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：ConigliaFolle

校對：WhitneyL

‘When We All Fall Asleep…’ is a memorable and game-changing debut record, with Billie's disruptive streak front and centre. We'll no doubt see the mainstream scrabbling to replicate it

《When?We?All?Fall?Asleep…》是一張值得紀(jì)念的出道專輯，它甚至改變了游戲規(guī)則。因此，Billie也迅速占據(jù)了音樂界的實時中心。毫無疑問，我們將會看到主流音樂從各種方面爭相模仿這張專輯。

Some artists defy descriptions. Or, at least, their inspirations, methods and expressions are often so astounding, it’s futile to try and label what they actually sound like. This line of thought, among many, is something that is becoming routine when the name Billie Eilish is mentioned. There’s plenty of talk about her “vibe” and “aura”, but little in the way of nailing down what the hell a Billie Eilish’s song is all about.

許多歌手都不喜歡標(biāo)簽化?；蛘哒f，他們的靈感、創(chuàng)作和表達方式都不按常理出牌。所以，嘗試給他們的歌曲風(fēng)格貼標(biāo)簽是徒勞的。對于很多人來說，這就是Billie?Eilish這個名字出現(xiàn)的時候他們的感受。最近有關(guān)她的話題“潮流”和“氣場”的討論有很多，即便如此，也極少有人能夠成功解讀Billie?Eilish的歌到底講述的是什么。

There are plenty of reasons for that. One being that the 17-year-old’s releases have been intermittent – an EP and a smattering of singles – and the other, more importantly, is that once you try to describe why something is so good, it immediately becomes an impossible task that does justice to nobody. If the previous three years had meant that people knew the name, and not the sound, then the US teen’s debut album ‘When We All Fall Asleep, Where Do We Go?’ will go someway to defining it.

這其中有很多原因。其中一個原因是她的新歌釋出一直斷斷續(xù)續(xù)——只有一張EP和一些單曲——更重要的一點是，當(dāng)你開始嘗試著描述某件美好的事件時，它就會變得毫無可能并且不能一碗水端平。如果她出道生涯的前三年讓人記住了她的名字，那么Billie?Eilish的首張專輯《When?We?All?Fall?Asleep…》就會讓大家記住她的音樂。

This album is, thankfully, a remarkable effort from an artist whose sound has become in danger of being camouflaged by hype. Her debut EP, 2017’s ‘Don’t Smile At Me’ remains a strong effort, built around her viral and breakout single of the previous year, ‘Ocean Eyes’; that record contains moments of real charm, like the bubblegum-pop ‘Bellyache’ or the brooding, bolshy ‘COPYCAT’ – though a cohesive and extensive collection it is not.?

幸運的是，這張專輯中投入的努力使她的歌聲從大肆炒作中幸存。她于17年發(fā)行的首張EP《Don’t?Smile?At?Me（不要對我微笑）》其中也包含著不懈的努力，以她在前一年大爆的單曲“Ocean?Eyes（海洋之眼）”為核心進行編排；那張專輯中囊括了一些頗具魅力的片段，比如搖滾舞曲“Bellyache（腹痛）”和輾轉(zhuǎn)反復(fù)、反叛的“COPYCAT（盲目的模仿者）”——盡管它并不是一張具有凝聚力而且內(nèi)容廣泛的專輯。

Scarcity has had little impact on her success. Since ‘Don’t Smile At Me’ was released, it has been lingering in the charts both sides of the Atlantic for the best part of a year, and she’s become both an Instagram icon (15.1 million followers at the the time of writing) as well a key spokesperson amongst her generation. Now, in March 2019, she’s undoubtedly the most-talked about teen on the planet – everyone’s got a take on, be it about her styling or attitude.

