搬運自：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）

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/

翻譯：Ryan-Chopin

審譯：Lynn Liu

推送：Lynn Liu

Grimes is a producer, a provocateur, a punk—and, yes, a pop star. By her own estimation, pop is “music that seeks to hit the pleasure center,” and?Art Angels, replete with surging dance beats and saccharine girl-gang vocals, undeniably fits the bill. But on Claire Boucher’s fourth album, her pleasure comes cut with danger. Shrieks and snarls burn holes through the aptly named “SCREAM;” in one?distinctive visual, she knifes herself and smears blood across her face; on “California,” a lyric about “commodifying all the pain” points to the sinister capitalist underpinnings of the entire pop enterprise. Along with mussing up pop’s slick surface with a generous coating of gore, on?Art Angels,?Boucher conspicuously styles herself as an auteur, challenging the notion that pop’s frontwomen are seen but not really heard without a cadre of industry men behind them. If such women are the product of a “pop star mold,” Grimes has left that mold noticeably warped. –Olivia Horn

Grimes是一名制作人、一個激進分子、一位朋克少女——沒錯，也是個流行明星。根據(jù)她自己的看法，流行樂（pop）就是“試圖直接刺激愉快中樞的音樂”，而《Art Angels》這張充滿了涌動的舞曲節(jié)拍和夸張的女子匪幫般唱腔的專輯毫無疑問，完完全全符合這一標準。但在Claire Boucher（譯者注：Grimes本名）的第四張專輯中，這份愉悅是用危險灌制而成?！癝CREAM”中充斥的尖叫與咆哮仿佛要在歌曲中燒出洞來，歌名可以說是起得很貼切了；在其中一個極具特色的MV中，她把匕首捅進自己的身體，又把血抹滿整張臉；在歌曲“California”中，一句關(guān)于“commodifying all the pain（把痛苦全都商業(yè)化）”的歌詞鮮明地指出了整個流行產(chǎn)業(yè)背后險惡的資本關(guān)系。《Art Angels》中除了用大片的血痂把流行樂光鮮亮麗的外表搞得一塌糊涂以外，Boucher還大張旗鼓地把自己打造成了大導(dǎo)演，旗幟鮮明地挑戰(zhàn)這一世俗觀念：如果沒有背后的行業(yè)中的男性骨干團隊，流行樂壇中的女性領(lǐng)軍人物們也不過只是花瓶。如果這樣的女性只是“流行巨星模式化”打造的產(chǎn)物，那顯然，Grimes可以說完全搗毀了這個模式。