搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：Jayleen Zhao

校對(duì)：Ryan-Chopin

排版：Ryan-Chopin

With limitlessly innovative songwriting and production, the cinema of twigs’ music has never been more affecting.?MAGDALENE?is not just on the vanguard of pop, it’s in a breathtaking class of its own.?

憑借無(wú)限創(chuàng)新的歌曲作詞和制作，F(xiàn)KA twigs的視覺型音樂情感豐富而感人至深?！禡AGDALENE》不僅是流行音樂的先鋒，她也自我突破進(jìn)入了一個(gè)新的臺(tái)階。

From her first video, 2012’s mesmerizing “Hide,” the singular focus of her vision was apparent, a holistic project that rendered?FKA twigs’ operatic approach to club beats inextricable from her astounding art direction. In the seven years since, she has made her art into a kind of theatrical multimedia experience, crafting elaborate shows and videos that intertwine and smudge the lines of classicism and the avant-garde. She is astonishing, ambitious, and seemingly good at everything, singing over her own ticker-tape beats, self-directing wildly conceptual videos, and ravenously hoovering up dance disciplines (apparently?up to and including?Chinese sword fighting) until she masters them.

從她2012年的第一個(gè)視頻“Hide”中可以看出，她視角的獨(dú)特性是顯而易見的，這一整體展現(xiàn)，使得FKA twigs的歌劇表達(dá)與前衛(wèi)電子樂相結(jié)合，這些完美呈現(xiàn)也要?dú)w功于她令人驚嘆的藝術(shù)指導(dǎo)力。從那以后的七年里，她把自己的藝術(shù)變成了一種戲劇化的多媒體體驗(yàn)，精心制作的表演和視頻交織在一起，模糊了古典主義和前衛(wèi)主義的界限。她令人驚訝，看起來雄心勃勃，似乎什么事都做的很好，twigs唱著自己的節(jié)奏，自導(dǎo)瘋狂的概念化視頻，瘋狂地吸收舞蹈學(xué)科(顯然也包括中國(guó)劍術(shù))，直到自己掌握它們。

Yet in spite of twigs’ distinctive soprano (spectral and often papery) and her experimental production (stunning and often bellicose), her music has resonated best as a part of a whole, a piece that propels her full-blown artistry but does not totally comprise it. Chalk this up to twigs’ innovation in the Eyeballs Epoch, but even 2015’s incredible?M3LL155X?EP—a brooding and serrated read on genres like industrial, ballroom house, and triple-time rap—centered adventurousness over melody. It let the fullness of her art bring the beats along with it—weird bangers meant to challenge patrons of the most interesting nightclubs—but was probably best experienced while watching French artist and polymath Michèle Lamy?rendered as a deep-sea anglerfish. The?gesamtkunstwerk?of twigs sometimes overshadowed the music itself, in part because so much of twigs’ presence is her world-class athleticism as a dancer. She imbues voguing and lyrical ballet with such grace and sensuality that the emotion of her music emanates directly from her body.

然而，盡管twigs有獨(dú)特的女高音(聲音幽靈般的，通常聽起來薄而干)和她的實(shí)驗(yàn)性作品(作品令人震驚，通常是有攻擊性的)，這些作為她音樂整體的一部分在她的作品中得到了最好的共鳴，這是一個(gè)使她完全將自己的藝術(shù)技巧提高并充分展現(xiàn)的創(chuàng)作，但其藝術(shù)高度也不止于此。這要?dú)w因于twigs在視覺時(shí)代的創(chuàng)新，2015年她發(fā)行了一張令人難以置信的EP《M3LL155X》——一部幽怨的，鋸齒般的作品，融合了工業(yè)音樂，地下舞會(huì)音樂，和 triple-time節(jié)奏饒舌，也包含了對(duì)旋律的冒險(xiǎn)精神。這讓她豐富的藝術(shù)作品，表達(dá)出與之適應(yīng)的節(jié)拍——怪異的砰砰聲旨在挑戰(zhàn)那些最有意思的夜總會(huì)的老主顧們的耳蝸了——但在觀看法國(guó)藝術(shù)家和博學(xué)多才的Michèle Lamy 裝扮成深海魚時(shí)，配上她的音樂才是最佳體驗(yàn)。有時(shí)候，twigs的整體藝術(shù)使音樂本身變的黯淡，部分原因在于她作為一名舞蹈家有著世界級(jí)的肢體律動(dòng)。她給折手舞和抒情芭蕾注入了優(yōu)雅和感性，并將她的音樂情感直接用肢體釋放。

MAGDALENE, then, is a fucking revelation. FKA twigs’ first album in four years, and her best work by far, is as introspective as anything she’s written, but more obviously centers her voice as a conduit for plain emotion. Written during a publicly scrutinized relationship with a?famously reluctant vampire, as well as a more private recovery from the removal of fibroids from her uterus, she has said she found solace and inspiration in the story of Mary Magdalene, among the New Testament’s most reviled and misunderstood character, whose complexities were rewritten by centuries of chauvinist churchmen into a fallen-woman side note in Jesus’ story. By locating herself in Magdalene’s lineage, twigs, a Catholic school alumnus, explores the ways deeply conservative expectations trammel women; in doing so, she locates a version of herself within these ancient and oppressive archetypes, upending and transcending them through the power of her songwriting and the sheer magnetic pull of her presence.

