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Pitchfork对DAMN.的乐评及(糙)翻译

发布时间:2019-10-16 11:46编辑:澳门威斯尼人平台登陆浏览(155)

    【9.2分】【Best New Music】
    澳门威斯尼人平台登陆,DAMN. is a widescreen masterpiece of rap, full of expensive beats, furious rhymes, and peerless storytelling about Kendrick’s destiny in America.
    DAMN.是一张视线宽广的唠叨宏构,充满了高昂的鼓点,激进的押韵,乃至喇嘛无人能及的叙事本领对于她在美利坚命局的描述。
    Life is one funny motherfucker, it’s true. “DUCKWORTH.,” the last song on Kendrick Lamar's fourth studio album DAMN., tells a winding story about Anthony from Compton and Ducky from Chicago, whose paths cross first over KFC biscuits, and again, 20 years later, when Ducky’s son records a song about the encounter for Anthony’s record label. It’s a precious origin story, the stuff of rock docs and hood DVDs, and it’s delivered with such precision, vivid detail, and masterful pacing that it can’t possibly be true. But it’s a tale too strange to be fiction, and too powerful not to believe in—just like its author. Kendrick Lamar has proven he’s a master storyteller, but he’s been saving his best plot twist this whole time, waiting until he was ready, or able, to pull it off.
    Life is one funny motherfucker, it’s true. “DUCKWORTH.”,来自喇嘛第四张录音室专辑DAMN的终极一首歌,陈说了贰个有关来自康普顿的Anthony托和来源吉隆坡的Ducky的波折故事,他们的人生轨迹在KFC的比司吉(United States德克士卖某种甜食?)此前率先次交错,二十年过后,Ducky的幼子为Anthony托的音乐厂牌录了一首关于本次相遇的歌。那是二个宝贵的直接传说,关于摇滚档案片和影碟的职员和工人,並且以那样准确,如此生动的细节,熟知的点子突显出来,以致于让人觉着不容许是真的。但它过度奇怪不会是设想,过于具备冲击性也令人爱莫能助不相信任——正如它的成立人同样。喇嘛表明了和煦是个讲逸事的法师,但他一直在保存本人最佳的那些曲折的传说剧情,直到他筹划好,或是说有技能,将其表现。
    Storytelling has been Lamar’s greatest skill and most primary mission, to put into (lots of) words what it's like to grow up as he did—to articulate, in human terms, the intimate specifics of daily self-defense from your surroundings. Somehow, he’s gotten better. The raps on his fourth studio album DAMN. jab mercilessly like a sewing machine. His boyish nasal instrument is distinct and inimitable as it slithers up and down in pitch on “PRIDE.” Even when Lamar sounds like Eminem, or Drake, or OutKast, he sounds like himself, and he arguably outpaces them all as a writer. On “FEAR.,” he relays daily threats from his mom (“I’ll beat your ass, keep talking back/I’ll beat your ass, who bought you that? You stole it”) and from his neighbors (“I’ll probably die because I ain’t know Demarcus was snitching/I’ll probably die at these house parties fucking with bitches”) over low-slung blues stirred by The Alchemist. Lamar’s recitation is so effortless you wonder where he breathes, or if he does at all.
    讲遗闻一向是喇嘛的最标准的力量,也是最重视的天职,即用(很多)文字来展现像她一样成长是如何体统的——清晰通俗点来说,正是,日往月来将团结与外部的世界隔开分离开来的有的私密细节。不知怎么,他变得愈加厉害了。他在四专DAMN.里面包车型大巴灵魂乐像一台缝纫机同样狠毒地猛戳你的心里。他充满男孩子气的鼻音在“PXC60IDE.”的腔调中滑上又滑下,独竖一帜且无法模拟。就算喇嘛听上去像Eminem,Drake大概Outcast,他长期以来充满了上下一心的风骨,而且能够说她作为多少个创小编超过了装有这么些歌星。在“FEAKoleos.”中,他描述每日从她老妈这里得到威逼(“I’ll beat your ass, keep talking back/I’ll beat your ass, who bought you that? You stole it”)乃至从她的左邻右舍(“I’ll probably die because I ain’t know 德姆arcus was snitching/I’ll probably die at these house parties fucking with bitches”),伴随着The Alchemist哼唱出的感伤Bruce。喇嘛的舞曲听上去十拿九稳,以致于你在想他到底在何地呼吸,大概说他终究要不要呼吸。
    Kendrick is a relic of the mid-aughts rap blog era, where bedroom WordPress pages would post .zips of albums by amateurs. After years of such releases, Kendrick dropped a self-titled EP in 2009 that featured Big Pooh from Little Brother and elicited such Nah Right comments as “I like the beats on this” and “who da fuk?” Accolades swelled with each project; by 2011, he was considering signing with Dr. Dre; by 2013, he was playing SNL and touring with Kanye West. He came of age with his fans, and by 2015’s To Pimp a Butterfly, he put to music their chest-clenched frustrations. Ever the curtain-puller, he released an album of untitled and unmastered drafts and grew his hair out. His short absence, even after lending Taylor Swift a verse, has been made to feel longer by his media shyness and a surging tide of new rappers shuttled out daily.
