The phantom pang of missing someone before you ever meet them is an emotion worthy of its own word. That fated feeling of love and the passage of time is the theme that runs between Carly Rae Jepsen’s smash hit “Call Me Maybe” and the National’s antisocial romance “Slow Show”; it’s also the kind of thing Taylor Swift might write about. One of the loveliest tracks on folklore, the surprise album the singer-songwriter made primarily with the National’s guitarist Aaron Dessner, stands out for a strangely similar reason: a thread connecting two strangers that exists long before either realizes it’s there. “And isn’t it just so pretty to think/All along there was some/Invisible string/Tying you to me,” she sings on the delightfully plucky “invisible string,” simultaneously recalling famous lines from Jane Eyre and The Sun Also Rises.
还没见到一个人就想他的那种幻觉般的剧痛，是一种恰如其分的情感。那种命中注定的爱情和时间流逝的感觉，正是卡莉·雷·杰普森的热门歌曲《也许叫我吧》和国民乐队反社会的浪漫歌曲《慢秀》之间的主题。这也是泰勒·斯威夫特可能会写的东西。《民间传说》中最可爱的歌曲之一，是由这位创作型歌手和全国乐队的吉他手亚伦·德斯纳(Aaron Dessner)共同创作的这张令人惊讶的专辑，它因一个奇怪的相似原因而引人注目:这是一根连接着两个陌生人的线，而这两个陌生人中的任何一个都没有意识到它的存在。“想想/一直有一根/看不见的线/把你拴在我身上，不是很美吗?”她用勇敢而欢快的“看不见的线”唱道，同时回忆起《简爱》和《太阳也升起》中的著名诗句。

folklore will forever be known as Taylor Swift’s “indie” album, a sweater-weather record released on a whim in the blue heat of this lonely summer, filled with cinematic love songs in search of a film soundtrack. There are those who already dislike folklore on principle, who assume it’s another calculated attempt on Swift’s part to position her career as just so (how dare she); meanwhile, fans will hold it up as tangible proof that their leader can do just about anything (also a stretch). While it’s true that folklore pushes the limits of Swift’s sound in a particular, perhaps unexpected direction, her reference points feel more like mainstream “indie” homage than innovation, taking cues from her collaborators’ work and bits of nostalgia.
《民间传说》将永远被称为泰勒·斯威夫特的“独立”专辑，这是一张在这个孤独的酷暑里突发奇想发布的天气闷热的专辑，里面满是寻找电影原声带的电影情歌。有些人原则上已经不喜欢民间传说了，他们认为这是斯威夫特又一次精心策划的企图，目的是把自己的事业定位在民间传说之上(她怎么敢这么做?)与此同时，球迷们将把它作为有形的证据，证明他们的领袖可以做任何事情(也是拉伸)。民间传说的确在某种特定的，或许出乎意料的方向上突破了斯威夫特声音的极限，但她的参考点更像是对主流“独立”的敬意，而不是创新，从她的合作者的作品和怀旧中汲取灵感。

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🐔翻？

At its best, folklore asserts something that has been true from the start of Swift’s career: Her biggest strength is her storytelling, her well-honed songwriting craft meeting the vivid whimsy of her imagination; the music these stories are set to is subject to change, so long as it can be rooted in these traditions. You can tell that this is what drives Swift by the way she molds her songs: cramming specific details into curious cadences, bending the lines to her will. It’s especially apparent on folklore, where the production—mostly by Dessner, with Jack Antonoff’s pop flair occasionally in the mix—is more minimal than she typically goes for. Her words rise above the sparse pianos, moody guitars, and sweeping orchestration, as quotable as ever.
在最好的情况下，民间传说断言了一些从斯威夫特的职业生涯开始就一直存在的事实:她最大的优势是讲故事，她精心打磨的歌曲创作技巧与她生动的异想天开的想象力相遇;这些故事的音乐设置是可变的，只要它能扎根于这些传统。你可以从她塑造歌曲的方式看出，这就是斯威夫特的动力所在:用奇怪的节奏填塞具体细节，按照她的意愿弯曲歌词。这一点在民间音乐上表现得尤为明显，其中大部分作品是由Dessner创作的，而杰克·安托诺夫(Jack Antonoff)的流行天分偶尔也会加入其中。她的话语超越了稀疏的钢琴、穆迪的吉他和横扫一切的管弦乐，一如既往地值得引用。

