附庸国风大雅小雅,音乐商议翻译

2019-12-01 04:56栏目:明星八卦
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评分:B***
当Trump带领美国走向末路的时候,Lana Del Ray终于笑了,仿佛在说 “呵呵”。
专辑鲜明的分成三个部分,“Love”到“In My Feelings”的成人流行,
“Coachella”到“Tomorrow Never Comes”的政治评论,
还有“Tomorrow Never Comes”往后(我直接删掉)的,‘您还不走啊,我们都打烊了’。

  2005年出道,她就凭借EP《Kill Kill》闯出了名号。随后的爆红单曲《Video Games》、《Young and Beautiful》、《Summertime Sadness》,则一举奠定了其乐坛新星的地位。而《Lana Del Ray》、《Born to Die》、《Ultraviolence》、《Honeymoon》四张专辑,更是缔造了超过三千万张销量。发片至今,她已横扫16座奖杯、入围54项提名,包括格莱美、公告牌、全英奖、Echo、MTV等多项音乐大奖。她就是Lana Del Rey。

Lana Del Rey 的第 4 张完整专辑坦诚真挚,立意崇高,将她对流行文化种种符号的迷恋推向了新的高度,同时又增添了先前从不属于她的风格。

评分:B (80)
附庸国风大雅小雅,音乐商议翻译。欣赏Lana Del Rey是一个双向的过程,
她在台上隔着纱幕搔首弄姿,歌迷在台下硬挤眼泪自伤自艾。

The fourth full-length from Lana Del Rey is sincere and sublime, pushing her fascination with pop culture iconography even further while adding a newly personal touch.

你猜我更喜欢哪部分呢? 第二部分不是没有亮点:
“God Bless America”的new jack swing节奏和bridge玛丽布莱姬一样的RNB叨逼叨
让人感到一种inclusive的暖意;
但我既对Coachella或者嬉皮士legend完全不感兴趣,
也不觉得和Sean Lennon合唱有多“crazy”(Lana “歪歪歪歪歪”得很Yoko,
Sean Lennon还有一个奇怪的Elton John reference,like HUH?)
“美国末日”的90年代Toni Braxton式成人抒情编曲也颇为出戏;
Stevie Nicks DELIVERS,但是换成Nicki Minaj也能deliver,并没有什么特别之处。

  早在2016年初,Lana Del Rey就公开了筹备第五张个人专辑的消息。历经400多天的淬炼后,她交出了全新专辑,《Lust For Life》7月21日在酷狗独家首发。有别于前两张专辑的加利福尼亚式之音,Lana将纽约式味道加入至新专辑中,节奏轻快却不失梦幻。

原文链接:Lana Del Rey: Lust for Life Album Review | Pitchfork

这个模式显然不是最理想的状态,
但对于她的音乐来说却是唯一可行的方式:
她的音乐的情绪和形式是复古的,
却又不像Adele,Amy这些实力复古派那样理直气壮,
内容和态度是现代的,却又不敢于直接踏入流行界和众表开撕;
“附庸风雅”或许是对她音乐最恰当的形容,
那么听众也用一种“附庸风雅”的态度去欣赏她的音乐就再合适不过了。

We were instantly entranced when Lana Del Rey’s “Video Games” surfaced six summers ago—candid but aloof, artfully homemade, haunted in tone with a video that felt like a message in a bottle washed ashore for reasons yet unknown. Del Rey didn’t give easy answers, but we still asked all the wrong questions in return, demanding clearer demarcation between the woman born Elizabeth Grant, the character known as Del Rey, and the millennial-outreach focus groups we presumed to have masterminded the whole thing. It’s a drag to rehash the Born to Die discourse now—a conversation so tediously narrow over a body of work that would prove, over the next five years, to be thrillingly rich.