    Pitchfork对DAMN.的乐评及(糙)翻译。Pitchfork对DAMN.的乐评及(糙)翻译。Kendrick是mid-aughts朋克博客时期的旧物,那是寝室里的WordPress(曾今的三个博客平台)页面会将业余艺人的特辑压缩上传的一时。经过了几年那样发布文章,Kendrick在09年批发了一张与温馨同名的EP,与来自Little Brother的Big Pooh合作,收到了比如“笔者喜欢那歌的点子”“who da fuk”之类的评说。赞叹随着每张文章更为多;2013年的时候,他早已在思量和Dr.Dre同盟;到2012年,他一度在周天夜现场上演,何况和Kanye West一齐巡演。他和她的fans是在同样的时代成人长大,到二零一四年发行的To Pimp a Butterfly,他将他们痛彻内心的懊丧写进歌中。作为连接揭发谜底的不行人,他发行了untitled unmastered,而且伊始留头发。他在大伙儿视界中的短暂消失,就算中间给TaylorSwift唱了段主歌(Bad Blood混音),也因为她在交际媒体的不活跃和每一日都有新的重打击乐明星发歌的大潮而让人感觉漫长。
    Pitchfork对DAMN.的乐评及(糙)翻译。Throughout it all, he’s avoided the boxed-in fates of predecessors like Nas and peers like J. Cole through an electric originality and curiosity. He mastered rap not for mastery’s sake, but to use it as a form, undeterred by slow-eared fans who’ll only highlight his “simplest lines.” His best new trick is repetition; it offsets his density and drills his ideas, as enthralling as a Sunday sermon or pre-fight chirp session. There have been few threats committed to record as sincere as, “Let somebody touch my mama, touch my sister, touch my woman/Touch my daddy, touch my niece, touch my nephew, touch my brother”—you tick down the list along with him, slot in your own lifelong bonds with loved ones. Such internal processing plays out through the album’s Greek chorus, via the singer Bēkon, who speaks in riddles of balance throughout: “Is it wickedness, is it weakness;” “Love’s gonna get you killed, but pride’s gonna be the death of you;” “It was always me versus the world/Until I found it’s me versus me.”
    直白以来,他透过她令人激动的的原创力量与音乐好奇心避开了像他的前辈Nas和同辈J.Cole被雪藏的小运。他舞曲并不止为了灵魂乐,而是为了选用爵士乐的这种样式,并未有被只在乎最简便易行句子的歌迷给挡住。他最新的剑客锏就是复读机一样地再一次;这抵消了她歌曲的密集并且提炼出了他的主见,正如礼拜六的说教和战前的洗脑集会同样。未有啥样在歌曲中的威吓像这么的实际:“Let somebody touch my mama, touch my sister, touch my woman/Touch my daddy, touch my niece, touch my nephew, touch my brother”——你和她一同沿着这么些列表细数,将您本人一生所爱着的人对号落座。像这样的心扉历程贯穿整张专辑的Greek式合唱,通过歌手Bēkon说着关于权衡的谜语: “Is it wickedness, is it weakness;” “Love’s gonna get you killed, but pride’s gonna be the death of you;” “It was always me versus the world/Until I found it’s me versus me.”
    Pitchfork对DAMN.的乐评及(糙)翻译。DAMN. is best in these philosophical spaces. It lags slightly around the center, where the concept loosens: “LOYALTY.,” with Rihanna, has all the makings of a radio mainstay this summer, and is as low-stakes as the platform demands; it’s always fun to hear Rih rap, and her presence is its most interesting aspect. “LUST.” would sound better if it weren’t next to an ear-worm as tender as “LOVE.,” which slow-dances between Zacari falsettos and Lamar’s sheepish read of the girl who fills him up. Between the two tracks, it’s easy to tell which force is tugging at him harder.
