【搬運(yùn)】【譯】叉婊Pitchfork評(píng)Christine and the Queens專輯《La vita nuova EP》
搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）
原作者：Anna Gaca
翻譯：Lynn Liu
校對：Whitney.L
排版：Ryan-Chopin
The singer and producer’s dazzling new EP is a subtle gesture about grace and interiority and the illusion of effortlessness, the same attributes that mark Chris as a true star.
這位歌手兼制作人推出了一張耀眼的新專輯，這張專輯可以說是優(yōu)雅與內(nèi)在美的微妙體現(xiàn)，也顯示出漫不經(jīng)心的幻覺，這些特質(zhì)同樣讓Chris成為一個(gè)真正的明星。
Chris is gentle and tough, masculine and feminine, subtle and direct, a pop singer with high-art ambitions.?La vita nuova, a five-song EP and its accompanying?short film, is about the psychic effort required to maintain the balance. On the cover, Chris appears pensive, part?Ziggy Stardust,?part?Degas portrait. She calls it a project about vulnerability, though it’s also about grace and interiority and the illusion of effortlessness, the same attributes that mark her as a true star.
Chris溫柔而堅(jiān)強(qiáng)，陽剛與陰柔并存，難以捉摸卻直接，她也是一個(gè)有著很高藝術(shù)抱負(fù)的流行歌手。包含五首歌的EP《La vita nuova》及其配套短片，講述了維持平衡所需的精神努力。在專輯封面上，Chris顯得若有所思，這個(gè)專輯封面可以說是《Ziggy Stardust》的封面和Degas肖像畫的結(jié)合體。她稱這張專輯是對脆弱的刻畫，它也是優(yōu)雅與內(nèi)在美的微妙體現(xiàn)，顯示出漫不經(jīng)心的幻覺，這些特質(zhì)同樣讓讓Chris成為一個(gè)真正的明星。
If you’re looking for the party, you’re in the wrong place: Shorter and sadder than 2018’s?Chris,?La vita nuova?has fewer big synth swoops and slower tempos. Produced by Chris alongside?debut albumcollaborator Ash Workman, its cool, aquatic surface ripples with subtle vocal manipulations and whispery background samples. “People, I’ve been sad” is an open apology to a world its author can’t bear to face, like a note from the friend who misses you but still won’t return your calls. “You know the feeling,” Chris offers, opening a door within herself to reveal a mirror.
如果你在想找一些派對的音樂，那你聽錯(cuò)歌了：這張專輯比她2018年推出的專輯時(shí)長更短、也更悲傷，《La vita nuova》中很少使用合成器音色，而且節(jié)奏更慢。她的新專由她與首張專輯的合作伙伴Ash Workman共同制作。這張專輯就好比一潭靜水，涼爽的水面與微妙的嗓音和耳語的背景采樣產(chǎn)生反應(yīng)，泛起陣陣漣漪。“People, I’ve been sad”是對她無法面對的世界的公開道歉，就像一個(gè)想念你但不回你電話的朋友給你的留言。“你知道那種感覺，”Chris唱道，她打開了自己的心門，露出了一面鏡子。
Her imagistic writing remains spare as ever, making a game of revealing concealed emotion by rendering it in multiple languages. Last year was the year of “Gone,” Chris and?Charli XCX’s duet about sadness and sexual tension; the?Caroline Polachek?duet “La vita nuova” is a worthy successor. Their verses in Italian are a mutual affirmation of passion, but the chorus, in English, mourns the partner who won’t dare to show their love. “Heartbreakers,” Chris cries, “I never take their answer for sure.”
