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Four months after “drivers license,” pop’s newest star offers a nimble and lightly chaotic collection of breakup tunes filled with melancholy and mischief.

在發(fā)行單曲《drivers license》四個月后，這位流行超新星獻上了一張 滿是憂郁和頑皮，一系列顯得靈活，略顯混亂的分手歌曲構(gòu)成的專輯。

Few people on Earth can know how Olivia Rodrigo feels right now; even by today’s standards of viral fame, her rise has been exceptional. On January 7, she was playing in the celebrity minor leagues, the not-quite-18-year-old star of the Disney+ show High School Musical: The Musical: The Series. By January 12, she had smashed streaming records and blanketed TikTok with her debut single, “drivers license,” a piano-driven power ballad steeped in suburban malaise and teen anguish. Since then, she’s graced magazine covers, sung at the Brits, and become the subject of an SNL sketch. Then she was invited on as the musical guest.

世界上幾乎沒有人能知曉O(shè)livia Rodrigo的內(nèi)心真實想法；就算以當今“紅的發(fā)紫”的標準來看，她的爆火也是意外。在1月7日，她還只是小有名氣，在迪士尼出品的《歌舞青春：音樂劇》中扮演一個快18歲的明星角色。到1月12日，她的出道單曲《drivers license》便打破所有流媒記錄，席卷抖音，一首以鋼琴舒展開全曲，沉溺于郊區(qū)里的心神不安以及青少年痛楚的抒情歌曲。自此以后，她便成為雜志封面的?？?，為全英音樂獎獻唱，成為SNL小品主角，又被邀請成為該節(jié)目的音樂嘉賓。

But most of us can know how Olivia Rodrigo felt when she wrote her debut album, Sour: so gutted by heartbreak she simply couldn’t talk about anything else. “drivers license” outlined a crushing breakup, the contours of which became clearer in subsequent singles. A gossipy real-life backstory aided—though certainly did not precipitate—the song’s rise. (If you must know, it’s said to be about Joshua Bassett, Rodrigo’s HSM:TM:TS co-star, who has since been linked to another Disney star.)

但是多數(shù)人可以理解Olivia創(chuàng)作首?！禨our》時的感受：心碎沮喪到無法轉(zhuǎn)移注意力，單曲《drivers license》講述了一場毀滅性的分手，此故事輪廓在之后的單曲中體現(xiàn)的更淋漓盡致。一個充滿流言蜚語的幕后真實故事有推動—盡管肯定沒有推動—這首歌的爆紅（如果你迫切地想要了解內(nèi)幕，據(jù)說這首歌是寫給Olivia在《歌舞青春》中的合作對象——Joshua Bassett的，同時還與另外一個迪士尼明星有關(guān)）

The matter of failed romance is central to Sour, a nimble and lightly chaotic grab bag of breakup tunes, filled with both melancholy and mischief. Rodrigo’s first trick: Seconds into the lugubrious strings that open the record, she and her producer, Dan Nigro, abruptly switch to grunge guitar and distortion. Abandoning both the gossamer falsetto and the emotive belt that power “drivers license,” Rodrigo adopts a wry sprechstimme on “brutal” to rattle off her grievances: self-doubt, impossible expectations, her inability to parallel park. “Where’s my fucking teenage dream?” she snarls, wisecracking about the way pop culture romanticizes youth. It’s not particularly elegant—it’s not meant to be. Bucking expectations about the kind of sounds she might gravitate toward? That’s just part of the fun.

失敗的戀愛是《Sour》的中心主題，一張充滿憂郁和淘氣氛圍，一系列顯得靈活，略顯混亂的分手歌曲揉雜成的專輯。Olivia第一個解數(shù)：在以一段悲哀弦樂開啟整張專輯后，她和制作人Dan Nigro突然將曲調(diào)轉(zhuǎn)換變成Grunge（車庫搖滾）的吉他聲和失真音效。Olivia放棄了在歌曲《drivers license》中輕柔的假聲和情緒化的真聲喊叫，在歌曲《brutal》中采用了一種扭曲的半說半唱方式來發(fā)泄她的不滿：自我懷疑，不切實際的愿望，無法做到并排停車，“Where’s my fucking teenage dream?”，她吼叫道，說著流行文化如何粉飾浪漫化年輕人的俏皮話。這聽起來不是那么優(yōu)雅—也不準備說的優(yōu)雅些。違背了人們對她音樂發(fā)展方向的猜測，這便是有趣的地方。

When she was little, Rodrigo and her mother made a habit of grabbing records indiscriminately from the thrift store, exposing her to the mistiness of Carole King and the muscle of Pat Benatar. Born two years post-Napster, two years pre-YouTube, Rodrigo grew up with music of all varieties at her fingertips. The range of her taste, and her disinterest in choosing a lane, animate Sour; queue up a track at random, and you might hear pop-punk fireworks à la Paramore (“good 4 u”), dewy-eyed soft balladry à la Ingrid Michaelson (“1 step forward, 3 steps back”), or alt-rock squall à la the Kills (“jealousy, jealousy”). Like any teenager, Rodrigo is trying on identities. The fluidity of her approach creates a sense of play that balances out the record’s more sullen moments—the self-righteous sprawl of “traitor,” for example, or the sinister extended metaphor of “favorite crime.”