小眾的風(fēng)格并沒有成為她通向成功的絆腳石。自從《Don’t?Smile?At?Me（別對我微笑）》發(fā)行后，就霸占了大西洋兩岸的榜單，同時也成為了一位?Instagram大v（寫這篇文章的時候粉絲量為1500萬），她也是同齡青少年的發(fā)言人代表。如今，在2019年三月，她無疑成為了全世界話題量最多的人—人人都有話可聊，無論是她的著裝風(fēng)格還是她的生活態(tài)度。

Rest-assured: ‘When We All Fall Asleep…’ is worth the wait and exceeds the hype, but the sense of occasion hasn’t quite filtered down to Billie. On the 12-second opening track ‘!!!!!!!’ she jokes about taking out her retainer, and announces that “this is the album”, before she and Finneas O’Connell – co-writer, producer and older brother – descend into laughter.

毫無疑問，《When?We?All?Fall?Asleep…》值得期待并且遠遠超出了人們的預(yù)期，但是名聲大噪似乎并沒有影響到她一貫的創(chuàng)作風(fēng)格。在時長十二秒的開場曲“!!!!!!!”里，她戲稱要摘掉自己的牙套，然后宣布了“這就是新專輯”，之后她和?Finneas?O’Connell——這張專輯的共同作曲家、制作人也是哥哥——開始爆笑。

The sense of their bedroom studio is all over this album. When there’s a hint of bombast, it’s soon disregarded in favour of the playful and DIY atmosphere that’s been cultivated in her and Finneas’ lab. Second half highlight ‘My Strange Addiction’, the closest thing Billie has ever come to writing a pop song that could have been sung by someone else, is interspersed with audio from a cult episode of The Office (the American version is one of her favourite shows). Likewise, on the thrilling, thumping opening track ‘Bad Guy’, where Billie’s vocals playfully joust with the looped bassline for her heaviest and club-ready track yet, there’s a moment after the chorus where the hubbub halts and an assured “duh!” from Billie hits you around the chops. And hen the bass kicks in again. Of course it was going to be this good. Of course they’re going to have a ball making it.

他們創(chuàng)作中舒適和諧的氣息遍布整張專輯。如果哪里有一點夸大抬高的氣氛，過一會兒就會被她和Finneas實驗室里愉快和?DIY的氣氛所打破。專輯后半部分的主打曲“My?Strange?Addiction（我奇怪的上癮）”作為Billie寫過的最接近流行音樂，也最不像她自己的歌曲，其中穿插了美劇《?The?Office（辦公室）》的音頻片段（美國拍攝的版本是她最喜歡的電視劇之一）。與其相似的是，在令人興奮戰(zhàn)栗、低音重擊的開場曲“Bad?Guy（壞男人）”中，Billie的歌聲和循環(huán)的重低音同場競技，這也是她寫過最具份量、最夜店風(fēng)的單曲。在副歌之后，重低音短暫停歇，隨之而來的是一句堅實的?“duh!”，讓聽眾打了個措手不及，之后重低音又重新進入。這張專輯就是應(yīng)該這么出色。當(dāng)然，他們制作專輯的時候一定也付出了極大的努力。

As the 14 tracks whittle along, that elusive and definable ‘sound’ starts to show itself. It’s remarkably agile; ‘Xanny’, a three-part soundclash, is perhaps the best example of the sonic palette that’s dipped into. The layered falsetto vocal trickery opens the song, while a wicked bassy onslaught warps the vocals into a slithering beast. By the end, the two coalesce into a surprisingly schmaltzy finale. The same formula is revisited and recalibrated on the previously released ‘You Should See Me In A Crown’ and ‘Ilomilo’, and the G-Funk nodding ‘All Good Girls Go To Hell’.?

在14首單曲逐漸走向盡頭時，難以捉摸又篤定的’聲音’開始顯現(xiàn)真正的面孔。它十分活潑機智；“Xanny”是一首以撞音組成的三部曲，可能是他們聲學(xué)實驗的集中體現(xiàn)。鋪墊的假聲和音拉開了全曲的序幕，同時怪異猛烈的低音扭曲讓整個人聲變成了匍匐爬行的猛獸。在末尾，兩個聲部驚奇地合為一體，糅合成了傷感的結(jié)局。同樣的編曲方式也能在最近發(fā)行的“You?Should?See?Me?In?A?Crown（你應(yīng)當(dāng)看到我頭戴皇冠的模樣）”和“Ilomilo（迷宮游戲）”中看到，以及匪幫朋克風(fēng)格，節(jié)奏感極強的“All?Good?Girls?Go?To?Hell（好女孩都下地獄吧）”。

