搬運(yùn)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：Tyler Smith

審譯：Ryan-Chopin

排版：SpencerC

Produced by Mark Ronson and performed and co-written by a suite of female vocalists, this compilation explores the many shades of heartbreak in current pop.

Mark Ronson制作的新專輯由一組女歌手表演并合著繪出當(dāng)前流行音樂中許多令人心碎的心調(diào)。

The artist Audrey Wollen, best known as the creator of?Sad Girl Theory, has long argued for the radical potential of feminine sorrow. Rather than weakness to be purged, Wollen sees a sturdy foundation for collective action. “Feminism should acknowledge that being a girl in this world is really hard, one of the hardest things there is,” Wollen said, in a 2015 interview. “Our sadness is actually a very appropriate and informed reaction.”

藝術(shù)家AudreyWollen是著名的《悲傷女孩理論》（SadGirlTheory）的作者，長期以來一直主張女性悲傷蘊(yùn)含著巨大潛能。Wollen指的并不是不再軟弱，而是一種普遍行為的堅實基礎(chǔ)?！芭畽?quán)主義應(yīng)該承認(rèn)，在這個世界上做一個女孩真的很難，可以說是世界上最困難的事情之一?！盬ollen在2015年的一次采訪中說，“我們的悲傷實際上是一種非常恰當(dāng)且明智的反應(yīng)?！?/p>

Something of Wollen’s principles surface in?Late Night Feelings, a collection of 13 songs produced by?Mark Ronson?and performed and co-written by a suite of female vocalists. Ronson has described these tunes as “sad bangers;” contributor?Camila Cabello?called them “emo bops sung by girls about love and heartbreak.” And while the prevailing mood is, indeed, sadness, the record makes for a finely shaded portrayal of that feeling. In a pop landscape at present awash in sad girls,?Late Night Feelings?lands several notches below the profundity of?Lorde’s feral manifesto?and several notches above Bebe Rexha’s disjointed smash of yesteryear, “I’m A Mess.” Never nihilistic, never narcissistic, the women of?Late Night Feelings?understand sadness as a vital conduit for solidarity and self-expression.

Wollen的一些原則在《Late Night Feelings》中浮出水面，這張專輯是由Mark Ronson創(chuàng)作的13首歌的集合，由一眾女歌手表演并合著。Ronson將這些曲調(diào)描述為“悲傷的搖滾樂”；演唱者之一Camila Cabello稱之為“女孩們唱的關(guān)于愛和心碎的emo-bops”。雖然主旋律確實是悲傷，但這張唱片卻對這種感覺進(jìn)行了細(xì)致的陰影描繪。在一個充斥著悲傷女孩的流行場景中，《Late Night Feelings》比起Lorde的野性宣言來說缺了些深度，而比起B(yǎng)ebe Rexha去年的熱單“I'm A Mess”心碎程度更勝一籌?！禠ate Night Feelings》里沒有虛無主義，從不自戀，這里的女人把悲傷理解為團(tuán)結(jié)和自我表達(dá)的重要渠道。

It’s not a knock on Ronson to say that the project succeeds, in large part, because of how little it sounds like his work. His distinctive production hallmarks—the neo-soul of?Amy Winehouse, the sticky bounce of “Uptown Funk”—are largely absent, save for brief, restrained doses. The women on this record are diverse in terms of race and orientation, their target audiences, and their places in the music industry. For the most part, Ronson seems content to remain seated at the boards, allowing the unique strengths of each vocalist to inform the music.

Ronson說這張專輯的成功，很大程度上是因為它聽起來并不像他的作品，他獨特的創(chuàng)作特征——Amy Winehouse的neo-soul，《Uptown Funk》里的粘性反彈音效——除了有節(jié)制的短暫出現(xiàn)外，基本沒有。這張唱片里的女性在種族、取向、目標(biāo)受眾以及她們在音樂行業(yè)中的地位方面都是多樣化的。在大多數(shù)情況下，Ronson似乎滿足于坐在董事會，讓每個歌手的獨特優(yōu)勢在音樂中盡情發(fā)揮。

A long stretch of the album is commanded by YEBBA, who proves conclusively, across three tracks, that?she has the range, darling. Her daring vocals leap from near-Joanna Newsom?falsetto to sultry, guttural contralto. Her delivery defies convention, particularly on “When U Went Away,” where she makes a glorious, expressive meal of a lyric as simple as “I’m gonna be alright.” Another highlight is “Why Hide,” an understated ballad from tremendous talent?Diana Gordon. Gordon, a?Beyoncé?co-writer whose 2011 debut album as Wynter Gordon flew under the public radar, has been waiting and working for a breakthrough for a number of years. May this track be her first step toward ubiquity.

這張專輯的一段很長的篇幅是由YEBBA操刀的，她在三首歌曲中充分證明了自己的收放自如。她大膽的嗓音從近乎Joanna Newsomfalsett的假聲轉(zhuǎn)變?yōu)閻灍岬暮硪襞鸵?。她的表演打破了慣例，尤其是在“I’m gonna be alright”中，她準(zhǔn)備了一頓華麗而富有表現(xiàn)力的抒情盛宴，就像“我會沒事的”一樣簡單。另一個亮點是“為什么藏起來”，一首來自天才Diana Gordon的低調(diào)民謠。Gordon是Beyoncé的合作作者，他憑借2011年首張專輯《Wynter Gordon》走進(jìn)公眾視野，一直在等待并努力取得突破。愿這首歌成為她走紅的第一步。

Lykke Li,?no stranger to Sad Girl Theory, gives game performances on the title track and the penultimate “2AM,” lending nuanced perspective to narratives of unrequited love and emotional manipulation. She calls the uncaring cad of her affection to account, demanding better from him, never understating or excusing the damage he causes. Her anger, her sadness, even her tendency to fall for uncaring cads—all of these are stated plainly, and none of them lay the blame at her own feet. A similar ethic courses through?Angel Olsen’s “True Blue”: heartbreak as reasonable, justified reaction to cruelty. In her delivery, Olsen’s voice becomes a damning, pointing finger: “I ran to you, and you know why.”

