搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：Cathy Lin

審譯：Emma.Z

排版：Lynn Liu

The Weeknd’s epochs can be clearly defined as pre- and post-“Can’t Feel My Face.” The mysterious character of?his?mixtape?trilogy?cut an enigmatic figure lurking seedy club and hotel corridors, and producer Max Martin transformed him into a radio-friendly Kids’ Choice Award nominee, a progression that led to an eventual rebirth as a?Daft Punk-retrofitted?Starboy. He straddled the line on his last EP,?My Dear Melancholy, but there has always been an explicit conflict between the volatile, shapeless R&B of his breakthrough and the sophisti-pop of his star turn.

盆栽的個(gè)人時(shí)代可以清晰地劃分為前“Can't feel my face”時(shí)代和后“Can't feel my face”時(shí)代。他的個(gè)人三部曲里神秘的角色，在骯臟的酒吧里和酒店走廊里隱藏著一貫讓人捉摸不透的形象，制作人Max Martin（麥克斯·馬?。┌雅柙运茉斐呻娕_(tái)流行型的兒童選擇獎(jiǎng)提名者的過程，引領(lǐng)他最終成為Daft Punk（蠢朋克）轉(zhuǎn)型版的Starboy（星際男孩）。盡管跨越了上一張個(gè)人EP《My Dear Melancholy》，在他對(duì)燥動(dòng)又雜亂無章的R&B突破中以及自成名以來的文雅流行的風(fēng)格之間，總有一些直接的沖突。

The Weeknd did it?Martin’s way?on the upbeat, incandescent “Blinding Lights,” an obvious contender for Top 40 radio charts. Now he’s reverting back to old habits for “After Hours,” the title track from?his upcoming album. Well, sort of—while the track is moody, long, and somewhat restless, it is never as spellbinding as his old work nor as advanced as his newer material. Co-produced by the Weeknd,?Trilogy?mastermind Illangelo, frequent collaborator DeHeala, and singer-songwriter Mario Winans, the song opens with his old signature style—falsetto, echoes, and recurrent tones—until suddenly it erupts into dance production. “I turned into the man I used to be,” he sings, but the transformation is incomplete, and he seems stuck halfway.

While the song’s dark atmospherics are reminiscent of the Weeknd’s early music, there is a noticeable thematic shift: “After Hours” is an apology for who he was and a vow to change. It is a remorseful pivot away from unapologetic hedonism. “I was running away from facin’ reality/Wastin’ all of my time on living my fantasies,” he sings. This is the Weeknd at his most repentant and cliche, willing to give it all up just to hold her close. The irony is that the man he’s apologizing for is the same emotionally abusive low-life featured on the album’s lead single, “Heartless.” It seems these shifts in the Weeknd’s mood are as inevitable as the phases of the moon he prowls under.

盆栽的“Blinding Lights”中按照Martin積極熱情又向上的風(fēng)格，成為了競(jìng)爭(zhēng)電臺(tái)榜單前40的選手之一。如今他又為“After Hours”回到了老傳統(tǒng)，這是一首來自即將發(fā)布的新專輯中的單曲。其實(shí)，這首情緒豐富冗長(zhǎng)，還帶著點(diǎn)躁動(dòng)的單曲，不像他以往的作品一樣迷人，也不像他的新作一樣前衛(wèi)。這首由盆栽、《Trilogy》主力Illangelo、經(jīng)常合作的DeHeala以及作詞者M(jìn)ario Winans聯(lián)合創(chuàng)作的歌，由他的舊個(gè)性風(fēng)格-假音、回聲和輪回的音調(diào)-開場(chǎng)，直到突然間闖進(jìn)了一段舞曲。他唱到：“我變回了我之前的模樣，”然而這次轉(zhuǎn)變不算完整，他似乎在半途中困住了。

盡管單曲的暗黑氛圍讓人聯(lián)想回盆栽的早期音樂，這首歌還是有一個(gè)值得注意的主題性的變化：“After Hours”是向他過去道歉并立誓做出改變。這是個(gè)產(chǎn)生懊悔的爆發(fā)點(diǎn)，遠(yuǎn)離了毫無歉意的享樂主義。他唱到“面對(duì)現(xiàn)實(shí)的我跑開了/我把時(shí)間都浪費(fèi)在活在幻想里”。這是盆栽最追悔莫及卻也最顯陳詞濫調(diào)的一次，這次他愿意放棄一切，只為抱緊她。諷刺的是，他為之做出道歉的那個(gè)人物，和專輯主打單曲“Heartless”中的人物一樣，是個(gè)潦倒的感情虐待狂。盆栽情緒里的轉(zhuǎn)變似乎和他在月光下潛行一樣難以避免。