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

原文鏈接：https://pitchfork.com/features/lists-and-guides/the-200-best-albums-of-the-2010s/

翻譯：Ryan-Chopin,Nomanlandever

審譯：Lynn Liu

推送：Lynn Liu

In 2016, the hinge year of a grotesque age, Frank Ocean’s cars were his confessional booths. They included a white Ferrari and a BMW X6; the Bugatti “l(fā)eft some stretch marks on the freeway,” as he?remembers listlessly. To Ocean, the car is an Americana icon of certain ideals: freedom that turns solipsistic and reckless; materialism we worship as artistry; barrel-chested masculinity, queered on backroads. Above all, transience.

2016年，這個荒誕不經(jīng)的年代中關(guān)鍵性的一年，F(xiàn)rank Ocean的車就是他的懺悔室。它們包括一輛白色的法拉利和一輛BMW X6；據(jù)他無精打采地回憶道，那輛布加迪“l(fā)eft some stretch marks on the freeway,” (“在高速公路上留下了幾道劃痕”)。對于Ocean來說，汽車是某些理想化事物的典型美國標志：變得唯我且魯莽的自由；我們當作藝術(shù)去崇拜的物質(zhì)主義；在鄉(xiāng)間小路上被粉碎的患了氣腫胸的男子氣概。而最重要的一點是，世事無常。

Frank Ocean is the hinge artist of our time, the true voice of a generation because he takes long silences. With?Blonde?and its attendant works, his?Boys Don’t Cry?zine and?Endless, he took his time building his staircase to somewhere. Elusive and independent, he weaves from genre to genre, sometimes shifting gears to obliterate category altogether, as he cruises past the conventions the culture still fears to let go. On?Blonde, the languid guitar of surf rock coexists with soft doo-wop melodies; Frank the rapper—who is heady and occasionally, knowingly vulgar—coincides with Frank the singer, who is plaintive and longing. Sometimes, he just talks rhythmically, like in “Nights.” “Futura Free,” the triptych anchor of?Blonde, moves from midtempo to atmospheric synth to a clanging guitar solo. The impressionistic lyrics mirror the feeling of wanting to disappear, for a spell: “Breathe till I evaporated/My whole body see through.”

Frank Ocean是我們這個時代關(guān)鍵性的藝人，是這一代最真實的聲音，因為他總是保持長時間的沉默。利用《Blonde》以及它的附屬作品：《Boys Don’t Cry》雜志以及《Endless》，他終于修筑起通往某處的階梯。他以難以捉摸又獨立的姿態(tài)從一個流派切換到另一個流派，有時甚至直接換擋徹底抹除流派的概念，游走于那些社會文化仍不愿拋棄的舊俗之中。《Blonde》中，沖浪搖滾里那慵懶的吉他與溫柔的doo-wop旋律完美融合；Frank的rapper（說唱歌手）人格——冒冒失失，有時會故意表現(xiàn)得些許粗野——與他哀怨又熱切的singer（歌手）人格相互配合。有時他就只是說著富有節(jié)奏的念白，就像在“Nights”中一樣。“Futura Free”就像是《Blonde》中的三聯(lián)錨版畫，從中速變到合成器氛圍樂，最后又變成鏗鏘的吉他獨奏。印象派的歌詞映照出想要消失一段時間的感受：“Breathe till I evaporated/My whole body see through.（呼吸直到我蒸發(fā)/我的身體變得透明）”

Songs evaporate on?Blonde, too: they’re hazed, minimalist, capricious. The sweet, airy strum of “Pink + White” is hardened by its last few seconds, as we hear birds swarm. So, too, in “Ivy,” which starts off a masterpiece of cinematic lovesickness and then warps at its tail-end, ceding to a clang of instruments. The slight touches of distortion on?Blonde?call attention to impermanence, the trap of artifice, and, distantly, death. But Ocean is never sanctimonious; the whole point of existence is that a dark musing on morality can—and should—be interrupted by soft flesh, a sticky plant, a designer shirt. Live a little. Live too much. Because he is a writer first, he kinks his voice to suit his characters and his stories: On his cover of Stevie Wonder’s “Close to You,” a song about the fear of solitude, he multiplies and increases. On “Seigfried,” as he considers settling down for “two kids and a swimming pool,” his warble is warm, fragile, and resigned; then he almost shrieks, “I’m not brave!” It is an ache, a primal tearing of a social contract each generation learns is a lie.

《Blonde》里的歌曲也在“蒸騰”：煙霧繚繞，極簡抽象，變化莫測?！癙ink + White”中馥郁又沁人心脾的彈奏在最后幾秒逐漸加強，也伴隨著鳥叫聲。同樣，在“Ivy”中，歌曲以電影質(zhì)感的相思歌詞完美開頭，在結(jié)尾卻急轉(zhuǎn)直下，在樂器的哐啷聲中結(jié)束一切?！禕londe》里的輕微扭曲引起聽眾對瞬息萬變性、詭計陷阱和遙遠的死亡的關(guān)注。但Frank Ocean絕不是偽善的人，生活的要義在于 溫暖的肉體，黏性植物，名牌襯衫能夠也應該打斷對陰暗面的沉思。人生苦短，及時行樂。因為他首先作為歌曲的譜寫者，扭曲了他自己的聲音來塑造人格和營造故事。在翻唱自Stevie Wonder的?“Close to You”中，一首講述恐懼獨處的歌曲，他的聲音逐漸扭曲。在?“Seigfried”中，當他考慮為?“two kids and a swimming pool”安定下來時，他的顫聲溫暖，脆弱，與天地融為一體。然后他幾乎驚叫道：?“I’m not brave!” 這是一種痛苦，對社會契約的原始撕碎，不同年代的人都認識到那是一個謊言。

The year 2016 crystallized the political disaster right under the surface. People theorized that we needed anthems to get us through the dark night. Big choruses, hooks as wide as highway signs, regular percussion that could gird us from chaos. But our mood was languorous; jingoism was the problem in the first place. We wanted the blurred, the softened, the existential. “Inhale, in hell, there’s heaven,” Ocean sings on “Solo,” capturing the whiplash experience of being young in this country in one line.?Blonde?is one synonym for American. –Doreen St. Félix

2016年是政治災難開始潛伏的一年（暗諷川普執(zhí)政）。人們都渴望“頌歌”的出現(xiàn)來助力自己挺過難關(guān)，迎接曙光?；趾甏髿獾暮铣?，如同高速公路路牌一樣寬廣的hook，規(guī)律的打擊樂節(jié)奏，足以使我們走出困境。但我們的心境是非?！伴e情逸致”的，沙文主義（好戰(zhàn)論）是問題的關(guān)鍵，我們只想要“穩(wěn)穩(wěn)的幸?！?，“Inhale, in hell, there’s heaven,” Frank Ocean在“Solo”中唱道，用一句話描寫了這個國度的年輕人被社會鞭笞的經(jīng)歷。Blonde是American的同義詞。