相对来说前半张专辑更活色生香一些,
我觉得这个部分算是回到了Born to Die/Paradise的旋律创作状态,
只是没有那么catchy 另外她艺术人格对大众的新鲜感已经不在了/
“Love”在平铺直叙下,“young,and LOOOOOVE”然后“aha”砸实旋律,
像dildo上的阴蒂刺激头一样贴心;
“Lust For Life”是一首像Mariah的Beautiful一样琴瑟和谐的“侠侣”duet,
虽然我没明白她把一堆Girl Group元素融合到一个duet里是什么想法,
有点女权半路破功被男人劫走了的感觉;

  除了Lana本人担任制作之外,新专辑《Lust For Life》还力邀旧金山传奇制作人Rick Nowels、超级制作人 Max Martin、热单制造机Benny Blanco等助阵。

作者:Meaghan Garvey

一般来讲我会把这种共生关系定义为“功能性”音乐,
但Lana Del Rey的音乐在旋律和词作上确实有硬货,
加上她孤立于流行/独立两界之外的气魄
(也可以理解成哪边也没种去竞争)的确值得肯定;
她既不应该被贬低为“王守英是仙女”,也不该被捧成超然物外的大神,
最确切的说应该是 一个有实力但对音乐止步于玩票的it girl。

Since the drastically superior Paradise Edition reissue of Born to Die, Del Rey has neither swayed nor settled. Instead, doubling down on her palette of inky blues and blacks, the singer-songwriter has delivered a trio of dark, dense, radio-agnostic albums that stand wholly apart from any of her pop music peers. If there’s anything about Del Rey that’s obvious by now, it’s that she means it—all of it. Every word, every sigh, every violin swell, the Whitman quotes and JFK fantasies and soft ice cream.

“13 Beaches”全专最丧, 火葬场正宗配方 原味调制;
“Cherry”的soprano attack 粗口炸弹带来了不错的调剂;
“White Mustang”在trip hop伴奏下梦回“Blue Jeans”;
两首feat rapper的单曲带来了一些不同的节奏,
附庸国风大雅小雅,音乐商议翻译。以至于当初我刚听到还以为这专会是她的“Soldier of love”

  《Lust For Life》共收录16首歌。其中,同名主打《Lust For Life》,由格莱美奖新生代天王The Weeknd与Lana共同演绎,唯美唱出了流行乐未来的雏形。而空降公告牌摇滚榜亚军的《Love》,自带复古韵味的Baroque Pop风格,被滚石杂志盛赞为音乐上的赞美诗。已故音乐传奇John Lennon之子Sean Ono Lennon,则在《Tomorrow Never Came》中以前卫摇滚的声响,为如梦似幻的节奏,注入了更为超凡入圣的气息。

评分:7.7

这张专辑给人的[第一]听感一如既往的不是很舒服,
有段时间我以为已经过了几首歌,但听起来都是一个鸟样子,
后来发现确实是一首歌 --因为第一首歌竟然长达6分39秒;
下面的问题就应该是:
迷幻吉他pick 声墙风格的(well,出色)节奏 PJ Harvey at her best的crude旋律
能否撑起6分39秒? 我的理智认为是不能的,但我的情感很喜欢它。

Still, even for the converted, it’s almost too easy to trip into the endless black holes of Del Rey’s universe, where Hollywood sits at the very center in glamorous ruin. Her songs overflow with the iconography of America at its most mythic: purple mountains’ majesty, rockets’ red gleaming, Monroe, Manson. Her layers on layers of symbolism can be disorienting, as I imagine Del Rey intends them to be, encouraging endless cross-references and deep-dive readings of her work that seek to apply some grand cinematic theory to it all—and perhaps there is. But her fourth full-length, Lust for Life, suggests that at its best and truest, Del Rey’s music is sublimely simple: one voice, one story, one meaning. For years, it seemed Del Rey’s artistry lay in her ability to offer herself as a concept pursued to its logical end. Lust for Life presents her as something more interesting: a great American storyteller.