One aspect that needed no further development: her astute lyrical skills. Each track is laden with Blilie-isms that’ll make for plenty of Instagram-caption barbs – from the profound to the playful. On ‘Xanny’, she laments the prescription medication’s impact and the ensuing crisis on youth culture: “In the second-hand smoke, still just drinking canned coke, I don’t need a Xanny to feel better”. The chorus to ‘All The Good Girls Go To Hell’, meanwhile, proves itself a sparkling gem with jaunty piano and stuttering beats: “All the good girls go to hell / Because even God herself has enemies”.

無需多言的一點是，她出色的作詞能力。每首單曲都充滿了Billie的個人風(fēng)格，也有很多歌詞能用來當(dāng)作Instagram的配圖文字——可深沉可娛樂。在“Xanny”中，她談到過度服藥的副作用以及對隨之而來的青少年文化危機的擔(dān)憂：“吸著二手煙中喝著罐裝可樂，我并不需要贊尼來讓我感覺更好”。在“All?The?Good?Girls?Go?To?Hell（好女孩都下地獄吧）”的副歌中，歡快的鋼琴音和類似口吃的節(jié)拍讓全曲變得與眾不同，充滿活力：“好女孩全都下地獄吧/因為即使是上帝她自己也有敵人?！?/p>

There’s little to plausibly fault on the record. Previous singles are included sparingly (2018’s ‘When The Party’s Over’ and ‘You Should See Me In A Crown’), and there’s a real level of intrigue waiting on every song, partly as only two new songs (‘Bury A Friend’, ‘Wish You Were Gay’) got a pre-release. It’s an album that moves with purpose and knows when to hold the listener tight, or grab them by the scruff of the neck and drag them into her world. That said, one nitpick is the pacing towards the end, with the final three songs – ‘Listen Before I Go’, ‘I Love You’ and ‘Goodbye’ – providing an melancholy end close to an otherwise thrilling album.

這張專輯并沒什么需要指摘的錯誤。先前發(fā)行的單曲也被收入專輯（18年的“When?The?Party’s?Over（當(dāng)聚會散場時）”和“You?Should?See?Me?In?A?Crown（你應(yīng)當(dāng)看到我頭戴皇冠的模樣）”。每一首單曲發(fā)行之間都要經(jīng)歷一段焦灼的等待，只有兩首新歌（‘Bury?A?Friend’埋葬朋友,?‘Wish?You?Were?Gay’希望你是同性戀）被提前釋出。這是一張每一步都有所意圖的專輯，并且清楚要在什么地方緊緊掌控住聽眾，或者抓住他們的后頸，將他們拉入她的世界。如果非要雞蛋里挑骨頭的話，那就是結(jié)尾的三首歌曲節(jié)奏稍顯緩慢——?‘Listen?Before?I?Go（在我離開之前請聆聽）’,?‘I?Love?You（我愛你）’?and?‘Goodbye（再見）’——給一張躁動的專輯留下了悲傷的結(jié)尾。

‘When We All Fall Asleep…’, then, ticks all the boxes for a memorable and game-changing debut album. It’s enjoyable and familiar, but retains Billie’s disruptive streak. It’s a brave and resounding first step for an artist with bags of potential and over the next decade, you’ll no doubt see popular music scrabbling to try and replicate what this album does on every level. There’ll always be copycats, as Billie noted on her 2017 song of the same name, but none will be able to reach these heights any time soon.

在《When?We?All?Fall?Asleep…》之后，這張令人印象深刻、極具顛覆性的首張專輯全部結(jié)束。它很令人享受，也讓人熟悉，同時也穩(wěn)定了她在音樂界的地位。這對于一位潛力巨大，即將在之后繼續(xù)發(fā)光的歌手來說無疑是勇敢而成功的第一步，你也將會看到主流音樂將會從各種角度努力模仿復(fù)制這張專輯。正如Billie在2017年發(fā)布的單曲“COPYCAT”中所說，永遠都存在盲目的模仿者，但是沒有人可以在短時間內(nèi)達到同樣的成就和高度。