《MAGDALENE》極具啟示性。這是FKA twigs四年來的第一張專輯，也是她迄今為止最好的作品，和她寫的其他作品一樣發(fā)人深省，但這張專輯更明顯地將她的聲音作為表達(dá)情感的渠道。這張專輯寫于她與著名男友Robert Pattinson——扮演了《暮光之城》的吸血鬼之一——在公眾注視之下的戀情中,以及寫于一個(gè)更私人的過程中——她做手術(shù)切除了子宮肌瘤,她說她在Mary Magdalene的故事中獲得慰藉和靈感,Mary Magdalene是《新約》中被詬病最多和誤解最深的人物,其復(fù)雜的故事，被幾個(gè)世紀(jì)的沙文主義教會(huì)人士重寫成耶穌故事中的墮落女人邊注。身為天主教學(xué)校一員的twigs，通過將自己定位在Magdalene的世系中，探索了極度保守的期望和對(duì)女性的束縛;在這樣的創(chuàng)作過程中，她從這些古老而壓抑的原型里找到了自己的一個(gè)版本，并通過她歌曲創(chuàng)作的力量和她純粹的吸引力，顛覆且超越了這些原型。

“thousand eyes” opens?MAGDALENE?with twigs singing in the austere polyphony of Medieval church music, a meditation on the moment before a permanent departure (“If I walk out the door it starts our last goodbye”) that, with repetition, reveals itself as a hymn. It’s a prologue for an album whose songs are produced like narratives, with a beginning, climax, and denouement. She grapples with survival—psychic and physical survival—the way a woman who lives to move might respond to being laid out by tumors on an organ that facilitates birth. She is furious in parts, attacking tracks like the sweet “home with you” and snarling standout “fallen alien” with virility and self-preservation. Even if shit went south, she refuses to saddle herself with the burden: “I’m a fallen alien, I never thought that you would be the one to tie me down,” she seethes. “But you did in this age of Satan/I’m searching for a light to take me home and guide me out.”

歌曲 “thousand eyes”開啟了這張專輯，twigs用中世紀(jì)教堂音樂中樸素的復(fù)調(diào)歌唱著,這是對(duì)永久分離(“If I walk out the door it starts our last goodbye”，“若我走出門，我們的最后一次告別就這樣開始了”) 那一刻的沉思，這句歌詞的不斷反復(fù)讓這首歌像一首贊美詩(shī)。這是這張專輯的序幕，專輯的歌曲像在敘事，有開始，高潮和結(jié)局。她努力地生存(心理和生理上的生存)，即活下來的婦女可能會(huì)因子宮肌瘤而成為擺設(shè)。她有時(shí)候會(huì)生氣，比如專輯第二首歌曲，甜美的 “home with you” ，和充滿強(qiáng)勁氣概及自我保護(hù)，并以咆哮的方式表達(dá)的 “fallen alien”。不論如何，她也拒絕給自己負(fù)擔(dān):“I’m a fallen alien, I never thought that you would be the one to tie me down,” ，“我是墜入大氣的外星人，從未想過你會(huì)是那個(gè)將我牢牢束縛與地球之上的人，但你讓我無(wú)法再離開，”她強(qiáng)壓怒火。“But you did in this age of Satan/I’m searching for a light to take me home and guide me out/但你讓我無(wú)法再離開，在撒旦的紀(jì)元里/我尋找著一束光，能夠引領(lǐng)我回家，助我出逃?！?/p>

MAGDALENE?is visceral and direct, but despite featuring a trunk-thumping?Future?collaboration (“holy terrain”), this is not a play to make pop music in the charts-humping sense. It’s a document of twigs’ marked achievements in songwriting and musicality as she elucidates her melodies without sacrificing her viewpoint. “sad day,” one of?MAGDALENE’s most astonishing tracks, finds twigs properly genuflecting at the altar of?Kate Bush, clearly having learned from her ability to translate inner sanctum into cinematic, Shelleyan alt-pop. The production by twigs,?Nicolas Jaar,?Skrillex, and?benny blanco?is utterly sublime: Skittering toms build onto an oscillating space-synth, the beats a proscenium for twigs’ voice and, especially, her lover’s desperation. Even if “sad day” doesn’t tell an explicit narrative in its lyrics, its production and twigs’ delivery tell an emotional one, that of the last desperate grasps at love in a power imbalance; we’re at the center where the story turns, teetering towards its inevitable end.