當Olivia還年幼時，她和她母親便養(yǎng)成了從舊貨店內(nèi)不挑剔不偏袒地選擇唱片的習慣，讓她接觸到Carole King的朦朧和Pat Benatar的肌肉。Olivia出生在Napster誕生后的兩年，YouTube誕生前的兩年，從小聽著各種風格的音樂長大，對它們了如指掌。音樂品味的廣泛，使她不會原地踏步，簡單動畫化《Sour》。隨機播放首歌曲，你可能聽到pop-punk煙花齊放般Paramore樂隊風格的（《good 4 u》），淚水在眼眶打轉(zhuǎn)的Ingrid Michaelson風格的柔緩抒情曲(《1 step forward, 3 steps back》)，另類搖滾吼叫的The Kills風格（《jealousy，jealousy》），像其他青少年一樣，Olivia也在嘗試身份認同，她探索出的流暢性創(chuàng)造出一種游戲感平衡了這張專輯更郁郁寡歡的部分—比如在歌曲《tailor》中自以為是意識的延伸，或在歌曲《favorite crime》中陰險隱喻的延伸。

Of Rodrigo’s many influences, she’s most obviously styled herself after Taylor Swift, whose work she praises often and emphatically. Like her idol, Rodrigo treats emotional turmoil like jet fuel, and laces her lyrics with specifics—a Billy Joel song she and her ex listened to together, the self-help books she read to impress him. She’s said that the shouty bridge in Swift’s “Cruel Summer” directly inspired her own in “deja vu”; “1 step forward, 3 steps back” interpolates the reputation song “New Year's Day.” And publicly inveighing against a heartbreaker, then sauntering off with the last word? How very Swiftian.

在Olivia所受的眾多影響中，顯而易見她最受Taylor Swift影響，她經(jīng)常稱贊，著重強調(diào)Taylor的作品。像她偶像一樣，Olivia把她的混亂情緒當飛機燃料般使用，用具體的細節(jié)給歌詞加料—她和她前任一起聽Billy Joel的歌，讀講自立自強的書想讓男友對她刮目相看。她說過Taylor Swift歌曲《Cruel Summer》中的吼叫bridge直接啟發(fā)了她，這在她自己的歌曲 《deja vu》有所體現(xiàn)，歌曲《1 step forward, 3 steps back》插入了專輯《reputation》里的歌曲《New Year's Day》，痛罵了那些“芳心破壞者”，講完話便平步青云地扭頭就走，這過于“”泰勒斯”了！

But there’s more to Rodrigo’s writing than revenge; Sour gives her occasion to examine her own insecurities. “I wore makeup when we dated ’cause I thought you’d like me more,” she sings over fingerpicked guitar on the tearful “enough for you.” It’s a shot at her ex for underappreciating her, but also a hard lesson about not making concessions. On “happier,” a sweet-and-sour ballad that appeared in demo form on Rodrigo’s Instagram in early 2020, she grapples with the faulty narrative of female rivalry: “And now I’m picking her apart/Like cutting her down will make you miss my wretched heart.” It was this song that captured the attention of Nigro, a former emo band frontman who’s written with Carly Rae Jepsen and Conan Gray. It’s easy to hear what he heard in the homemade snippet: a gently tumbling melody, Rodrigo’s flute-like lilt, a winning balance of pettiness and wisdom.

但Olivia的創(chuàng)作遠不局限于復仇。專輯《Sour》讓她有機會審視自己身上的不安全感?！癐 wore makeup when we dated ’cause I thought you’d like me more,”在催人淚下的歌曲《enough for you》中她手彈吉他這樣唱道，對她前任來說這相當于一次槍擊，因為她感到自己不受重視，但也是一次學會不妥協(xié)的慘痛教訓。歌曲《happier》，一首酸甜抒情曲，Olivia在2020年初在Instagram平臺上發(fā)布了此曲的demo，這首歌中，Olivia奮力反駁了關(guān)于女性相互斗爭的錯誤敘述：“And now I’m picking her apart/Like cutting her down will make you miss my wretched heart.”正是這首歌引起了制作人Dan Nigro的注意，一位前情緒搖滾樂隊主唱，與Carly Rae Jepsen和Conan Gray一起寫過歌。在家里制作的片段中，很容易聽到他所聽到的內(nèi)容：一段輕柔婉轉(zhuǎn)的旋律，Olivia長笛般的輕快，并成功平衡好卑鄙和智慧的關(guān)系。

