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：Clara

校正：Lynn Liu/Ryan-Chopin

作者：Ben Patashnik?

Let’s just get this out of the way, shall we? About 99 per cent of pop is drudging twuntery assembled by blank-eyed robots who are unjustly rewarded with mountains of cash, while all my favourite bands languish and die in places like Tacoma, Washington. As someone who believes hardcore punk to be mankind’s highest artform, [a]Lady Gaga[/a] is the antithesis of my Fucking soul: she eats diamonds marinated in the tears of seraphim, I eat week-old misery on toast. I’d despise her… but she is that remaining one per cent.?

我們何嘗不先來(lái)直接談?wù)勥@件事呢？幾乎99%的流行音樂(lè)都像是由空洞的機(jī)器人組裝起來(lái)一樣，沒(méi)有一點(diǎn)人情味，即使如此，依然能大賣(mài)；相反，我最喜歡的樂(lè)隊(duì)卻在塔科馬（Tacoma, Washington）這樣的城市中飽受煎熬、萎靡不振，令人唏噓。一些人堅(jiān)信硬核朋克（hardcore punk）才是人類(lèi)的最高藝術(shù)形式，更是把它奉為靈魂的制高點(diǎn)，而Lady Gaga卻與此相悖。這就像是她吃著由六翼天使（seraphim）淚水浸泡過(guò)的鉆石，我卻咀嚼著一周前剩下的發(fā)霉面包。我雖嗤之以鼻，但不得不承認(rèn)，她的音樂(lè)就是那僅有的百分之一。

It’s because she’s baffling. ‘The Fame Monster’, being eight new tunes welded to last year’s ‘The Fame’ (where most pop muppets would tack on a tossed-off remix or two, La Gaga delves into her paranoid soul and constructs a thematic collection around new demons that have invaded her life – monsters representing her fear of, among others, sex, death, loneliness and alcohol) is as pristine as you’d expect, but has a sub-zero core of isolation and fear. In the same way as [a]Radiohead[/a] battle computers and learn new instruments to hew their sculptures while [a]Fuck Buttons[/a] and [a]HEALTH[/a] discover new sonic languages, she uses pop, its producers and masks and all its artifice, as her tool of self-expression.?

這是因?yàn)樗兄钊俗矫煌傅男乃?strong>。新專(zhuān)輯《The Fame Monster》和去年發(fā)行的《The Fame》一脈相承，圍繞著極度孤獨(dú)和恐懼的核心，給人一種期待已久的質(zhì)樸純凈（大多數(shù)的流行音樂(lè)都會(huì)加入一兩首混音，而Lady Gaga卻深入挖掘她充滿(mǎn)恐懼的靈魂，以入侵生活的魔鬼為主題作為全專(zhuān)輯的基調(diào)——表達(dá)了她對(duì)他人，性欲，死亡，孤獨(dú)，酒精的恐懼）。電臺(tái)司令樂(lè)隊(duì)（Radiohead）轉(zhuǎn)而開(kāi)發(fā)計(jì)算機(jī)、學(xué)習(xí)新樂(lè)器來(lái)打磨樂(lè)曲，F(xiàn)uck Buttons和HEALTH也不斷變換、發(fā)現(xiàn)新奇的聲音與更好的言語(yǔ)表達(dá)，而Lady Gaga依舊堅(jiān)持從流行音樂(lè)出發(fā)，苦心鉆研傳統(tǒng)制作方法，傳統(tǒng)的技巧，大膽地表達(dá)自我。

‘So Happy I Could Die’ perfectly evokes the feeling of being alone in a crowded room with its icy beats, suggesting Gaga takes refuge in masturbation as the only way to retain control, while ‘Bad Romance’ would be hateful if it didn’t have a chorus so wonderfully big it dwarfs the industry of a million angry dudes with guitars. Next to the light-hearted ‘Alejandro’, the jagged ‘Teeth’ and ‘Speechless’, an old-fashioned torch song that sounds like it was recorded with the sole intention of being sung while Gaga sprawls hungrily over a grand piano, are proof of her range and depth of talent. And in an ecstasy of look-how-Fucking-gargantuan-we-are-as-icons, Beyoncé appears on ‘Telephone’ to effectively say cheers for Gaga singing on her ‘Video Phone’. Coincidence? This shit’s as organised and potent as a North Korean military parade.?

"So Happy I Could Die"借助冰冷的節(jié)奏，完美詮釋了一個(gè)人在擁擠喧鬧房間內(nèi)的孤獨(dú)感，引發(fā)了人們的共鳴，這也暗示Gaga借助自我發(fā)泄作為唯一控制自己的手段，而"Bad Romance"的成功之處在于精彩的副歌部分使上百萬(wàn)吉他手的表演黯然失色。接下來(lái)的幾首音樂(lè)——節(jié)奏輕快的"Alejandro"，曲風(fēng)獨(dú)特的"Teeth"，老式傷感的"Speechless"（它聽(tīng)起來(lái)像是記錄著Gaga在三角鋼琴上貪婪地邊爬行邊唱歌的場(chǎng)景），更是展現(xiàn)了她過(guò)人的音樂(lè)天賦和制作潛力。在合作"Telephone"后，粉絲們看到Beyoncé又通過(guò)她的單曲"Video Phone"為Gaga歌唱喝彩，不禁欣喜若狂。這是巧合嗎？這出杰作就像是朝鮮閱兵隊(duì)伍一樣有組織、有力。

Those new songs are fine, even though ‘Dance In The Dark’ and ‘Monster’ are slightly too disposable, but considering the likes of the stone-cold stunner ‘Paparazzi’ and of course ‘Poker Face’, pretty much the one song 2009 will be remembered for, are included on the original album, this becomes essential for anyone who even remotely likes pop. For the rest of us, it’s the moment Gaga cements herself as a real star. Damn.?

盡管"Dance In The Dark"和"Monster"有些隨意，但總體來(lái)說(shuō)這些新歌都還是不錯(cuò)的。就節(jié)奏冰冷如石的"Paparazzi"和傳世經(jīng)典的"Poker Face"而言，喜歡流行樂(lè)的人們也正希望它們能被收錄在這張專(zhuān)輯中，這對(duì)他們來(lái)說(shuō)有著特殊的意義；而對(duì)于我們來(lái)說(shuō)，此專(zhuān)輯是見(jiàn)證Gaga成長(zhǎng)為一位明星的時(shí)刻。