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：Nina Wang

校正：Lynn Liu

Kacey Musgraves，Ashley McBryde和納什維爾女性主導(dǎo)的強(qiáng)大復(fù)興

Musgraves的《Golden Hour（閃耀時(shí)刻）》和McBryde的《Girl Goin’ Nowhere（女孩無(wú)處可去）》兩張專(zhuān)輯中既包括了傳統(tǒng)的鄉(xiāng)村音樂(lè)，又體現(xiàn)出鄉(xiāng)村音樂(lè)歌手構(gòu)建的新格局。

當(dāng)主流鄉(xiāng)村音樂(lè)還在靠棒球帽男孩來(lái)迎合市場(chǎng)時(shí)，自70年代Willie和Waylon掀起熱潮以來(lái)，納什維爾雄心壯志的女歌手們就一直馬力全開(kāi)領(lǐng)導(dǎo)著偉大的創(chuàng)意復(fù)興。2013年?Kacey Musgraves以包容性熱單“Follow?Your?Arrow（隨心所欲）”開(kāi)創(chuàng)了新紀(jì)元；去年年底，新星?Ashley McBryde的一曲“A?Little?Dive?Bar?in?Dahlonega（達(dá)洛尼加的一家小酒吧）”表達(dá)了逆境中希望猶存，將復(fù)興一再延續(xù)。她們的新唱片進(jìn)一步詮釋復(fù)興的含義。

The title track of McBryde’s?Girl Going Nowhere?is a whispered anthem about crushing it in the face of doubters. Most triumphant artists would holler, gloat, swagger, flip the bird, but in this opener, McBryde barely raises her voice, which quivers potently over a muted snare, guitar notes flashing like phone screens in a dark arena. Then “Radioland” crashes in, a country rocker about old-time broadcast bliss, invoking John Cougar’s “Jack and Diane” and McBryde’s daddy, “a rock star riding on a tractor listening to Townes Van Zandt.” (That songwriting giant Van Zandt got scant love from radio just makes the song’s vision sweeter.) “Southern Babylon” evokes the smoky country soul of Memphis, where McBryde logged time in bar bands. “Andy (I Can’t Live Without You)” depicts true love as a holy pathology; “Livin’ Next to Leroy” is a Southern-rock conjuring of a drug buddy who ends up dead on his sofa. McBryde’s got a big, vibrato-tinged alto, biker-chick style, and she wrote or co-wrote everything here, including “Dahlonega,” with a sharp eye for piercing detail. She has a serious gift.

McBryde的專(zhuān)輯《Girl?Going?Nowhere》的主打歌以娓娓道來(lái)的方式回?fù)糍|(zhì)疑的聲音。換做其他藝術(shù)家，多數(shù)會(huì)大喊大叫豎起中指，擺出一副盛氣凌人的樣子。但?McBryde幾乎沒(méi)有提高音量，取而代之的是柔和的顫音，吉他彈出的一個(gè)個(gè)音符就像在昏暗舞臺(tái)熒幕上一幕幕閃過(guò)的影片。緊接著，“Radioland（電臺(tái)）”，講述了老式電臺(tái)廣播給一個(gè)鄉(xiāng)村搖滾歌手帶來(lái)了無(wú)上幸福。其中提到了John?Cougar的?“Jack?and?Diane（杰克與黛安）”和?McBryde的父親“a?rock?star?riding?on?a?tractor?listening?to?Townes?Van?Zandt.（搖滾歌手在拖拉機(jī)上，?Townes?Van?Zandt在耳邊飄蕩）”（電臺(tái)給作曲大家Van?Zandt微不足道的愛(ài)讓歌曲甜到不行。）?“Southern?Babylon(南巴比倫)”蘊(yùn)含朦朧的鄉(xiāng)村靈魂，靈感源于McBryde做流行樂(lè)隊(duì)時(shí)長(zhǎng)居的孟菲斯?！?strong>Andy?(I?Can’t?Live?Without?You)［安迪（我不能沒(méi)有你）］”?將愛(ài)刻畫(huà)成神圣的疾?。?“Livin’?Next?to?Leroy（住在勒羅伊隔壁）”是南方搖滾的奇妙創(chuàng)作，故事圍繞一個(gè)死于自家沙發(fā)上的吸毒男人展開(kāi)。?McBryde有著自行車(chē)女孩的風(fēng)格，低沉的顫音，她也創(chuàng)作或是參與創(chuàng)作了整張專(zhuān)輯。包含“Dahlonega”在內(nèi)，她總以尖銳的態(tài)度剖析事物。她有著非凡的天賦。

Ditto Musgraves, but you might not recognize the weed-loving cowgirl troublemaker of “Follow Your Arrow” on this moony set, a throwback to easy-listening pop that’s only “country” by the loosest definition. Joined by a familiar dream team of Music City co-writers – Natalie Hemby, Hillary Lindsey, Luke Laird and Shane McAnally – plus new partners Ian Fitchuk and Daniel Tashian, the newlywed Musgraves is uncharacteristically cooing love songs; see the swooning title track and “Butterflies.” But she hasn’t lost her wit: “Northern lights in our skies/Plants that grow and open your mind,” she muses on “Oh, What a World,” a vocoder intro shimmering in the distance amid plinking banjo. Who knew Americana and robot rock were a thing? Musgraves did, because like plenty of us, she digs both. Purists will sniff, of course. Though?Golden Hour?might take time to relax into, the set is a fine lava-lamp soundtrack, and if “country” suggests engaging American musical traditions with respect and pioneer spirit, then this album is as country as it comes.

Musgraves也一樣，不過(guò)這張柔和風(fēng)的專(zhuān)輯回歸輕流行樂(lè)，游走在“鄉(xiāng)村”這一定義的邊緣，從收錄的?“Follow?Your?Arrow”中似乎難以看到那個(gè)愛(ài)抽煙愛(ài)搗蛋的牛仔女孩。在Music?City的老朋友Natalie?Hemby, Hillary?Lindsey, Luke?Laird和Shane?McAnally?加入作曲，以及Ian?Fitchuk和Daniel?Tashian的加入后，新婚的Musgraves一反常態(tài)唱起了纏綿的愛(ài)情曲；比如甜蜜爆棚的主打歌和“Butterflies（蝴蝶）”但她也還算清醒：“Northern?lights in our skies/Plants that grow and open your mind（北極光照耀在夜空中／種類(lèi)繁多的植物讓你豁然開(kāi)朗）” 。混音前奏中夾雜著她“哦多么美好的世界”的感慨和叮叮咚咚的班卓琴聲。

誰(shuí)曾想到傳統(tǒng)音樂(lè)能和機(jī)械搖滾能如此完美地結(jié)合？?Musgraves做到了，像我們大多數(shù)人一樣，她對(duì)這兩種音樂(lè)有無(wú)盡的熱愛(ài)。當(dāng)然，那些只愛(ài)其中一種的人會(huì)對(duì)此不屑一顧。《Golden?Hour》雖舒緩慢熱，但也不缺乏絢爛花火。如果“鄉(xiāng)村”意味著尊重和創(chuàng)新美國(guó)音樂(lè)傳統(tǒng)，那么說(shuō)這張專(zhuān)輯是鄉(xiāng)村之最也不為過(guò)。