----现在觉得和她合作而不被吸入坟场的人大概不存在吧。

  既有顶级大咖相助,又制作精良,不知Lana Del Rey的这张专辑《Lust For Life》未来又将狂揽多少项大奖呢?就让我们一起拭目以待吧!

6 年前的那个夏天,Lana Del Rey 的 “Video Games” MV 刚刚在 YouTube 上出现,我们就立刻被深深吸引住了。这首歌里,她坦率直言,却又显得超然物外;制作上看似粗糙,却又很巧妙;叙事口吻忧心忡忡,MV 感觉像是未知原因被冲上海岸的漂流瓶里的一张小纸条,浪漫,却疑云重重。对于我们接踵而至的疑问,Del Rey 从未给出清晰明确的答案,可我们仍迫切想要她给个说法,好让我们分清这3个角色:本名 Elizabeth Grant 的那位女性,艺名 Lana Del Rey 的艺人,还有她背后的包装团队,大概是他们精确地定位了1980-2000年间出生的人的口味。Born to Die 带来了很多讨论,可今天没必要重复那些话了,因为那些老生常谈太过局限,而5年来,Born to Die 这张专辑已经向我们展现了惊人的丰富内涵。

--部分原因是接下来的几首都很值得期待,
同名曲用一个歌词tribute(he hit me and it feel like a kiss)
还清了欠Phil Spector的债,
Shades of Cool和Brooklyn Baby贡献了memorable的副歌,
West Coast贡献了最badass的bassline。

Two things immediately set Lust for Life apart from the rest of Del Rey’s catalog. First, that smile, beaming from the belladonna of sadness, posed in front of the same truck from the Born to Die artwork. Even stranger: the tracklist is packed with features for the first time since we’ve known her. This would be Del Rey’s “happy album,” fans predicted—or worse, an obligatory pivot into wokeness. As it turns out, Lust for Life isn’t outright happy or overtly political (and thank god for that), though Del Rey is re-examining her relationship with Americana. “I’m not going to have the American flag waving while I’m singing ’Born to Die,’” she said recently, of her current tour visuals. “I’d rather have static.” Beyond a symbolic “Pardon Our Dust” sign for a nation in turmoil, it’s an apt representation of the moment Lust for Life captures—a record of transition, documenting not so much the result of a profound change in worldview as the process of change itself.

写了这么多单曲分析,我觉得这张专辑并不大于它的单曲之和,
加上后面的拖拉可以说是很减分;

自从在 Born to Die 基础上取得惊人飞跃的改版 Born to Die: The Paradise Edition 开始,Del Rey 既从未动摇,又不曾止步。而,更加坚定地手握深蓝与漆黑的调色盘,这位唱作人交出了3张黑暗、晦涩、电台不友好的作品(注1),这种风格让她从所有同辈歌手中脱颖而出。关于 Del Rey,唯一我们能够确定的便是:她是认真的——所有都是。每个词语,每一声叹息,每一次小提琴响声,引用的沃尔特·惠特曼的诗句(注2),关于约翰·肯尼迪的幻想(注3),软软的冰激凌(注4)。

然后进入了烂尾的后半段。
其实我很想避免批判专辑的后半段,
因为我曾经以为我不喜欢Sad Girl,Fucked My Way,Old Money这些歌的原因
像我当初不喜欢This is What Makes Us Girls一样,
是因为它们的内容太“实”了,打碎了各种“超然物外”“看尽浮华”的假象,
但在This is What Makes Us Girls的case里,
它其实是非常高明的用一个look back包起了整张专辑的内容,
用一个少年轻狂的故事给前面所有胡作非为提供了背景
---而且它的旋律或词作都是极品。

Perhaps the most significant departure here is evident from Lust for Life’s first song, “Love”—a warm, grainy, ’50s-rock anthem (and by far the album’s best single) in which Del Rey shifts focus from her own internal struggle to address her audience directly. “Look at you kids, you know you’re the coolest,” she sings reassuringly, relinquishing her role as the protagonist. The effect is that of a slow pan, the frame creeping outward from Del Rey and stretching gently towards the horizon. That impulse towards a communal understanding of her universe appears most obviously in songs like “God Bless America - And All the Beautiful Women in It” and “When the World Was At War We Kept Dancing,” two pared-down folk ballads with souped-up low ends (the former includes instrumentation by Metro Boomin, with errant gunfire punctuating the chorus).

