翻譯：thesweetescape

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-best-albums-of-the-1990s/

Fiona Apple:?When the Pawn…?(1999)

《當(dāng)一個(gè)小兵加入了戰(zhàn)爭，他就會(huì)像個(gè)國王般去思考，他所知道的就是在戰(zhàn)爭時(shí)奮力出擊，這樣他一旦加入了戰(zhàn)爭就會(huì)獲得全面性的勝利；在你的信念成為你所持有的武力時(shí)，就沒有人能打倒你；所以如果你是一個(gè)人獨(dú)自奮斗，你要自己堅(jiān)持下去，記住深度是最崇高的，如果你能認(rèn)清你的立足點(diǎn)，你才會(huì)看到你應(yīng)該要在哪裡降落，如果子掉下來了也沒關(guān)係，因?yàn)槟阒滥闶菍?duì)的》

《When the Pawn Hits the Conflicts He Thinks Like a King What He Knows Throws the Blows When He Goes to the Fight and He’ll Win the Whole Thing ’Fore He Enters the Ring There’s No Body to Batter When Your Mind Is Your Might So When You Go Solo, You Hold Your Own Hand and Remember That Depth Is the Greatest of Heights and If You Know Where You Stand, Then You Know Where to Land and If You Fall It Won’t Matter,Cuz You’ll Know That You’re Right》

At the time of the release of Fiona Apple’s second album, few knew what to make of the music—one critic compared it to Korn (!)—but everyone thought they knew what to make of Apple herself, their takes plagued by cartoonish misogyny. Apple knew all this; she was always several steps ahead.

當(dāng)Fiona Apple的第二張專輯發(fā)行時(shí)，幾乎沒有人明白該如何欣賞此類音樂——有樂評(píng)將這張專輯與科恩樂隊(duì)相提并論——但更多人都自以為摸清Fiona Apple的門道，局限在狹隘無比的厭女思想中。Fiona Apple看透了這些事物，她總是領(lǐng)先時(shí)代幾步。

When the Pawn…?is about knowing your patterns, knowing the rubble they’ve made of your life—and knowing you’ll do it again. Producer Jon Brion set a baroque stage of arrangements that careen like off-rails Cirque du Soleil. But he just sketched the blueprints. Apple constructed, then wrecked, the house. She played the piano like assassins use knives. Her vocal roles are larger-than-life: precise and unsingably fast, fit for a technical rapper, or open-throated and dramatic, like a stage diva commandeering an encore. On the thunderous choruses of “Limp” and “Get Gone,” she summons hundreds of women against countless detractors. Her force spares no one, much less herself. –Katherine St. Asaph

專輯《When the Pawn…》是關(guān)于探索自我的生活模式，通曉那些擊垮你生活的事物——拾起重振旗鼓的信心。制作人Jon Brion營造的巴洛克編曲奔騰不息，猶如即將翻車的太陽馬戲團(tuán)（加拿大蒙特利爾的一家娛樂公司及表演團(tuán)體，也是全球最大的戲劇制作公司）。但他只構(gòu)造出框架，F(xiàn)iona Apple構(gòu)建出整體，隨后又摧毀了一切。她彈奏的鋼琴就像刺客拔刀一樣。她的演唱仿佛比天地還遼闊：超凡脫俗的清晰吐字，媲美專業(yè)的說唱歌手，或放聲歌唱，慷慨激昂，如同被掌聲擁護(hù)的天后安可演出。在歌曲?“Limp” 和“Get Gone“雷鳴般的副歌中，?她召集數(shù)以百計(jì)的女性共同抵抗數(shù)不勝數(shù)的詆毀污蔑者。她的力量驚天動(dòng)地，自己也招架不住。?–Katherine St. Asaph