她的意象主義寫作一如既往地簡潔，通過使用多種語言呈現(xiàn)來揭示隱藏的情感。去年，她與Charli XCX合作推出“Gone”，這首歌唱出了悲傷與性張力。她與Caroline Polachek合作演唱了“La vita nuova”，這首歌可以說是另一合作典范。其中的意大利語歌詞是對激情的相互肯定，而在英語歌詞中，則是對不敢示愛的伴侶的惋惜?！斑@群芳縱火犯”，Chris唱道，“我從來不信他們的鬼話?！?/strong>
Throughout, she seems like someone who’s just emerged from a breakup, still sorting through the raw emotion. “Do you think there’s only one thing to do/To write a song about you?” she asks on “Mountains,” a wistful sketch of a lapsed connection. Other times her stance is not so clear-cut: Perhaps the selfish, possessive lover she addresses in “Je disparais dans tes bras” is not a lover, but the flattening gaze of fame—not merely the pain of unrequited love, but of the impossibility of being her full self in the eyes of others.
整張專輯從頭到尾，她就像一個(gè)剛從分手中走出來的人，還在整理自己一開始的情感。“Do you think there’s only one thing to do/To write a song about you?（你認(rèn)為我就只有一件事可以做/去一首關(guān)于你的歌嗎?）”她在“Mountains”中問道，這是一首刻畫逝去關(guān)系的苦情歌。有時(shí)，她的立場不是很明確:也許是自私的,她在“Je disparais dans tes bras”中強(qiáng)調(diào)占有欲強(qiáng)烈的愛人不是一個(gè)好情人,但名聲壓扁的目光不僅僅包含了單戀的痛苦，也展現(xiàn)了別人眼中的她自己。
Most spectacular is the accompanying short film, a five-song music-video narrative set in Paris’ sumptuous Palais Garnier opera house. Directed by Colin Solal Cardo, the story is a supernatural drama of a performer’s life, following Chris through a rooftop dance solo and a group rehearsal to a climactic vampire ball that pairs her with Polachek for a lusty duet. Chris appears in virginal white and then in shiny black pleather, a heavily symbolic heroine uniting the sacred and profane.
最引人注目的是與專輯配套的短片，這是一部包含5首歌mv的敘事電影，故事發(fā)生在巴黎豪華的加尼爾宮歌劇院。這部超自然的影片由Colin Solal Cardo執(zhí)導(dǎo)，講述了一位演員的故事。Chris在屋頂上獨(dú)舞，緊接著是她與Polachek精力充沛的合唱，伴著高潮迭起的群舞，這是為吸血鬼舞會(huì)而進(jìn)行的排練。Chris在短片中穿了圣潔的白色長裙，也穿了黑色的皮外套，化身成一位象征意義很強(qiáng)的女英雄，將神圣與世俗結(jié)合在一起。
It is astounding to watch Chris’ particular vision play out in this location—a genre iconoclast defining her own scene in a lavish 19th-century Parisian theater. It recalls a story from her youth that she relayed to?The Guardian?a few years ago, how once, at drama school where only boys were permitted to direct plays, she defied the administration by staging her own. With its?Thriller-esque flash and tomato-red fake blood, the film?La vita nuova?looks like a kind of theater-kid fever dream. But that’s what theater is for: The emotions that feel too unruly, too ambiguous, to survive in the real world. They need space, just as dancers do, and Chris’ could fill the house.
令人震驚的是，Chris獨(dú)特的想象力在這個(gè)地方上演——一個(gè)奢華的19世紀(jì)巴黎劇院里，打破傳統(tǒng)的風(fēng)格定義了她自己的場景。這讓人想起幾年前她向《衛(wèi)報(bào)》講述的她年輕時(shí)候的故事：有一次，在一所只允許男生導(dǎo)演戲劇的戲劇學(xué)校里，她不顧校方的反對，上演了自己的戲劇。憑借驚悚式的閃光和番茄紅色的假血，這部短片看起來就像劇院孩子模糊不清的夢境。但這就是戲劇的意義:情感太難駕馭，太模糊，無法在現(xiàn)實(shí)世界中生存。它們需要空間，就像舞者一樣，而Chris的情感可以填滿整個(gè)空間。