但也看你怎么使用它,专心听不免有些无聊,
拿来当无限循环的背景soundstrack或许还可以。 不过我还是更期待她的精选。

对于她的信徒,很容易滑进 Del Rey 宇宙无边无际的黑洞里,在那里,四周是光辉闪耀的废墟,正中心则是好莱坞。她的歌曲里满是美国被神话了的种种符号:紫色山峰的雄伟壮观(注5),火箭的红色强光(注6),玛丽莲·梦露,查尔斯·曼森(注7)。她层层叠叠的象征主义让人头晕目眩,不过我想这便是她的本意,让人不断寻找参考资料,深层阅读她的歌词文本,因为她的作品本身便在寻求某种适合的宏大的电影理论来解读——也许还真能找到一种呢。但是她的第4张完整专辑 Lust for Life 说明了,最好的、最真实的 Del Rey 的音乐,反而简单到了极致:一个声音,一个故事,一种含义。多年以来,Del Rey 的艺术才能,似乎体现在把她本人浓缩成一个概念,再将这个概念推向极致。Lust for Life 里的她则更有趣一些:是美国一位伟大的讲故事的人。

而Ultraviolence后半部分这6首歌显然在旋律或词作方面都无法和This Is相比,
并且它们不够好的原因也不是太“实”or太“具体”,
而是它们太陈词滥调,i mean,“Fucked My Way to the Top”?
想做sex symbol也不是这种“霸道县长爱上我”的套路自吹自擂能行的阿;
“Old Money”? 我在听什么,gossip girls的soundtrack吗?
“Money Power Glory”?what what what?

These are titles that may have once implied a campy wink but now appear entirely sincere—songs for figuring out exactly where the fuck we are now. And more than any specific predecessor within the folk canon, they remind me—as does much of Lust for Life—of the paintings of Edward Hopper, a realist who captured a new American landscape, as figurative as it was physical. Hopper painted isolated, voyeuristic scenes of the anxiety and ennui of an increasingly urbanized nation set against the totems of Americana (diners, motels, highway gas stations). His work buzzed with the tension between tradition and progress, the cold power of the new against the sublimity of the natural world. Like Hopper, Del Rey’s realism functions doubly as impressionism—literal representation as a means to capture the feeling of life in America.

Cut:“Lust for Life” “God Bless America” “Love“

Lust for Life 的 2 个特质使它与 Del Rey 的其它专辑区分开来。第一,封面上的微笑。封面上的车便是 Born to Die 封面上的那一辆,而这个微笑从令人窒息的悲伤阴影中照耀出来。更奇怪的是:歌曲列表里充满着我们在她身上闻所未闻的东西。粉丝们之前预测道,这会是 Del Rey 的一张 “开心的专辑”——或者更糟,她只是在姿态上故作觉醒罢了。而结果是,Lust for Life 并非完全是开心的,也没有公然发表政治宣言(谢天谢地),虽然 Del Rey 确实在重新审视她与美国经典文化之间的关系。最近,关于巡演,她说道:“唱 ‘Born to Die’ 时,我不会再身披美国国旗了;我更愿意安安静静唱歌。” Lust for Life 不仅是对这个混乱中的国家的歉意,它意在巧妙地呈现它所捕捉的时刻——一张过渡期的专辑,并非记录着她世界观内转变的深远影响,而是仅仅意图记载转折本身。