That the album stands alone is not to say the totality of her vision is truncated; twigs has already released three videos to accompany its nine songs. The first, “cellophane,” set the tone for the project, showcasing her pole-dancing skills to a dissonantly sorrowful ballad. (That she apparently?finds it funny?is a testament to her character—serious artists who can’t laugh at themselves are the worst.) The armchair interpretation of “cellophane” is as a meditation on the virulent racism that disgusting British tabloids and the worst of?Twilight?stans lobbed at twigs during her relationship with Robert Pattinson, but it’s equally a mournful reflection on the insecurities that dog any inequitable relationship. The imagery twigs has associated with “cellophane”—pole dancing, a feat of physical strength set perpendicular to the emotional strength she sings about lacking—calls up the idea of performing for others’ pleasure. It’s a sad solo dance by someone both fully present in herself and aware that she's toeing the line between agency and subjugation. As the final track on this deeply thought, deeply felt album, “cellophane” acts as a rejoinder to “thousand eyes”—how sickening it must be, a woman artist constantly watched by bigoted tabloids interested in tearing you down from the man you love, how they did Mary M. and Jesus—and underscores the sorrow woven through?MAGDALENE. The fact that sorrow spurred a musical growth this formidable, though, is evidence enough that twigs will always find her way back home.

《MAGDALENE》是本能的呼喚和最直接的表達(dá)，但除了與說唱歌手Future合作的“holy terrain"，這首偏向流行的歌曲似乎與專輯的進(jìn)程感有些不符。但其實(shí)，這是twigs在歌曲創(chuàng)作和提高音樂性方面，既不犧牲自己觀點(diǎn)又能兼顧旋律性的證明?！禡AGDALENE》最令人驚訝的曲目之一要屬“sad day”，twigs在著名英國(guó)女歌手Kate Bush的圣壇前屈膝，顯然，她已經(jīng)學(xué)會(huì)了將自己內(nèi)心的圣所轉(zhuǎn)化成電影一般的、雪萊浪漫主義風(fēng)格的另類流行。這張結(jié)合了twigs, Nicolas Jaar, Skrillex, 和Benny Blanco等多位優(yōu)秀音樂制作人的專輯無(wú)疑是值得被贊嘆:飛舞的音色建立在振蕩的空間合成器上，節(jié)奏完美結(jié)合了twigs的聲音，尤其表達(dá)了愛人的絕望感。即使“sad day”的歌詞并沒有表達(dá)出明確的敘述，但其制作和twigs的演唱卻傳達(dá)出一種情感，即最后的絕望是發(fā)生在力量失衡中抓住了愛情的時(shí)候。我們處于故事轉(zhuǎn)折點(diǎn)的中心，步履蹣跚地走向了必然的結(jié)局。

我們說這張專輯是孤立的，并不是指她的眼光不夠長(zhǎng)遠(yuǎn)。twigs已經(jīng)發(fā)布了三段視頻，以配合專輯中的九首歌曲。首先，"cellophane”， 為專輯定下基調(diào)，用一首極度悲傷的抒情曲展現(xiàn)了她的鋼管舞技巧。(她顯然覺得這很有趣，這也是她性格的表現(xiàn)——不能自嘲的嚴(yán)肅的藝術(shù)家是最糟糕的。）"cellophane”中看似脫離實(shí)際的表演，其實(shí)是對(duì)英國(guó)小報(bào)和《暮光之城》的糟糕癡迷者——在她與Robert Pattinson 的戀情中大肆抨擊的那些惡毒種族歧視者的沉思，但這同時(shí)也是對(duì)任何不平等關(guān)系所帶來的不安全感的反思。twigs將這些用鋼管舞與歌曲"cellophane”聯(lián)系起來，鋼管舞——一種充滿力量的舞蹈來搭配她所缺失的情感，喚起了她為他人的快樂而表演的想法。這是一個(gè)悲傷的獨(dú)舞，既充分展現(xiàn)自己的內(nèi)心，又讓人意識(shí)到她正在努力解決被征服與征服之間的矛盾。作為這張深思熟慮的專輯的最后一曲， "cellophane”與 “thousand eyes”交相輝映——作為一位女性藝術(shù)家，經(jīng)常被那些偏執(zhí)的小報(bào)關(guān)注著，并有意將你與你愛的男人拆散，這多么糟心??！這些就像Mary Magdalene和耶穌經(jīng)歷的那樣，她由此編織了悲傷的《MAGDALENE》。盡管如此，悲傷刺激了音樂的發(fā)展，這一事實(shí)足以證明，twigs總能找到屬于自己的路。