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)：Joonly EC

排版：Ryan-Chopin

The Swedish pop star’s fourth album contains some of her most vulnerable writing inside her clubbiest record.

瑞典流行女王Tove Lo的第四張個(gè)人錄音室專輯中展現(xiàn)了她最脆弱的部分。

Tove Lo?got big by breaking herself. She topped the charts with the stark, corrosive imagery of first hit, 2014’s “Habits (Stay High)”: vomiting in bathtubs, trapping her mind in a haze. Self-destruction has paved the way for self-care in much of mainstream female pop; you’re less likely to hear a woman on the radio brushing her teeth with a?bottle of Jack?than you are to hear her describing her?skincare routine. Women are charged with empowering other women: Everyone’s a hot girl, no matter what the season.

Tove Lo通過(guò)自我突破而變得令人矚目。她憑借2014年的第一首熱門歌曲“Habits (Stay High)”中的赤裸裸的、極具侵略感的畫面位居Billboard榜首:吐在浴缸里，大腦陷入一片混沌。這種以自我毀滅為創(chuàng)作內(nèi)容的風(fēng)格，為許多主流女性流行音樂(lè)的自我關(guān)懷打開(kāi)了一條新路;你不太可能聽(tīng)到一個(gè)女人在歌曲、廣播里用一瓶杰克酒刷牙（Tik Tok by Kesha），你更可能聽(tīng)到她描述她的日常護(hù)膚。女人賦予其他女人權(quán)力:無(wú)論什么季節(jié)，每個(gè)女孩都可以性感美麗。

Tove Lo cracks this dynamic open on?Sunshine Kitty, a title that she’s said is “a play on pussy power.” There are tote-bag-ready you-go-girlisms on the album, but they’re lit by neon and grounded in nuance. “Bad as the Boys,” a shiny single about the collapse of a queer relationship, has a fairly boring premise—women can break hearts, too! But the song surpasses its set-up, partly because of its shimmering production and partly because Tove Lo eloquently describes the specific pains of a bi woman trying to navigate a heterosexual-dominant dating culture. On the album, she sings about using women and being used by them, about competing for male attention with women she’s attracted to. “When I hate on you, I’m breaking the code,”?Kylie Minogue?confesses to Tove on one of the album’s best tracks. “Hard to be fair to you when I got my heart broke,” she admits seconds later.

Tove Lo在《Sunshine Kitty》中打破了這種動(dòng)態(tài)開(kāi)放，她說(shuō)這個(gè)名字是“對(duì)于女性力量（pussy power）的小幽默”。專輯中有著類似“背著托特包的時(shí)尚女孩”的風(fēng)格，但它們被霓虹燈照亮，有著細(xì)微的差別。“Bad as the Boys”是一首熱單，講述的是一段同性戀關(guān)系的破裂，它的前提相當(dāng)無(wú)聊——女人也會(huì)讓人心碎!但這首歌超越了它的設(shè)定，部分原因是它精妙絕倫的制作，部分原因是Tove Lo動(dòng)人地描述了一個(gè)雙性戀女性，在異性戀主導(dǎo)的約會(huì)文化中掙扎的種種痛苦。在這張專輯中，她唱到了利用女性和被她們利用，以及與她所吸引的女性爭(zhēng)奪男性注意力的故事。“當(dāng)我恨你的時(shí)候，我就是在打破規(guī)則，”Kylie Minogue 在專輯中的另一首熱單里對(duì)Tove坦白道。幾秒鐘后，她承認(rèn):“當(dāng)我心碎的時(shí)候，很難對(duì)你公平?！?/p>

Sunshine Kitty?holds some of Tove Lo’s most vulnerable writing; it’s also her clubbiest record. The result is a cutting confessional line like, “I think you like the way she kissed you better/Maybe I’m mistaken,” thrown over thrumming bass. These are house anthems and each track has a unique texture: undulating drums, layered effects that sound like a chain being rattled. She churns through emotions—lust, shame, defeat—as each winding beat paves the way to the next.