不过单纯就音乐来说 专辑前后都有亮点,
Sad Girl可以把“im a sad girl”循环 唱得让人以为是Michael Jackson的
Wanna be starting something;
Fucked My Way to the Top的“么么哒”part非常微妙;
Shades of Cool的女鬼花腔打死我也听不出竟然是“you are invincible”;
Pretty When You Cry的“i cant do it i cant do it”
和Ultraviolence的“we can move to New York”是专辑最佳vocal表现;
Sad Girl的keyb intro和Shades of Cool的吉他pick/solo是专辑最佳配器。

There are moments on Lust for Life that, while less successful on a pure songwriting level than some of Del Rey’s more focused work, are fascinating distillations of what a Lana Del Rey song means. On “Coachella - Woodstock In My Mind,” a song built to withstand the expected eye-rolls, Del Rey soaks in a Father John Misty festival performance, taking stock of the sea of flower crowns in the crowd as she draws lines from the moment out towards the past and future. It’s the most meta song in her catalog—a sweet and self-aware acknowledgment of the entire Lana Del Rey thing—and that’s before the chorus breaks into an impossibly graceful nod to “Stairway to Heaven.” And if the first verse of Sean Lennon duet “Tomorrow Never Came”—with its references to Bob Dylan, F. Scott Fitzgerald, Elton John—felt like an oversaturation of her symbol-heavy lexicon, Del Rey reinvents “doing the most” anew on the bridge: “Isn’t life crazy, I said, now that I’m singing with Sean?” It is at once hilarious and flooring, and I can picture no other artist but Del Rey being able to pull it off.

评论 Honeymoon:
评论 Ultraviolence:
Born To Die 的评论http://music.douban.com/review/5667906/
Born to Die的评论 http://music.douban.com/review/5593201/
Ride的评论 http://music.douban.com/review/5667851/
Blue Jeans的评论http://music.douban.com/review/5593174/
Blue Velvet的评论http://music.douban.com/review/5667898/
Born to Die专辑的评论http://music.douban.com/review/5297099/

也许 Lust for Life 的开篇 “Love” 表现出最意味深长的转变——一首温暖、颗粒般粗糙质感的 50 年代摇滚圣歌(也是目前可见的专辑最佳单曲),Del Rey 不再拘泥于她内心的挣扎,而是直接向听众致辞。她宽慰人心地吟唱着 “Look at you kids, you know you’re the coolest,” 她自己不再是歌曲主角。其结果是,一个慢镜头,取景框从 Del Rey 身上滑出,轻缓地铺开地平线。不止是这一首歌邀我们走入她的宇宙,别的歌曲也在推动这种歌手和听众间的相互理解:比如 “God Bless America - And All the Beautiful Women in It” 和 “When the World Was At War We Kept Dancing”, 2 首被削弱了的民谣叙事诗,用了加强了的贝斯声(前者用了 Metro Boomin (注8)的乐谱,副歌却用炮火声不时打岔)。

当然各方面最well-rounded的显然是Brooklyn Baby,
priceless chorus. 收尾部分配合男生效果更棒.
“feathers in my hair” “he plays guitar while i sing lou reed”
“my jazz collection rad” 一句写的比一句好,
完美的论证了“my boyfriend is really cool”,
但这一切都是为了下一句,“But hes not as cool as me”,准备的。

But the best parts of Lust for Life are simpler—songs that succeed not to the extent to which they concentrate the Lana Del Rey mythos, that present her songwriting as poetry that can stand on its own. There is “Cherry,” a cavernous torch song that reminds you Del Rey’s always been more Cat Power than pop star, rumbling with paranoid sub bass and waterlogged echoes of trap drums—the least obvious and most effective allusion to Del Rey’s connection with the way rap production sounds now (though Playboi Carti serving as the long-lost Shangri-La back-up ad-libber on “Summer Bummer” is an inspired touch). Her lyricism has reached a new level of sophistication, switching from devastatingly plainspoken (”Real love is like feeling no fear/When you’re standing in the face of danger/’Cause you just want it so much”) to the more abstract and sensual. There are visions of black beaches, burning roses, summer wine, and peaches, inexplicably ruined; it all feels like a Vanitas for contemporary America—a still life of soft decay. And on “13 Beaches,” a Hollywood film score that stutters and thuds into narcotic rap drums and ’90s alternative angst, Del Rey merges her symbolism and literalism into something like zen poetry: “It took 13 beaches/To find one empty/But finally it’s mine.” It’s at once a document of lived experience (escaping the paparazzi across a string of beaches last summer) and a meditation on the sublime—the symbol of the thing embedded in the thing itself.

