搬運自：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：Joonly EC/June Hess

審譯：Ryan-Chopin

排版：SpencerC

Lana Del Rey?has always been a pop classicist at heart — but she’s finally made her pop classic. The long-awaited?Norman fucking rockwell?is even more massive and majestic than everyone hoped it would be. Lana turns her fifth and finest album into a tour of sordid American dreams, going deep cover in all our nation’s most twisted fantasies of glamour and danger. No other songwriter around does such an expert job of building up elaborate romantic fantasies, and then burning them to the ground. She purrs lines like, “If I wasn’t so fucked up, I’d fuck you all the time,” or, “I heard the war is over if you choose,” or, “Your poetry’s bad and you blame the news.” But the fact that they’re lethally funny doesn’t make them any less chilling.

《Norman fucking rockwell》的歌曲喚起了Margot Robbie在《好萊塢往事》中對Sharon Tate的記憶——當(dāng)時她還是個小明星，在洛杉磯的布魯恩·韋斯特伍德劇院請求貴賓待遇，希望能免費入場，因為她在電影里有出演。這可能是一個令人難堪的恥辱時刻，但她在自己的明星夢中是如此坦誠，沒有人會想向她收取75美分的入場費。在專輯的一些歌曲中，Lana讓人發(fā)省自問，如果Sharon Tate厭倦了Paul Revere & the Raiders的舊唱片，而化身70年代馬里布創(chuàng)作歌手般懶散麻木，一切又會是什么樣子。

The songs on?Norman fucking rockwell?evoke Margot Robbie’s vision of Sharon Tate in?Once Upon A Time In Hollywood?— still a small-time starlet, requesting VIP treatment at the Bruin Westwood theater in L.A., asking to get in free because she’s in the movie. It could have been a mortifying moment of humiliation, but she’s so guileless in her own stardom fantasy, nobody would dream of charging her the 75 cent admission. In some of these songs, Lana evokes what would have happened if this Sharon Tate wore out her old Paul Revere and the Raiders records and made it into the Seventies milieu of Malibu singer-songwriter torpor.

Norman fucking rockwell?was iconic before it was even released, with the string of brilliant singles Lana has rolled out over the past year as her song-by-song diary, not to mention that magnificent title. (The late David Berman wrote that he was planning to call his Purple Mountains album?Strangers in the fucking Night?until he heard about Lana’s title.) “Venice Bitch” was a nine-minute swirl of psychedelic guitar smog, lush strings and low-riding G-funk synths, with Lana baring her fangs, declaring herself “fresh out of fucks forever.” “Mariners Apartment Complex” was a ballad of flesh-and-blood heartbreak, pleading, “Jesus, can’t a girl just do the best she can?” Last week, the one-two punch of “fuck It I Love You” and “The Greatest” raised expectations to a fever pitch.

《Norman fucking rockwell》甚至在發(fā)行之前就已經(jīng)是標(biāo)志性的了，Lana在過去的一年里推出了一系列出色的單曲作為她的歌曲日記，更別提那個slay慘了的標(biāo)題。(之后David Berman寫道,因為Lana Del Rey，他打算把他的《Purple Mountain》專輯改名為《Strangers in the fucking Night》。)九分多鐘長的“Venice Bitch”被朦朧迷幻的吉他縈繞，還有郁郁蔥蔥的音符和低音部分的G調(diào)放克合成器，Lana漏出她的尖牙,稱自己“新穎得不得了”?！癕ariners Apartment Complex”是一首有血有肉的情歌，抒著發(fā)心碎之情，歌詞中懇求道，“天吶，女孩兒就應(yīng)該委曲求全嗎?”上周，“fuck It I Love You（干，我愛你）”和“The Greatest（最為偉大）”這兩首單曲的連擊直接讓人們的期待值爆表。

But the album exceeds them, stretching the languid groove for over an hour. The title ballad opens with the closest she comes to a romantic moment: “Goddamn, man-child/You fucked me so good that I almost said ‘I love you.’” (It evokes the deeply creepy moment on?Honeymoon?where she invites her lover to “kiss while we do it,” as if that’s some kind of esoteric perversion, which in her songs it is.) And the fact that this man-child fails her emotionally in every possible way? She shrugs, “You’re just a man / It’s just what you do / Your head in your hands as you color me blue.”

