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：王藝穎

校正：Susanne

霉霉（泰勒·斯威夫特）出人意料地在其新專《Reputation》中進(jìn)行了深刻自省。但對此，羅伯?謝菲爾德（Rob Sheffield）這樣寫道：“可又正因?yàn)樗翘├?斯威夫特，所以她還是無法舍棄內(nèi)心那個(gè)動蕩不安、透支過度、疲憊不安又榮譽(yù)滿載的自我，那是她常理之外的自我。”

“I swear I don’t love the drama – it loves me!” Now there’s a credo that sums up the?Taylor Swift?of?Reputation. So rest in peace, Old Taylor, and for that matter New Taylor, because?Reputation?is New New Taylor. Swift spent most of the past year off the radar, dropping out of the media hustle – a major challenge for a star this relentless about sharing her feelings, not to mention her cats’ feelings. Taylor turning off her phone was the equivalent of Leonard Cohen moving to a Zen monastery for five years.

?“我發(fā)誓，不是我愛抓馬，而是抓馬愛我！”這一信條完美總結(jié)了霉霉的《Reputation》。過去的霉霉已經(jīng)可以安息——《Reputation》造就了新的霉霉，使之涅槃重生。過去的一年，霉霉基本上選擇淡出大眾視野，遠(yuǎn)離媒體喧囂——這對于明星來說是個(gè)巨大的挑戰(zhàn)，畢竟媒體總是要求明星一刻不停地分享自己的心情；至于霉霉，哪怕是她養(yǎng)的一只貓咪也躲不過被媒體刨根究底的命運(yùn)。但是霉霉選擇了關(guān)掉手機(jī)，隔絕與外界的聯(lián)系，這簡直跟萊昂納德·科恩（Leonard Cohen）搬到禪寺清修五年差不多。

From the sounds of her excellent sixth album, Swift spent that time going into deeper, darker, more introspective places.?Reputation?is her most intimate album – a song cycle about how it feels when you stop chasing romance and start letting your life happen. As one of the all-time great pop masterminds, she’s trying something new, as she always does. But because she’s Taylor Swift, she can’t stop being her own turbulent, excessive, exhausting and gloriously extra self. Make no mistake, this girl’s love affair with drama is alive and well.

霉霉在籌備第六張專輯時(shí)顯然下了很大功夫，這張專輯非常出色。這一次，她的嗓音愈加雄渾深厚，更陰郁低沉，其中包含的自省之意也更為濃厚。《Reputation》是與她個(gè)人情感聯(lián)系最密切的專輯，歌曲中循環(huán)講述了她的切身體會：她不再一味追逐新鮮的浪漫，而是歸于真實(shí)生活，開始享受人生。泰勒?斯威夫特是有史以來最偉大的流行歌手之一，可又正因?yàn)樗翘├?斯威夫特，所以她還是無法舍棄內(nèi)心那個(gè)動蕩不安、透支過度、疲憊不安又榮譽(yù)滿載的自我，那是她常理之外的自我。在這張專輯中，她一如既往地進(jìn)行了創(chuàng)新。毋庸置疑，這個(gè)女孩對這些“游戲”如癡如狂。

The world was expecting?Reputation?to be a celebrity self-pity party, after her September single “Look What You Made Me Do,” airing her grievances about getting mistreated by other famous people. Even if you think her complaints were totally justified, they felt like a dreary waste of her creative time, and many fans were dreading the idea of a whole album’s worth. But sorry, world – that was just one of her Swiftian fake-out moves, because there’s nothing else like that song on?Reputation. (Whew.) Instead, she’s playing for bigger emotional stakes – this is an album full of one-on-one adult love songs. That’s a daring swerve from a songwriter who’s scored so many brilliant hits about pursuing the next romantic high. Taylor might love the players, but nowhere near as much as she loves the game.

在霉霉9月份發(fā)表單曲“Look What You Made Me Do”之后，全世界都認(rèn)為《Reputation》會裝滿她身為名人自憐自哀的牢騷，同時(shí)發(fā)泄她受到其他明星不公正對待的抱怨。即便人們認(rèn)為她的抱怨都是合理的，可他們依舊覺得這是在浪費(fèi)她的創(chuàng)作時(shí)間，就連許多粉絲都覺得整張專輯質(zhì)量堪憂。但抱歉了，世界，她只是耍了個(gè)泰勒式的小花招而已，因?yàn)椤禦eputation》里面收錄的歌曲都無與倫比。與過去不同的是，她下了一個(gè)更大的情感賭注——這張專輯中全是她寫給現(xiàn)男友的專屬情歌。這對于一個(gè)總是在追求下一場浪漫的創(chuàng)作者來說，是個(gè)大膽的轉(zhuǎn)變。在這場逐愛賽中，霉霉可能會喜歡這些來來往往的花花公子，但她卻不大可能喜歡這場比賽本身。