原文链接

有些歌曲名初看流露着坎普的浮夸(注9),但其实真诚无比——这些歌曲试图弄清楚我们现在他妈的到底位于何时何地。这些歌曲——其实 Lust for Life 中很大一部分都是——比民谣界的任何前辈都更能使我联想起爱德华·霍普(注10)的作品,他是一位现实主义画家,捕捉美国新风景,既很写实,又很抽象。霍普以一种偷窥般的视角,分离出一个越来越城市化的国度的景物,这个国度充满了焦虑和无聊的情绪;霍普作品的背景则常常是是美国经典文化图腾(小餐馆、汽车酒店和高速加油站)。他的作品中充满着传统与进步之间的张力,新生事物的巨大力量对抗自然世界的崇高。像霍普一样,Del Rey 既是现实主义,又是印象派——她如实客观地描述,以期捕捉美国生活微小的、转瞬即逝的感受。

Cut:“Brooklyn Baby” “Shades of Cool” “Cruel World”

And though Lust for Life’s lengthy midsection could benefit from further editing, Del Rey saves the album’s two most stunning and thematically essential songs for last. “Change,” recorded the night before the album was due, consists of nothing more than Del Rey and a piano, contrary to her penchant for wall-of-sound epics. “There’s something in the wind, I can feel it blowing in,” she sings in a pointedly small voice, leaving rhyme schemes behind. “It’s coming in softly, on the wings of a bomb.” It’s a record sung from inside the curl of a cresting wave—the feeling of something happening, around you and inside you before you’ve figured out exactly what it means. And on “Get Free,” Del Rey delivers, at last, the album’s mission statement: “Finally, I’m crossing the threshold/From the ordinary world/To the reveal of my heart.” It is not so much a revelation as a promise that one is coming, and when she sings plainly, “This is my commitment,” the album cover’s uncharacteristic smile reveals itself not as a declaration of happiness, but a reminder that it’s still worth believing in.

Lust for Life 中的有些曲目,虽然在创作高度上不足更为人津津乐道的那些,却微缩了一本 Lana Del Rey 作品赏析指南。“Coachella - Woodstock in My Mind” 这首歌生来就要承受可以预见的白眼,在这首歌中,Del Rey 沉浸在 Father John Misty (注11)的音乐节演出中,在人群中打量着花冠的海洋,她以此时为界,划出过去和未来。这是她最具自反性的歌曲——一首美妙的歌曲,有自知之明地承认了整个这个构造出来的 Lana Del Rey——然后进入副歌对 “Stairway to Heaven” (注12)极度优雅的致敬。如果说与 Sean Lennon 的二重唱 “Tomorrow Never Came” 中——引用了 Bob Dylan(注13), 菲茨杰拉德(注14),Elton John(注15)——又犯了她堆砌人名的老毛病,在 bridge 中 Del Rey 则重新定义了 “用力过猛” 这个词:“Isn’t life crazy, I said, now that I’m singing with Sean?” 气氛一下子显得很欢乐很尴尬,我想这事儿除了 Del Rey 没有第二个人会干了。

Born To Die 的评论http://music.douban.com/review/5667906/
Born to Die的评论 http://music.douban.com/review/5593201/
Ride的评论 http://music.douban.com/review/5667851/
Blue Jeans的评论http://music.douban.com/review/5593174/
Blue Velvet的评论http://music.douban.com/review/5667898/
Born to Die专辑的评论http://music.douban.com/review/5297099/