然而這張專輯遠(yuǎn)遠(yuǎn)超出了我們的期待值，將這種慵懶的狀態(tài)延續(xù)了一個多小時。曲目一的同名芭樂以她最私密的浪漫蜜語來開場:“該死，我的男人/你與我尋歡作樂，我差點說出‘我愛你’?！?這讓人想起她在《Honeymoon》時期邀請愛人“做愛的時候親吻我”那令人毛骨悚然的時候，就像是某種深奧的變態(tài)，在她的歌中確實如此。)并且事實是，這個男人在所有方面都可能辜負(fù)了她，她也只是聳了聳肩，唱到“你只是一個男人/這就是你的作風(fēng)/你有自己的選擇，如同你把我用憂傷包裹?！?/p>

She updates her original pose as the “gangster Nancy Sinatra,” with Jack Antonoff as her Lee Hazelwood, rising to the occasion as her musical wingman. But nobody can doubt this is Lana’s trip. She’s always the girl in the song, whatever song happens to be on the radio right now, but she’s also the girl singing the song, making it feel doomed and fucked up and yet somehow thrilling. “The Bartender,” “How To Disappear,” “Love Song” — these are torch ballads that feel like they should be playing in the background of some lost Nineties straight-to-video erotic thriller, on a VHS tape buried in the attic of someone who hustled it from Blockbuster and died before paying the late fee.

她更新了自己最初扮演的“黑幫Nancy Sinatra”的造型（譯者注：Lana早期造型與她相似，并在新單曲“Doin' Time”的mv中再次出現(xiàn)），Jack Antonoff飾演她的Lee Hazelwood，在音樂上成為她的僚機(jī)。但沒有人能懷疑這會是Lana的一趟旅途。她總是那首歌里的女孩，不管現(xiàn)在廣播里播的是什么歌，但她也是唱這首歌的女孩，這首歌讓人覺得注定要失敗，幻滅，但又讓人興奮?！癇artender（酒保）”、“How to Disappear（如何消失）,”“Love Song（情歌）”——這些都是如火焰般燃燒著的情歌，它們應(yīng)該出現(xiàn)在失落的90年代里大眾熒幕以外的色情驚悚片中，像是某人從百視達(dá)偷來了這類片，用小型家庭放映設(shè)備在閣樓上尋樂，而這位享樂之人也在交完滯納金前就已不在人世。

Her 2014?Ultraviolence?used to be her best album (by a mile) until now — the one where her singing and songwriting finally caught up with her myth-making flair. But she tops it here, with help from Antonoff. He’s having quite the summer, just a week after Taylor Swift dropped?Lover, an album with an excellent piece of Faux Lana noir, “Miss Americana and the Heartbreak Prince.” But here he adapts to her musical world, barely leaving any of his own fingerprints. She resurrects her Laurel Canyon 1970s soft-rock fantasies, nicking titles from Neil Young (“Cinnamon Girl”) and Joni Mitchell (“California”), going to parties where pretty people sip rum to Crosby, Stills and Nash. She’s a Joni-worthy lady of the canyon. In one of the highlights, “The Next Best American Record,” her latest man-child grooves to Led Zeppelin’s most California album,?Houses of the Holy: “My baby used to dance underneath the architecture/He was Seventies in spirit, Nineties in his frame of mind.” She sings about dancing to the Eagles in Malibu—she’s always had a weird thing for the Eagles, ever since her 2014 ballad “fucked My Way Up To The Top,” where she twisted the creepy ambience of “Hotel California” into her own brilliant tale of how the West was lost.

她2014年發(fā)行的《Ultraviolence》曾是她曾經(jīng)最好的專輯(遙遙領(lǐng)先那種好)——在這張專輯中，她的演唱和詞曲創(chuàng)作終于趕上了她創(chuàng)造神話的天賦。但在Antonoff的幫助下，她做到了極致。Antonoff這個夏天過得不一般，就在Taylor Swift發(fā)行《Lover》一周后Lana的專輯也發(fā)行了，《Lover》里有一首很棒的Lana風(fēng)的作品“Miss Americana and the Heartbreak Prince”。