We all know Better than to treat Swift’s songs as straight autobiography, but a year into her relationship with actor Joe Alwyn, she sure isn’t cranking out the break-up songs. Gems like “Dancing With Our Hands Tied” and “New Year’s Day” are long-term love stories that don’t end with a scarf hidden in a drawer. As she sings in “Call It What You Want,” “Nobody’s heard from me for months/I’m doing Better than I ever was.” The songs are full of everyday details – spilling wine in the bathtub, building blanket forts. But they also explore a timely question: What happens to your identity when you step back and stop defining yourself by how strangers see you?

《Reputation》是以1989年的合成流行音樂為基礎(chǔ)進(jìn)行創(chuàng)作的，它巧妙的制造了聲音轟炸效果。該專輯是是由整個(gè)團(tuán)隊(duì)分工進(jìn)行制作的，團(tuán)隊(duì)成員有馬克斯·馬?。∕ax Martin），斯維德·歇爾貝克（Shellback），也就是常說的“兩個(gè)瑞典人和一個(gè)斯威夫特” 的組合（2 Swedes and a Swift”），以及杰克·安托諾夫（Jack Antonoff）。讓人神魂顛倒的“Getaway Car”講述了一段三角戀，這段戀情始于一個(gè)奇特之地（見于歌詞：“黑色的紐帶，彼此間善意的謊言”“the ties were black, the lies were white”），在一個(gè)低俗的汽車旅館里愛欲之火熊熊燃燒，卻最終意識到“在逃亡車?yán)锊粫泻檬掳l(fā)生”（Nothing good starts in a getaway car”）。如果你擔(dān)心她可能不再是人們熟悉的小泰，那么聽聽“This Is Why We Can’t Have Nice Things”，這首寫的是她對一位曾一起聚會狂歡的富豪朋友的依依惜別（“feeling so Gatsby for that whole year”），這首歌就像是大手筆翻新后的“Better Than Revenge”，聽完后，你就會知道這種擔(dān)心其實(shí)毫無必要。

There’s a surprising amount of sex (“scratches down your back” is a Tay lyrical first) and her first recorded profanity, when she sneers about her exes in the superbly dishy “I Did Something Bad”: “If a man talks shit, then I owe him nothing.” “Dress” rides on the hook, “I only bought this dress so you could take it off.” But even when Ms. White Horse works blue, she can’t resist droll self-mockery. Even the title is a sly in-joke, since Taylor has always loved singing odes to her dresses – it’s like Bruce Springsteen calling a song “Car.” “End Game” is her deeply weird, wildly funny R&B collabo with Future and Ed Sheeran – now there’s a threesome nobody saw coming. While both suitors pledge their devotion, Tay plays coy (“You’ve been calling my bluff on all my usual tricks/So here’s the truth from my red lips”) and confesses, “I bury hatchets but I keep maps of where I put ’em.”

在《Reputation》這張專輯中，霉霉沒有收錄大量抒情歌曲，這無疑是個(gè)莫大的遺憾——如果你非常喜歡她那些大熱的抒情單曲，如“All Too Well”，“Clean”或“Last Kiss”，你可能會腦補(bǔ)出一幅令人心碎的畫面：她那把心愛的吉他獨(dú)自躺在角落里，不耐煩地清理它的喉嚨，卻沒有人來演奏它。然而她將積蓄的抒情之力用在了“New Year’s Day”上，這首歌產(chǎn)生了爆炸性的效果，延續(xù)了她過往專輯的慣例：每一張專輯的最后一首歌曲都是引爆人淚點(diǎn)的淚腺炸彈?！八痹谝粓鋈A麗的新年狂歡之后醒來，“地上殘留著昨晚派對時(shí)撒下的亮片；女孩們紛紛提著她們的高跟鞋，赤腳下樓走到大廳”（“Glitter on the floor after the?party/Girls carrying their shoes down in the lobby”），她反思著生活留給自己的一切：她將要與這個(gè)不那么完美的人一起度過一段不那么完美的日子。這是兩個(gè)人之間的小小時(shí)刻，世界上不會有別人注意到這一刻。《Reputation》在此刻最安靜，也最強(qiáng)大。在整張《Reputation》專輯中，霉霉無限放大了這些細(xì)微的甜蜜，只有她，能做到這一點(diǎn)。