图片 1

但是 Lust for Life 中最好的部分却很简单——虽然没有微缩一本 Lana Del Rey 作品赏析指南,却将她的作词呈现出了诗句的美感。比如 “Cherry”,一首幽深的感伤恋歌,它提醒我们 Del Rey 不像常规的流行歌手,而更像 Cat Power(注16),这首歌里有妄想症患者呓语般的超重低音贝斯,和套鼓浸满水般的回响——关于 Del Rey 和当今说唱制作音效的紧密联系,这是最不明显,也是最有力的证据了(虽然 Partyboi Carti 在 “Summer Bummer” 中贡献的即兴演唱是久违的完美的支持,那也是个 Del Rey 与说唱联系的漂亮呈现)。她的创作更加老练了,既可以令人叹息地一语中的(“Real love is like feeling no fear / When you’re standing in the face of danger / ’Cause you just want it so much”(注17)),也可以十足地抽象和性感撩人。你可以看见黑色的沙滩,焚烧的玫瑰,夏日美酒,蜜桃,出于某种无法解释的原因,它们都破败没落(注18);这感觉像是当代美国的 Vanitas(注19)——描绘腐烂消解的静物画。“13 Beaches” 似乎是一支好莱坞电影配乐,跌跌撞撞地驶入毒品般的说唱鼓点中和 1990 年代另类音乐的焦虑恐慌中,在这首歌里,Del Rey 将她的象征主义和现实主义碰撞出了禅诗的韵味:“It took 13 beaches / To find one empty / But finally it’s mine.” 鲜活经历的记录跃然纸上(去年走过好多沙滩躲避狗仔队);这也是对崇高事物的沉思——事物的符号就陈放在事物本身内部。

虽然 Lust for Life 长长的中段可以更上一层楼,Del Rey 将这张专辑最令人目眩神迷、最接近专辑核心的 2 首曲目藏在了最后。“Change” 在专辑制作完成的前一天录制,虽然 Del Rey 一向迷恋有声墙效果(注20)的宏大作品,这首歌里却除了 Del Rey 本人和一架钢琴什么也没有。Del Rey 刻意压小了声音唱道 “There’s something in the wind, I can feel it blowing in”,忘了要押韵。“It’s coming in softly, on the wings of a bomb.”这首歌宛如她漂浮在惊涛骇浪里唱出来——感觉有什么事儿要发生了,发生在你身边,也发生在你的内部,而你尚未搞清楚那究竟是什么。而在 “Get Free” 中,她点明主旨:“Finally, I’m crossing the threshold / From the ordinary world / To the reveal of my heart” 但你并没有感觉这出人意料;而当她平平淡淡地唱道 “This is my commitment” 时,你终于知道,专辑封面上那不同以往的笑容并非是宣称了幸福美满,而是提醒你,幸福美满仍然值得相信。

译者注

  1. 这 3 张专辑指 Born to Die: The Paradise Edition, Ultraviolence, Honeymoon;

  2. 在“Body Electric” 中,“I sing the body electric” 直接引用了沃尔特·惠尔曼的诗句,同名诗歌收录在他的《草叶集》中,在 “Body Electric” 的第 2 段主歌中,Lana Del Rey 直接唱道 “Whitman is my daddy”,此外她胳膊上有 “Nabokov Whitman(纳博科夫·惠特曼)” 纹身;

  3. 在 “National Anthem” MV 中,Lana Del Rey 饰演玛丽莲·梦露,A$AP Rocky 饰演约翰·肯尼迪,该 MV 描绘了肯尼迪被暗杀的事;

  4. 在 “Salvatore” 中,歌词提及 “soft ice creams”;

  5. 在 1910 年美国著名爱国歌曲 “America the Beautiful” 中,歌词提及 “For purple mountain majesties”,意指美国科罗拉多州落基山脉派克峰在光线下的景色;

  6. 在美国国歌 “The Star-Spangled Banner” 中,歌词提及 “And the rockets' red glare, the bombs bursting in air”;