Meanwhile, Rodrigo is still very much a part of the Disney ecosystem, reprising her role in the second season of HSM:TM:TS, which debuted just last week. To anyone familiar with the history of Disney darlings and the morality clauses that typically bind them, the profanity that peppers Sour will stand out as a break from type. This minor subversion of expectations has given Rodrigo a low-key rebel status. Like her seeming newness, her earnestness, the heartbreak baked into her ascent, it’s one of the qualities that make her easy to root for. In a way, the flattening effect of the internet has worked in her favor, allowing her—someone who has been on TV for roughly a third of her life and is signed with the biggest record company in the world—to slip into the role of the underdog.

與此同時，Olivia仍是迪士尼系統(tǒng)的重要一環(huán)，再上周首播的《歌舞青春：音樂劇》第二季中，她繼續(xù)扮演她之前的角色。對于任何熟悉迪士尼寵兒的歷史 和 知曉哪些是通常約束住他們的操守規(guī)定的觀眾來說，這張臟話連篇的專輯《Sour》將打破傳統(tǒng)脫穎而出。這種微微顛覆人們期待的效果，為Olivia奠定了低調(diào)的叛逆地位。就像她表面上的新鮮感，她的真誠，她的心碎將會烙印至她事業(yè)的上升期，這也是是她容易吸粉的品質(zhì)之一。在某種程度來說，互聯(lián)網(wǎng)的扁平化效應(yīng)對她有利，讓她—一個大約三分之一的人生都出現(xiàn)在電視上的人，簽約了世界上最大的唱片公司之一—還能扮演一個弱者的角色。

Rodrigo avoided the major-label treatment when Universal left her and Nigro largely to their own devices to make Sour. But the effort to preserve the authenticity of Rodrigo’s voice also leaves her shortcomings more exposed. The flatness of the melody on “traitor” is especially noticeable alongside the movement of “drivers license”; “enough for you” is oversung. On a record largely centered around a single story, Rodrigo can fixate on select plot points (like the amount of time it took her ex to move on), rather than seeking out new angles. She sometimes settles for simple rhymes and self-evident phrasings: “You betrayed me/And I know that you’ll never feel sorry.” In moments like these, she seems more invested in content than in craft.

Olivia規(guī)避了大廠牌的通常做法，環(huán)球公司讓Olivia和Dan Nigro基本靠自己力量做專輯《Sour》。但為了保存Olivia聲音的真實感，這樣做的缺點也一露無遺。歌曲《traitor》旋律的單調(diào)，與歌曲《drivers license》放到一起更尤為突出。歌曲《enough for you》唱的做作。在一個單單圍繞著一個故事的專輯中，Olivia能專注于特定的情節(jié)點（比如她前任花了多少時間尋找下一段戀情），而不是尋找一個新角度。Olivia有時也會僅滿足于簡單的押韻和不言自喻的措辭： “You betrayed me/And I know that you’ll never feel sorry.” 像這樣的時刻中，他似乎更注重歌詞內(nèi)容而不是技巧。

Of all the songs on Sour, “hope ur ok” feels most connected to her Disney lineage. Over a twinkly instrumental, Rodrigo sings directly to a victim of child abuse, a queer girl rejected by her family, and to outcasts more broadly. In its message of love and acceptance, the song calls to mind the empowerment anthems churned out by a previous generation of Disney stars. But as Sour’s closer, “hope ur ok” is limp. An outward-looking loosie tacked on to 10 songs about the world inside Rodrigo’s head and heart, it reads as a last-minute effort to demonstrate perspective and maturity. Someone out there might feel genuinely comforted by Rodrigo’s words, and that matters. But, as the success of “drivers license” shows, there’s a certain magic to be found in embracing your own mess.??

《Sour》專輯中的所有歌曲中，《hope ur ok》感覺是最有迪士尼味兒的歌。在星光熠熠的伴奏下，Olivia直接像那些受家暴的兒童受害者，被家庭排斥的同性戀女孩，向更廣大的社會邊緣人士歌唱，歌曲傳遞著愛與包容的信息，讓人聯(lián)想到她的迪士尼前輩們大量炮制出的勵志頌歌。但隨著專輯《Sour》接近尾聲，這首歌顯得有些松弛，一首外向型歌曲松散地加在十首描繪Olivia內(nèi)心世界的歌曲中，看起來就像試圖在最后一分鐘展現(xiàn)自己的思維和成熟。有些人也許會被Olivia的話語感到由衷地安慰，這的確很重要。但單曲《drivers license》的大獲成功表明了，我們在接受自己的爛攤子的同時，其中也一定存在著某種魔力。