但在這里，Antonoff適應(yīng)了Lana的音樂世界，幾乎沒有留下任何自己的痕跡。她重現(xiàn)了20世紀(jì)70年代的月桂峽谷軟搖滾幻想，從Neil Young的“Cinnamon Girl”和Joni Mitchel的“California”那里偷取的一些歌曲名，參加派對時，漂亮的人會為了Crosby、Stills和Nash抿一口朗姆酒。她是峽谷里一位值得Joni尊敬的女士。其中一個亮點要屬專輯中的“Next Best American Record（下一張全美最佳）”，這是一首致敬Led Zeppelin最具加州風(fēng)格的專輯《House of the Holy》的單曲。她唱的是在馬里布與The Eagles共舞的故事——自從2014年她的芭樂“fucked My Way to the Top（亂世佳人)”將“Hotel California”令人背后發(fā)涼的氛圍扭曲成她自己對于西方迷情的精彩解讀以來，她對The Eagles一直有一種奇怪的情感。

There’s a deranged torch-ballad cover of Sublime’s “Doin’ Time.” When she boasts about representing the LBC, she doesn’t sound any more ludicrous than the original, yet there’s something poignant in her affection for the SoCal milieu—not to mention the disconcerting way she keeps the Sublime lyrics exactly the same, calling herself “Bradley” over 20 years after Bradley Nowell’s fatal overdose. With her title, she evokes the painter famous for depicting down-home American life. rockwell once said, “Boys batting flies on vacant lots; little girls playing jacks on the front steps, old men plodding home at twilight, umbrellas in hand—all these things arouse feelings in me.” (There’s something so perfectly Lana-esque about that weird little “arouse feelings.”)

Lana驚喜翻唱了Sublime的“Doin'Time”。當(dāng)她吹噓她代表著LBC（Long Beach California）時，她聽起來不像原版那么荒謬，但她對南加州的感情有些令人不安，更不用說Sublime歌詞同樣令人不安的表達(dá)方式，在Bradley Nowell致命的過量服藥20多年之后她稱自己為“Bradley”。她的名字使人想起那位以描繪美國鄉(xiāng)村生活而聞名的畫家。rockwell曾經(jīng)說過，“男孩們在空地上曬蒼蠅;小女孩們在門前的臺階上玩千斤頂，老人們在黃昏時步履蹣跚的回家，手里拿著雨傘——所有這些東西都喚起了我的感情?！埃ㄓ幸环N非常完美的Lana式的東西，這種奇怪的小東西“喚起了曾經(jīng)的感情”）

Norman fucking rockwell?sounds like a whole suite of songs conceived in the Seventies twilight when all songs on the radio where about L.A. no matter where the singer was from, simply because it was universally understood that L.A. was the place where American dreams went to die. Everybody knew “L.A.” referred not to a city but to a labyrinth of AM radio hits about small-town romantics who run off to the city and get so poisoned they can never go home, so they end up stranded in a Steely Dan deep cut. On?Norman fucking rockwell, that’s the L.A. she inhabits. When she ends with “Hope Is A dangerous Thing For a Woman Like Me To Have…But I Have It,” she mades it feel like an epitaph for the whole country, its dreams and its dreamers. Just like she warns us in “The Greatest,” the culture is lit. And if this is it, baby, she’s had a ball.

《Norman fucking rockwell》聽起來就像70年代日落黃昏時構(gòu)思的一套歌曲，不管歌手來自哪里，當(dāng)時電臺里所有的歌都是關(guān)于洛杉磯的，僅僅因為大家都知道洛杉磯是美國夢破滅的地方。每個人都知道“洛杉磯”指的不是一座城市，而是迷惑人心的AM電臺熱單，講述著小鎮(zhèn)上的一群浪漫主義者，他們逃到城里，癡迷于燈紅酒綠而流連忘返，最后陷入了鋼鐵般堅硬而深刻的傷口里。在《Norman fucking rockwell》里，這僅僅是她居住的洛杉磯。當(dāng)她以“Hope Is A dangerous Thing For a Woman Like Me To Have…But I Have It（像我這樣的女人擁有希望是一件危險的事情……但我有這希望）”結(jié)尾時，她可能會覺得，這就像是為整個國家、為這個國家的夢想和夢想家們寫的墓志銘。就像她在“The Greatest”中警告我們的那樣，人類文化之火已被點燃，就算如此，Lana還是會盡情享樂。