美的嗓音輔以羅茲電鋼琴和弦的洗禮以及鼓點的節(jié)奏，讓人想起 Donnie trumpet & the Social Experiment的《Surf(沖浪）》。她在這首歌中道出了自己作為一個穆斯林女性置身美國音樂界時面臨的雙重標準：人們要么抨擊她穿著不得體、飲酒，要么批評一個穆斯林女性不該在公眾場合拋頭露面地演唱。這些是專輯中Yuna個人的真情流露——歌曲的后來， KYLE也加入演唱，他的詞直擊人心，就像 J. Cole在 Jeremih的《Planez》的出現(xiàn)那么有效。

These bumps in the road only underscore Yuna’s evolution: She’s broadened her palette, but she is still figuring out how to make these sounds feel like her own. There are some singular moments: her lilting, off-beat synths; the gentle instrumental stretches that feel more experimental than anything she’s done; a recurring motif—alternately framed by traditional Malay?gendang-like percussion, meditative vocals, and raindrops—that haunts the corners of the album.

不過，這些小小的坎坷只會讓我們注意到Y(jié)una在不斷創(chuàng)新和挑戰(zhàn)自我：她拓寬了自己的音樂道路，但仍在探索如何唱出自己的音色。她的音樂中，有些瞬間非凡絕倫：輕快又不和節(jié)奏的合成器音樂；她之前從來沒試過的輕柔樂器聲片段；她音樂中反復出現(xiàn)的主題——馬來西亞傳統(tǒng)鼓的打擊樂、冥想的配樂、雨滴聲的小段落交替出現(xiàn)，縈繞在專輯的每一個角落里。

It is in the final track that we see Yuna most clearly. Inspired by?syair,?a form of Malay narrative poetry-singing, album closer “Tiada Akhir” lingers like a faded memory. Against a rainy, silver-gray backdrop, Yuna intones in Malay, “You were born, like a bright light [...] I thought you would save me/But you were the poison that stopped my heart.” It is a poem about loss—and yet, in its ashes, we come to witness the truth: that from its depths, Yunalis Zara’ai is rising.

專輯的最后一首歌讓我們更徹底地了解了Yuna。專輯的最后一支曲子《Tiada Akhir》的靈感源于syair，一種馬來西亞的敘事唱詩，仿佛向我們緩緩道出一段模糊的記憶。陰雨綿綿，四周灰暗，Yuna用馬來語吟唱道：“You were born, like a bright light [...] I thought you would save me/But you were the poison that stopped my heart.（你出生了，就像一盞明亮的燈……我原以為你會來救我，但你卻是讓我停止心跳的毒藥）”這是一首關(guān)于失去的優(yōu)美詩篇——然而，在灰燼中，我們看到了真相：在灰燼深處， Yunalis Zara’ai正在重生崛起。