搬運(yùn)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：Sarah-Lu

審譯：Joonly EC

排版：Ryan-Chopin

Katie Crutchfield’s songs were once built for small spaces. She wrote her 2012 debut as?Waxahatchee?while snowed in at her parents’ home, and its sparse, self-recorded songs seemed designed to fill those intimate contours. And while her music has expanded far beyond, her upcoming fifth album,?Saint Cloud,?guides her toward even more open territory. “Lilacs,” the second single, is a folk song at heart. In a country speak-sing, she gestures toward passing time and bad dreams, dying flowers and dust: the kind of visions that have consumed songwriters with acoustic guitars forever. The arrangement is built from similar staples, buoyed by the rushing organ of?Bob Dylan?in the ’60s. This atmosphere, with its patience and light, adds a sense of freedom to Crutchfield’s delivery and allows her to find new wisdom in old worries. In the final moments, she repeats a line—“And the lilacs drank the water”—and enunciates the last word differently each time, eventually rising to the trilling falsetto that once accompanied her starkest, quietest thoughts. Only now, she sounds untethered to the past, newly centered, like she’s got enough time to wander and enjoy the scenery along the way.

Katie Crutchfield的音樂創(chuàng)作曾經(jīng)一度是針對小眾領(lǐng)域的。2012年當(dāng)她被大雪困在父母家的時候，她以Waxahatchee之名創(chuàng)作了她的首張專輯。她零散的、自我記錄式的音樂像是為了填充那些私密領(lǐng)域的輪廓而創(chuàng)作的。當(dāng)Katie Crutchfield的音樂得到進(jìn)一步的發(fā)展時，她即將發(fā)行的第五張專輯《Saint Cloud》引領(lǐng)著她走向更廣闊的創(chuàng)作領(lǐng)域。

“Lilacs”作為第二首單曲，本質(zhì)上是一首民謠。伴著輕如呢喃的演唱，她用身體姿勢表達(dá)著流逝的時間、夢魘、凋零的花和塵埃等讓唱作者內(nèi)心情感震蕩，始終無法放下手中的原聲吉他的景象。

受到60年代Bob Dylan音樂中有著急促節(jié)奏的管風(fēng)琴元素鼓舞，新單曲的編曲也采用了類似的元素架構(gòu)。這樣的音樂氛圍，用它的光線效果和注入的耐心為 Crutchfield的演奏風(fēng)格增添了一份自由感，使她能夠從過往的憂慮中發(fā)掘新的智慧。在音樂的最后，她重復(fù)歌詞：“And the lilacs drank the water（接著紫丁香飲水小酌），每一句結(jié)束的發(fā)音都有所不同，最終顫動的假音伴隨著她最純粹、最靜謐的思緒結(jié)束了音樂。只有此時此刻，她聽起來不再被過去所拘束，重新定位自我，就好像她已擁有足夠的閑暇去暢游和欣賞沿途的風(fēng)景。