搬運自：微信公眾號【評論搬一堆】（在原文基礎上添加了英語原文與排版調整）

原作者：?Cat Zhang

翻譯：Joonly EC

校對：Ryan-Chopin

排版：Ryan-Chopin

對社交媒體時代焦慮的一種完全真誠的審視

Pop singer Ari Leff advocates powerfully for being forthright about your feelings, but his album’s whopping 21-song tracklist is underwhelming and repetitive.

流行歌手Ari Leff強烈主張做人要直言不諱，但他的專輯中有整整21首歌，繁冗到讓人瑟瑟發(fā)抖。

Bebe Rexha is “Sad.” Olivia O’Brien wants to be “Sad Together.” Chelsea Cutler is “Sad Tonight.” All of Snakehips and Tinashe’s friends are?wasted; all of Tate McRae’s friends are?fake; all the kids Jeremy Zucker knows aredepressed. The 25-year-old pop singer Lauv—who’s written forCharli XCX?and toured with?Ed Sheeran—is already well-versed in this very bummed, very online state of a generation. His debut album,?~how i’m feeling~, is a wholly sincere look at angst in the age of social media. “We’re never alone, but always depressed, yeah,” he laments on the closer “Modern Loneliness.”

Bebe Rexha是“悲傷的”。Olivia O’Brien想要“一起悲傷”。Chelsea Cutler“今晚很悲傷”。Snakeships和Tinashe的朋友都在虛度青春;Tate McRae的朋友都很假;Jeremy Zucker認識的所有孩子都很沮喪。25歲的流行歌手lauv曾為Charli XCX寫過歌，并與Ed Sheeran一起巡演過。他的首張專輯《~how i’m feeling~》是對社交媒體時代焦慮的一種完全真誠的審視?！拔覀儚牟还陋殻偸且钟?，”在談到單曲“Modern Loneliness”時，他如此哀嘆道。

Pop’s?pivot to melancholy?attests to a certain progress: People on the internet—teenagers especially—are more willing than ever to open up about mental health. Yet the language that’s meted out to talk about it, to?really?talk about it, is still so limited that what looks like relief often serves to slot our emotions into familiar and digestible templates. (“im like ~~~anxiettyyyy, and then never see a therapist,” a friend joked recently.) The conspicuous text-message stylization of~how i’m feeling~?makes the tension clear. In contemporary lexicon, bracketing your message in tildes is a form of hedging, of preemptively undercutting the seriousness of what you’re about to say; all-lowercase lettering is another method of shrinking things down. But Lauv wants to cut out the posturing. “We live in a world where a lot of people are afraid of really expressing themselves,” he’ssaid. “I want you to hear my music and feel, ‘I can be honest and vulnerable with the people around me.’”

流行音樂趨向憂郁這一點證明了一種進步:網(wǎng)絡上的人們——尤其是青少年——比以往任何時候都更愿意敞開心扉談論心理健康。然而，用來談論它的語言，真正談論它的語言，仍然是如此的有限，以至于看起來輕松的東西，往往會把我們的情緒放入熟悉的、可消化的模板中。(“我真的~~~太~焦~慮~啦，不過我也不會去看心理醫(yī)生，”一個朋友最近開玩笑說。)引人注目的文本信息程式化《~how i’m feeling~》使緊張關系變得清楚。在當代詞典中，用波浪線括起你的信息是一種模棱兩可的表達形式，是一種先發(fā)制人的方式，削弱了你要講的內(nèi)容的嚴肅性;全小寫字母是另一種削弱的方法。但Lauv想要擺脫這種姿態(tài)。“在這個世界里，我們很多人都不敢真正地表達自己，”他說。“我想讓你聽到我的音樂，感覺到‘我可以對周圍的人誠實且展示脆弱的一面。’”

One obstacle to expressing yourself is working up the courage to do so; another is figuring out, on your own terms, who that self really is. As a public figure, Lauv advocates powerfully for being forthright about your feelings, but his album’s whopping 21-song tracklist is underwhelming and repetitive. Lauv calls it “diverse, emotional, and lit,” but?~how i’m feeling~?is mostly temperate, EDM-lite affairs jumbled with piano ballads and Sheeran-style nice-guy folk, plus one blatant bid for a Latin-pop hit (the Sofía Reyes-assisted “El Tejano”).?Much of the emotional substance is laid out in the titles: feelings are hard (“Feelings”), I’m lonely as fuck (“fuck, i’m lonely”), I’m so tired of love songs (“i’m so tired”). These are Tumblr posts adapted as studio hits.