    Pitchfork对DAMN.的乐评及(糙)翻译。Pitchfork对DAMN.的乐评及(糙)翻译。DAMN.在下边那几个艺术学层面形成了最好。在专栏中间某些延后、概念揭穿的职分:“LOYALTY”,那首和Rihanna同盟的单曲,具有在当年夏日电视台小火的保有因素,并且如那一个平台所需求的同一低廉;听到日日爵士乐总是很有意思的,并且她的存在是那首歌最有看头的有个别。若无挨着向耳边蠕虫一样无力的“LOVE.”,“LUST.”会听上去越来越好。“LOVE.”那首歌游走在Zaraci的假声和喇嘛羞怯的对于怀中女孩的呼叫。两首歌之间,能够私下地看出哪类力量在更为努力地拉住着喇嘛。
    The record’s few lulls succumb to what surrounds them. The springboard bounce of “HUMBLE.,” the war chant of “DNA.,” and hot steel of “XXX.” show Kendrick in his element, fast and lucid, like Eazy-E with college credits and Mike WiLL beats. The production is taut and clean, but schizophrenic, often splicing two or three loops into a track and swaying between tempos, closer in kin to good kid’s siren-synths than Butterfly’s brass solos. If he was “black as the moon” on his last album, he’s an “Israelite” here, refusing to identify himself by the shade of his skin but fluent in the contents of his D.N.A. Butterfly floated along to soften its scathing stance—”We hate po-po” sounds better over a smooth saxophone—but with so many “wack artists” in play, what’s the reward for upliftment? Kendrick is so alone at his altitude that when he acknowledges Fox News, let alone Donald Trump, it feels like a favor to them both.
    专辑中为数非常少的暂停平静曲目被它们前后的歌曲所扼杀。跳板歌曲“HUMBLE.”,战役颂歌“DNA.”,滚烫如铁的“XXX.”呈现了Kendrick连忙与清丽的音乐成分,就像是上过大学的Eazy-E和MikeWill的音频。整张专辑制作简单,不过也洋溢“精神区别”感,平时一首歌由两八个循环拼接而成,比起TPAB中的brass solo更疑似Good Kid的siren-synths. 借使说他在上张专辑是贰个“纯黑”的形象,这张专辑他更像二个“以色列国人”,拒绝用自身的肤色来装B本身,却将团结DNA中的白人音乐天赋拿捏自如。飞舞的胡蝶(上专喇嘛以蝴蝶自喻)软化了那张专辑尖锐的立场—”We hate po-po”在平坦的萨克斯中听起来未有那么激进——但乐坛中有与上述同类多的“垃圾歌唱家”,如此拔高显得意义甚微。Kendrick在她的冲天如此孤独,以致于当她感恩荷德Foxnews,更别说川普时,感到疑似帮了他们俩大忙。
    Still, the album exists for “DUCKWORTH.” It’s the final piece of the TDE puzzle, a homegrown label of Compton natives that happened to deliver the best rapper of his generation. If we’re to believe the song’s last gunshot—and its seamless loop back to track one—much of DAMN. is written from the perspective of a Kendrick Lamar who grew up without a father to guide him away from the sinful temptations outside his home. He bobs in and out of this perspective, but the repeated pledges to loyalty and martyrdom evoke the life and mind of a young gang member who carries his neighborhood flag because no one’s proved to him that he shouldn’t. These choices, Lamar suggests, aren’t pre-determined or innate, but in constant dialogue with and in reaction to their surrounding circumstances. They aren’t above or beneath anyone who can hear his voice. Success and failure choose their subjects at their whim; we’re as grateful as Kendrick for his fate.
    依然,那张专辑为了“DUCKWORTH.”存在。那是TDE 谜语的末尾一部分,八个起点于康普顿本土、贡献了当代最佳的乡村音乐明星的厂牌,即使我们要去相信那首歌最终的枪声——和它无缝衔接回专辑第一首歌的巡回——DAMN.中山高校部分歌是以二个成长路上未有阿爸将他从家门外各个罪恶的抓住教导开来的Kendrick Lamar的见解写下的,他在这里么的见识中来回摇拽,但对此忠诚与殉道重复的誓词唤醒了那样一个担任起社区大旗的少年帮成员的生命与沉思,因为尚未人能向她表明她不应有如此。那些选拔,喇嘛暗意道,不是预设好或许与生俱来的,而是在与她周遭情形持续的对话与应对中央调节制的。它们既不当先也不低于其余能够听见喇嘛音乐的人的体会范围。成功与失利大肆地挑选着快要承受它们的人;大家如同喇嘛自个儿一致感恩着他的大运。

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