  7. 查尔斯·曼森,1934 年生人,美国罪犯、前邪教领袖,在 1960 年代末期成立邪教组织 “曼森家族”,艺人玛丽莲·曼森的艺名便是这个缘故;

  8. Metro Boomin,美国制作人、作曲人、DJ,与 Gucci Mane, Future, Drake 等人合作过;

  9. 坎普,形容一种故作浮夸、戏剧性的风格,常常为了达到诙谐幽默的效果;

  10. 爱德华·霍普,1882 年生人,逝于 1967 年,美国重要现实主义画家、版画匠;

图片 2

夜游者,1942年,帆布油画,152.4 x 84.1 cm,现藏于芝加哥艺术博物馆

  1. Father John Misty,美国歌手、作曲人、吉他手、鼓手,曾参与 “Freak” MV;

  2. 在 “Coachella - Woodstock in My Mind” 中,歌词提及 “I’d trade it all for a stairway to heaven”,“Stairway to Haven” 是英国摇滚乐队 Led Zeppelin 1971 年作品,是最流行、最有影响力的摇滚作品之一;

  3. 在 “Tomorrow Never Came” 中,歌词提及 “Lay, Lady, lay on that side of a paradise”,“Lay Lady Lay” 是美国作词人、歌手、画家、作家及诺贝尔文学奖获得者 Bob Dylan 1969 年作品,Lana Del Rey 也在 “Religion” 中用 “All we do is play, all I hear is music like Lay Lady Lay” 引用过,Bob Dylan 1965 年作品 “Like a Rolling Stone” 被滚石杂志列为 “史上最伟大的 500 首歌曲” 之首;

  4. 在 “Tomorrow Never Came” 中,歌词提及 “Lay, Lady, lay on that side of a paradise”,This Side of Paradise (《人间天堂》)是美国小说家菲茨杰拉德的第一本长篇小说,菲茨杰拉德是 20 世纪最伟大的美国作家之一,被视为 “迷惘的一代” 代表人物,代表作《了不起的盖茨比》;

  5. 在 “Tomorrow Never Came” 中,歌词提及 “And I'd be your tiny dancer, honey”,“Tiny Dancer” 是英国歌手、钢琴家、作曲家 Elton John 1971 年作品,其 1977 年作品 “Candle in the Wind 1977” 是向死去的戴安娜王妃的致敬;

  6. Cat Power,美国唱作人、音乐家,早期专辑有着朋克、民谣、蓝调的混合风格,后期则有灵魂风格,其演出风格粗犷、捉摸不定;

  7. 这段歌词出自 “Cherry”;

  8. 这些意象出自 “Cherry”,歌词提及 “And all my black beaches are ruined”“My rose garden dreams, set on fire by fiends”“My cherries and wine, rosemary and thyme / And all of my peaches are ruined”,其中 “Summer Wine” 是 Nancy Sinatra 和 Lee Hazelwood 在 1967 年的二重唱作品,Lana Del Rey 于 2013 年和当时的男友 Barrie James O’Neill 翻唱过;

  9. Vanitas 是一类象征性的艺术作品,特指 16 和 17 世纪在弗兰德和荷兰地区的静物画,常有死亡和腐烂的意象,用于警示人们人生的转瞬即逝,享乐的毫无疑义,死亡的不可避免;

  10. 声墙是 Phil Spector 在1960 年代创造出的一种音效,使用包括弦乐、管乐、铜管、打击乐等,创作出强烈、厚重、丰富的效果,后广泛使用于摇滚乐中,代表作品有 Ike and Tina Turner 作品 “River Deep, Mountain High”, The Beach Boys 作品 “God Only Knows”“Wouldn’t Be Nice”“Good Vibrations”,The Ronettes 作品 “Be My Baby”,Bruce Springsteen 作品 “Born to Run”,Lana Del Rey 在 “American” 曾提及 “Springsteen is the king, don't you think?”

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