表達自我的一個障礙是得鼓起勇氣去表達;另一個是，根據(jù)你自己的條件，找出那個自我到底是誰。作為一名公眾人物，Lauv強烈主張要坦率地表達自己的情感，但他的專輯中有整整21首歌，繁冗到讓人瑟瑟發(fā)抖。Lauv稱其為“多樣的、情緒化的、光明的”，但我的感覺是，這些歌大多是溫和的電子舞曲風格，混雜著鋼琴民謠和Ed Sheeran的風格般的好男人情歌，再加上對拉丁流行歌曲的公然追求(例如由Sofia Reyes協(xié)助完成的"El Tejano")。歌曲大部分的情感內(nèi)容都寫在標題里:“Feelings”中唱到的"我感覺很難受"，“fuck, I’m lonely”中唱到的"我孤單得要死"，“I’m so tired”中唱到的"我厭倦了情歌"。這些都是來自Tumblr上的帖子，被這位歌手改編成錄音室里的歌曲。

When Lauv leaps into a pained falsetto on ballads like “Julia” and “Sad Forever,” you feel the pang of his isolation. But his few moments of existential elegance are undermined by tonally mismatched production. “I wonder what it feels like to be more than I am,” he quavers on “Drugs & the Internet,” before a jarring drop turns the song into a schoolyard stomp. Elsewhere, serious themes are almost completely obscured by mild, Spotify-friendly vibes. “fuck, i’m lonely” features on the soundtrack of the teen-suicide drama?13 Reasons Why,?but with its staticky, air-fried finger snaps and tropical ambiance, the Anne-Marie duet is more fit for a flirty island romp.

當Lauv在"Julia"和"Sad Forever"等抒情曲中彈唱出痛苦的假聲時，你會感到他被孤立的痛苦。但他那為數(shù)不多的存在主義優(yōu)雅時刻，卻被旋律不協(xié)調的作品破壞了。他在"Drugs & the Internet"中寫道:“我想知道，在一首刺耳的歌曲變成校園里的跺腳聲之前，比我更真實的自己是什么感覺?！痹谄渌胤?，嚴肅的主題幾乎完全被溫和、友好的氛圍所掩蓋。青少年自殺劇《十三個原因》的配樂中出現(xiàn)了“fuck, i'm lonely”，但他與Anne Marie的二重唱更適合用在小島上輕浮的嬉笑場景。

More often than not, Lauv’s attempts to be all-inclusive dilute his message. When he says “we’re never alone, but always depressed,” “depressed” could encompass everything from one-time alienation at a party to life-threatening imbalances in brain chemistry. “I’m lonely just like you,” he repeats on the moody, stadium-ready “Lonely Eyes.” The girl to whom Lauv confesses this fact is so curiously blank that she has few features apart from her “l(fā)onely eyes” and her proclivity for expensive vacations. Other characters are even more laughably one-dimensional: “Billy” is a juvenile redemption story about a misfit who grew up in poverty, then “woke up in a Tesla at 23.” (Billy is also the name of Lauv’s dog.)

通常情況下，Lauv試圖包羅萬象的嘗試沖淡了他想傳遞的信息。當他說“我們從不孤獨，但總是抑郁”時，“抑郁”可能包括一切，從派對上的一次疏離到危及生命的腦化學失衡?！拔液湍阋粯庸陋?，”他重復著那憂郁的、時刻準備著的“孤獨的眼睛”。當Lauv向那個女孩坦白這一事實時，她是如此的茫然，以至于除了“孤獨的眼睛”和對昂貴假期的癖好外，她幾乎沒有什么特征。其他角色甚至更可笑，都是單維的:"Billy"講的是一個青少年救贖的故事，講述了一個不合群的人如何在貧困中長大，然后“23歲時在一輛特斯拉里醒來”。(Billy也是Lauv的狗的名字。)

On social media, as in pop music, it’s become increasingly fashionable to display one’s authentic, imperfect self. But the rush to “get real” hasn’t really removed the filter on our expression, only altered its tint. Likewise, the six “Little Lauvs” on the album cover, each wearing a different color of the rainbow, supposedly represent divergent facets of the artist’s personality, a bit like the dueling emotions of Pixar’s?Inside Out. As with so much of?~how i’m feeling~,the concept seems simultaneously over- and under-developed: There may be six different versions of Lauv pulling the strings, but in the end, they all sound alike.

在社交媒體上，就像在流行音樂中一樣，展示一個人真實的、不完美的自我已經(jīng)變得越來越時尚。但是急于“變得真實”并沒有真正去除我們臉上的過濾器，只是改變了它的顏色。同樣地，專輯封面上的六個“小Lauv”，每個人都穿著不同的彩虹色衣裳，據(jù)說代表了這位藝術家性格的不同方面，有點像Pixar的"Inside Out"里的決斗情緒。就像我的感受一樣，這個概念似乎是同時在過度發(fā)展但也發(fā)展不足:也許有六種不同版本的Lauv在幕后操縱，但最終，它們聽起來都是一樣的。