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：Cathy Lin

校對：Lynn Liu

排版：Lynn Liu

The rapturous debut from the British singer-songwriter takes adventurous pop-rock crucibles to new heights with her illusory songwriting and stunning voice.

這位英國唱作歌手的首秀以其夢幻的曲風和令人驚嘆的嗓音，將大膽的流行搖滾考驗推向了新高度。

In some ways,?Nilüfer Yanya’s career maps onto that of?King Krule: Both young Londoners arrived with stark, bruised elegies led by their electric guitar and urchin cries; both quickly eclipsed their early promise. But where Archy Marshall swerved towards solitary murkiness, Yanya, on her debut album, has shocked her desolate confrontations into some of the most adventurous pop-rock crucibles since Mitski’s?Puberty 2. They are catalysts for communal outpouring that spark with adrenaline and anxiety, a mixture of the raw and the refined, her guitar fuzz mingling with tinselly synth glitter and the bluesy disaffection of her startling voice.

在某些方面，Nilüfer Yanya的職業(yè)生涯映射到了King Krule：兩位年輕的倫敦人用他們的電吉他和調皮的叫喊帶來了荒涼、傷痕累累的哀歌，他們很快讓他們早期的承諾黯然失色。但自Mitski的《Puberty 2》之后，在歌手Archy Marshall轉向孤獨陰暗之處時，Yanya在她的首張專輯里用她凄涼的對抗讓最冒險的流行搖滾樂考驗而震驚。它們是刺激公眾釋放腎上腺素和焦慮的催化劑，原始和精致的結合，她的吉他模糊了金屬合成器的閃光點，以及她驚艷的嗓音中對布魯斯音樂的不滿。

Between some songs, you hear Yanya playing the part of a telephone operator for a wellness hotline she has called WWAY Health, the concept of which, across five satirical skits, eventually fizzles out. They’re quite funny the first time, but they break up what is otherwise a fantastically sequenced and always essential album. They undersell it a bit, too: Yanya’s lyrics on?Miss Universe?aren’t so much about looking to external forces for easy affirmation as they are figuring out the kind of intensity and hunger that she can allow herself to feel as a young woman: “Got to learn/Got to realize what this means/Got to earn/Got to decide who to please,” she sings on “Angels,” her waltzing guitar gaining intensity before the pressure gauge blows.

在一些歌曲中，你會聽到Yanya扮演健康熱線電話接線員的角色，她稱之為WWAY Health（ “we worry about your health”我們擔心你的健康），這一理念最終在五個諷刺短劇中失效。一開始，它們很有趣，但它們打破了幻想化曲目順序的這張精品專輯。他們也有點低估了這張專輯：在《Miss Universe（環(huán)球小姐）》中，Yanya的歌詞并不是單純?yōu)榱藢で笸獠苛α康目隙ǎ梢哉f她在尋找她作為年輕女性所能感受到的緊張感和饑餓感：“必須要學會/必須知道到這意味著什么/必須要掙錢/必須決定去取悅誰，”她在“Angels（天使）”唱到，圓舞曲節(jié)奏的吉他聲在測壓表響之前便開始變得強烈。

Yanya writes gorgeously about the seduction of sensation, no matter its side effects: “Deep underwater I breathe/Let me soak/Chasing the shades of the love that we made, of the love that we broke,” she sings on “Baby Blu,” a cloudy meditation that builds into subtly euphoric gospel house. On “Tears,” if someone doesn’t hold her back, she’ll be “l(fā)ying in a pool of someone else’s blood.” She’s “getting high just from the heat” in “Heat Rises,” singing in snatched, gasped phrases over a fizzing drum machine, the effect as decadent yet panic-ridden as an anxiety attack in a sauna. Her songwriting is a textural palace of wonders.

Yanya寫了很多關于誘惑感的曲子，且無論它的副作用是什么：“我在水下深呼吸/讓我浸泡于此/追逐我們所創(chuàng)造的愛的陰影，我們所打破的愛，”她在“Baby Blu（嬰兒藍）”上唱道，這是一次陰郁的冥想，建立在微妙而快樂的福音之家上。在“Tears（眼淚）”中，如果有人不阻攔她，她便會“躺在別人的血泊中”。她在“Heat Rises（熱度上升）”中“剛從高溫中變high”，在歡快的擊鼓（節(jié)奏）上用急促的、喘息的短句唱歌，這種效果就像在桑拿房里焦慮癥發(fā)作一樣，頹廢但又驚慌失措。她的歌曲創(chuàng)作是一座富有質感的奇跡之殿。

Where Yanya’s lyrics portray her as someone prone to wallowing in forbidden emotions, her arrangements are more circumspect, toying impeccably with resistance and release. “In Your Head” lurches Between gimlet-eyed composure and cataclysmic panic. She never uses climaxes as a musical surrogate for emotion. A few tracks towards the end echo the spaciousness of Yanya’s early material and shape the album’s enveloping dynamic as a whole. Others, like “Safety Net,” exude a simmering sadness built from nimble drum machines and seamless pop melody, or, like “Paradise,” buoy Yanya’s worries with easygoing saxophone motifs courtesy of her improbably named sidekick, Jazzi Bobbi.

Yanya的歌詞把她自己描繪成一個容易陷入禁欲情緒的人，她的編曲也更為謹慎，以無可挑剔的阻力和釋放來玩弄自己。“In Your Head（你的腦海中）”在目光銳利的沉著和災難性的恐慌之間徘徊。她從不為抒發(fā)情感而把高潮當作音樂替代品。最后幾首歌曲呼應了Yanya作品的空間感，并塑造了專輯的整體動態(tài)。其他歌曲，如“Safety Net（安全網）”，敏捷的擊鼓和無縫的流行旋律構成了歌曲中爆發(fā)的悲傷，或者，如“Paradise（天堂）”，與薩克斯手Jazzi Bobbi的合作雖很輕松，但不乏Yanya的擔憂。

Nothing controls the mood of?Miss Universe?like Yanya herself. She is adept with both a wounded lament and a desperate falsetto. Sometimes she whips Between the two with exhilarating yelps, as if someone yanked a ripcord inside her lungs. In powerful moments, her voice is full of hunger; in desperate moments, that hunger empties out. “I’m still wired to want these things,” Yanya sings sullenly on the last song, the relatively unadorned “Heavyweight Champion of the Year,” slashing out choppy chords that tease one final cathartic payoff. Yanya’s songs reflect a woman who’s uncertain of how much of herself to reveal to the world. That is both the allure of?Miss Universe?and what augurs even brighter things to come.

沒有什么能像Yanya一樣控制《Miss Universe》的情緒。她很擅長寫傷感的哀歌與運用絕望的假聲。有時，她在兩者之間發(fā)出興奮的尖叫聲，好像有人在她的肺里猛拉了一下降落傘的開傘索一樣。在強有力的時刻，她的聲音充滿了饑餓感；在絕望的時刻，饑餓感卻消失了?！拔胰匀豢释@些東西，”Yanya在最后一首歌“Heavyweight Champion of the Year（年度拳擊冠軍）”中悶悶不樂地唱道，這首歌相對樸素，她刪去了起伏的和弦，這些和弦嘲弄著最后一次宣泄的成果。Yanya的音樂展現(xiàn)出一個不確定要向世界呈現(xiàn)多少分的自己的女人。這既是《Miss Universe》的魅力，也是光明事物來臨的前兆。