Lykke Li對悲傷女孩理論并不陌生，她在專輯同名曲和倒數(shù)第二首曲目《凌晨2點》(2AM)中進(jìn)行了游戲一般的表演，借微妙的視角來敘述單相思和情感控制。她要求她的渣男戀人作出解釋并且全心全意為她好，從不輕描淡寫或原諒他造成的傷害。她的憤怒，她的悲傷，甚至她愛上不關(guān)心她的人的傾向——所有這些都說的明明白白，沒有一項把責(zé)任歸咎于她自己。Angel Olsen的“True Blue”也體現(xiàn)了類似的倫理:心碎是對殘酷的合理、正確的反應(yīng)。在Olsen的表演風(fēng)格中，她的聲音變成了一根惡狠狠的直勾勾指向人的手指，說道：“I ran to you, and you know why.（我奔向你，你也知道為什么）”

Not every song on?Late Night Feelings?can rival these peaks, but even at its lower points, the album is refreshingly candid. “Find U Again,” performed and co-written by Cabello, is wildly endearing for the sheer, unapologetic 22-year-old-ness of its perspective. “This crush is kind of crushing me,” she sings, and follows the line with: “I do therapy at least twice a week.” The lyric is no less effective for its clumsiness, an honest expression of anguish that resists the urge to slap a pretty, poetic bow on weeping on the sofa in a psychotherapist’s office. Even “Nothing Breaks Like a Heart,” a?Miley Cyrus?contribution that aims to recapture the magic of?her “Jolene” cover, is a cut above her middling recent history. Though much of the song dips into pop cliché unmoored from context, a brief reference to a “burning house” with “nothing left” is a jarring reminder of Cyrus’s real, aching vulnerability: her house really?did?burn down in the Woolsey Fire; she really?did?lose her home.

不是每首《Late Night Feelings》里的歌曲都能與上述這些良曲媲美，但即使在不算出色，這張專輯也有著令人耳目一新地坦誠?！癋ind U again”由Cabello（卡妹）表演和合著，它令人喜愛的地方在于其純粹的，撞破南墻也不回頭的22歲視角?！癟his crush is little crashing me（這種迷戀有點讓我心碎），”她唱著，然后跟著臺詞說：“I do therapy and it‘s twice a week（我每周至少做兩次）。”這些歌詞并不會顯得笨拙，而是一種真誠的痛苦表達(dá)，它壓抑住了在一個心理醫(yī)生的沙發(fā)上哭泣時，還起身做一個美麗的、詩意的鞠躬的念頭?！癗othing Breaks Like A Heart”由Miley Cyrus麥粒獻(xiàn)唱，旨在復(fù)刻她的“Jolene”形象的魔力，這也是她在近代歷史中間的一個切入點。盡管這首歌的大部分內(nèi)容都是流行的陳詞濫調(diào)，但在簡單地提到“burning houses（燃燒的房子）”時“nothing lesft（什么都沒剩下）”的時候，卻讓人不安地想起了麥粒真正痛苦的弱點：她的房子確實在Woolsey的大火中燒毀了；她真的失去了家。

Cyrus recently starred in an episode of “Black Mirror,” playing a pop star clad in cotton-candy colors who retreated, miserable, to her grand piano in the early hours of the morning to pen acoustic numbers about being, despite all her rage, still just a rat in a cage. The episode was laughably?out of touch?in its portrayal of the plight of the modern pop star, in large part because pop does, increasingly, take the sadness of girls seriously. It’s hard to imagine pap like “On a Roll” taking root in an era where Beyoncé makes history by narrating her honest feelings of worthlessness in the aftermath of infidelity, or?Billie Eilish?dominates the charts by vomiting tarantulas.?Late Night Feelings?is not the first recent record to treat the sadness of women as a healthy response to all manner of hurt. It is, however, a worthy entry in this still-developing pop pantheon, authentic and honest in its rendering of many shades of feminine sorrow.

麥粒最近出演了《黑鏡》(Black Mirror)，扮演一位穿著棉花糖顏色衣服的流行歌手，她很痛苦地在凌晨回到她的大鋼琴前，寫下關(guān)于她存在的聲音號碼 ，她雖然很憤怒，但仍然只是一只關(guān)在籠子里的老鼠。搞笑的是，這一集沒有對現(xiàn)代流行歌手困境的描述，很大程度上是因為流行音樂越來越重視女孩的悲傷。很難想象像《On a Roll》這樣的歌會在碧昂斯講述自己在出軌后的真實感受而創(chuàng)造歷史以及Billie Eilish以吐口水的狼蛛統(tǒng)治著排行榜的時代占有一席之地?！禠ate Night Feelings》并不是最近第一個將女性的悲傷視為對各種傷害的健康反應(yīng)的唱片。然而，在這個仍在發(fā)展的流行音樂圣地中，它是一個有價值的入口，真實且真誠地呈現(xiàn)了女性的許多悲傷的陰影。