翻譯：Nomanlandever

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Like?Kanye West,?Taylor Swift?is a turbine of artistic ambition and superstar drama. So it’s no surprise she manages to make her fourth album both her?Joni Mitchell-influenced maturity binge and her Max Martin-abetted pop move – and have it seem not just inevitable but natural.

如同Kanye West，Taylor Swift也是藝術(shù)抱負(fù)和史詩級抓馬的超級制造者。因此，她的第四張專輯既受Joni Mitchell式的成熟狂歡作樂影響，也受Max Martin主導(dǎo)的流行趨勢影響——這一切看起來勢不可擋，順?biāo)浦?，也就不足為奇了?/p>

Red?is a 16-song geyser of willful eclecticism that’s only tangentially related to Nashville (much like Swift herself at this point). The album pinballs from the?U2-tinged liftoff of “State of Grace” to the dubstep-y teen pop of “I Knew You Were Trouble” to “The Last Time,” a sad piano duet with Gary Lightbody of Snow Patrol. Swift’s bedrock is driving, diaristic post-country rock – see the breakup flashback “All Too Well,” where she drops the great image of “dancing around the kitchen in the refrigerator light” with her ex.

《Red》這張由16首歌組成的專輯，一半內(nèi)容刻意去除了Nashville風(fēng)味（更像Taylor Swift本人特質(zhì)）。這張專輯以U2味十足的“State of Grace”拉開序幕，再彈跳到Dubstep Teen Pop歌曲?“I Knew You Were Trouble” 再到與Snow Patrol樂隊的Gary Lightbody的悲情鋼琴合唱《The Last Time》。Taylor的根基：日記體般的后現(xiàn)代鄉(xiāng)村搖滾驅(qū)動著整張專輯——讓我們著眼分手回憶歌曲?“All Too Well,”這首歌中她描繪了與前任“在廚房冰箱燈下共舞”的美好場面。

Part of the fun is watching Swift find her pony-footing on Great Songwriter Mountain. She often succeeds in joining the Joni/Carole King?tradition of stark-relief emotional mapping: “Loving him is like trying to change your mind once you’re already flying through the free fall,” she sings on the simile-monsoon title track, where banjos and vocoders make out like third cousins. But whether she’s real-talking Jake Gyllenhaal (“We Are Never Ever Getting Back Together”) or fantasizing about crashing “a yacht-club party” that sounds uncannily like the Kennedy bash she attended with her current future-ex-boyfriend Conor (“Starlight”), her self-discovery project is one of the best stories in pop. When she’s really on, her songs are like tattoos.

專輯部分有趣的地方是見證Taylor這匹“小馬”在蕓蕓眾生的“作曲家高山”里找到了自己的歸屬地。她常在Joni/Carole King式的徹底釋放情緒這方面大獲成功：“愛上他如同在自由落體飛落過程中改變主意”?她在專輯同名歌曲中明喻著唱道。這首歌中，班卓琴和聲音編碼器就像Taylor的遠(yuǎn)方親戚般和諧。但無論她是否是會說話的Jake Gyllenhaal(“We Are Never Ever Getting Back Together”) 或是幻想著參加“游艇俱樂部派對”，這首歌聽起來怪像 她和她現(xiàn)在的未來前男友Connor(《Starlight》)一起參加肯尼迪家的派對般，她的自我探索計劃是流行樂壇最精彩的案例之一。當(dāng)她認(rèn)真起來時，她的歌就像紋身一樣過癮。