《Sunshine Kitty》收錄了Tove Lo一些最脆弱的作品;這也是她的交往記錄。這一記錄常表現(xiàn)為，歌曲里的一句筆鋒凌厲的懺悔臺(tái)詞，比如，“我覺(jué)得你更喜歡她吻你的方式/也許我錯(cuò)了?！辈⑼ㄟ^(guò)指彈貝斯表達(dá)出來(lái)。這些都是學(xué)院派的贊歌，每首歌都有獨(dú)特的結(jié)構(gòu):起伏的鼓聲，層層疊疊的效果，聽(tīng)起來(lái)就像鏈條在卡嗒卡嗒作響。她在欲望、羞恥、失敗等情緒中輾轉(zhuǎn)反側(cè)，因?yàn)槊恳淮斡鼗氐臓?zhēng)斗都為下一次鋪平了道路。

Tove Lo once wrote a sardonic ode to the effortless “Cool Girl”; now, she revels in overthinking, highlighting the neuroticism that underpins each corner of a party. “I see you looking, so I turn my charm on, hoping I look awesome,” she sings on “Equally Lost.” She calculates when to ask someone for a cigarette. She deconstructs each kiss. There’s an entire track wrestling with whether or not to disclose an affair, another consumed with asking someone to stay over. Tove Lo’s songwriting is unsubtle but not uncomplicated, and while her scenes are well-worn in pop music—bodies tangled in purple lights, morning sun stabbing at hangovers—her best tracks are both blunt and polished enough to sound original.

At its worst, the album can slump into fizzy banalities. The last track shows Tove Lo in love, and she wreaths her emotions with generic hyperbole. “I’ll follow you anywhere you go,” she cries over a beat ready to be bastardized by?the Chainsmokers. “Jacques,” a mostly fun song with British DJ Jax Jones, can sound like the worst kid in your study abroad program trying to get past a bouncer: “Je m’appelle Tove, get the show on the road,” she chants. These lines dissolve into the glitter, though; it’s hard to focus on any one moment in an album that yanks you through the dancefloor. In Tove Lo’s world, there is no emotion too grave or grand to take place outside the club.

Tove Lo曾經(jīng)寫過(guò)一首諷刺的頌歌獻(xiàn)給不努力的“酷女孩”;現(xiàn)在，她沉迷于過(guò)度思考，聚焦聚會(huì)上每個(gè)角落的神經(jīng)質(zhì)?！拔铱吹侥憧粗?，所以我展示了我的魅力，希望你覺(jué)得我看起來(lái)不錯(cuò)，”她在“Equally Lost”中唱著。她思考著什么時(shí)候向別人要香煙。她分析了每一個(gè)吻。一邊是關(guān)于是否公開(kāi)婚外情的競(jìng)賽，另一邊則是要某人留下來(lái)過(guò)夜。Tove Lo的歌詞寫得很直白，也不是很復(fù)雜，雖然她的歌曲主題在流行音樂(lè)中很老套——身體在紫色的燈光下擺動(dòng)，清晨的陽(yáng)光叫醒宿醉的人——但她最好的歌曲都足夠直白和優(yōu)美，聽(tīng)起來(lái)很有獨(dú)創(chuàng)性。

最糟糕的是，這張專輯可能會(huì)陷入沉悶的平庸。最后一首歌展示了Tove Lo的愛(ài)情，她用夸張來(lái)表達(dá)她的情感?！盁o(wú)論你去哪兒，我都會(huì)跟著你，”她在美國(guó)電子音樂(lè)組合the Chainsmokers的一首歌中唱道。Tove Lo與英國(guó)DJ Jax Jones合作的“Jacques”是一首非常有趣的歌曲，聽(tīng)起來(lái)就像留學(xué)項(xiàng)目中成績(jī)最差的一個(gè)孩子試圖超過(guò)一個(gè)厲害的大家伙:“我很抱歉，讓節(jié)目繼續(xù)下去吧，”她唱道。然而，這些線條在閃光中消失了;聽(tīng)著這樣一張能拽你到舞池的專輯，你很難集中注意力。在Tove Lo的世界里，沒(méi)有什么感情是由于過(guò)于嚴(yán)肅或宏大而不能發(fā)生在俱樂(lè)部里的。