After years as pop’s most reliable first-person essayist, Swift channels her distinct style into what are essentially works of fiction and autofiction, finding compelling protagonists in a rebellious heiress and a classic teenage love triangle. In “the last great american dynasty,” she tells the story of eccentric debutante Rebekah Harkness, who married into the Standard Oil family and once lived in Swift’s Rhode Island mansion, as a way to celebrate women who “have a marvelous time ruining everything.” Filled with historical details and Americana imagery, you can see the song play out in your mind like a storybook, but it also effectively makes a point about society’s treatment of brash women. Swift cleverly draws a line between Harkness and herself at the end, an idea she fleshes out in a more literal sequel, “mad woman.” Out of all the songs on folklore, “the last great american dynasty” is the all-timer, the instant classic. It sounds like the latter-day National/Taylor mashup you never knew you needed—textural and tastefully majestic, with Fitzgerald-esque lines about filling the pool with champagne instead of drinking all the wine.
作为流行音乐最可靠的第一人称散文家，斯威夫特将自己独特的风格运用到小说和汽车小说中，在一个叛逆的女继承人和一个经典的青少年三角恋中寻找引人注目的主人公。在《最后一个伟大的美国王朝》(the last great american dynasty)一书中，她讲述了举止古怪的少女丽贝卡哈克尼斯(Rebekah Harkness)的故事，她嫁入标准石油公司(Standard Oil)家族，曾住在斯威夫特在罗德岛的豪宅里，以庆祝那些“有一段毁掉一切的美妙时光”的女性。这首歌充满了历史细节和美国意象，在你的脑海里就像在播放一本故事书，但它也有效地表达了社会对待傲慢女性的态度。最后，斯威夫特聪明地在哈克尼斯和自己之间划清了界限，在更真实的续作《疯女人》(mad woman)中，她将这个想法具体化。在所有民间传说中的歌曲中，《最后伟大的美国王朝》是最经典、最经典的。这听起来像是你根本不知道自己需要的现代国家/泰勒混搭——有质感，有品味，有菲茨杰拉德式的台词，说的是用香槟装满泳池，而不是把所有的葡萄酒都喝光。

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The theme of folklore is a very different way of acknowledging that people will talk, an idea that animated 2017’s trap-tinged work of minor villainy, Reputation. Swift knows her own mythology like a model knows her angles, and that’s part of what makes folklore fascinating if you maintain an open mind: a kind of reverse-engineered “mindie” project, it sonically situates her closest to Lana and chamber-pop belter Florence Welch, but may also occasionally remind you of Triple-A radio, Sufjan Stevens if he killed his more ambitious tendencies, or Big Red Machine, Dessner’s duo with Justin Vernon (see: the sparse and soulful “peace”). The album’s actual duet with Vernon, “exile,” is a little like a Bon Iver take on “Falling Slowly,” the centerpiece of the 2007 folk musical Once: awkwardly dragging until the clouds slowly part to allow something beautiful to build. Swift is playing the long game here, and while there are no wild missteps, the album could use some selective pruning (see: “seven,” “hoax”).
民间传说的主题是一种非常不同的方式，它承认人们会说话，这种想法使2017年这部带有陷阱色彩的小邪恶作品《名声》生动起来。迅速知道自己的神话就像一个模型知道她的角度,这是民间传说的一部分有趣如果你保持开放的心态:一种逆向工程“mindie”项目,它有声地处她最亲密的拉娜和chamber-pop嘹亮的歌弗洛伦斯·韦尔奇,但偶尔也会提醒你的aaa级广播,Sufjan史蒂文斯如果他杀了他更加雄心勃勃的倾向,或大红色机器,Dessner与贾斯汀弗农的组合(见:稀疏和深情的“和平”)。专辑中与弗农的二重唱是“放逐”，有点像Bon Iver对2007年民谣音乐《慢慢落下》的演绎:笨拙地拖着直到云彩慢慢分开，让美好的事物得以建立。斯威夫特在这方面是在玩长线游戏，虽然没有疯狂的失误，但这张专辑可以使用一些选择性的修剪(见“7”、“hoax”)。

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It’s worth pointing out that folklore isn’t a total outlier in Swift’s catalog either, or even her recent work. The tracks with Antonoff shift away from the ’80s electro-pop of 1989 and onward, but they lean into the Mazzy Star swoon of Lover’s title track, Swift’s ongoing fascination with Imogen Heap, and a twinge of the Cranberries. There are interesting images, indelible hooks, and real signs of maturity. In the dreamy “mirrorball,” Swift likens the relatability trap of fame to a disco ball, singing of fluttering on tiptoes and trying hard to make it look effortless. “august” is a great, lusty Swift summer anthem about forbidden love, where the up-close, white-hot heat of songs like “Style” or “Getaway Car” is traded for wistful reflection in the rearview. Like the rest of us, Taylor Swift knows she’s had better summers before and she’ll have better summers again. At least she’s made thoughtful use of this one.
值得指出的是，民间传说在斯威夫特的专辑中也不完全是局外人，甚至在她最近的作品中也不例外。安托诺夫的歌曲偏离了1989年及以后的80年代电子流行乐，但他们倾向于这位迷糊的明星对《Lover》同名歌曲的迷恋，斯威夫特对伊莫金·西普的持续迷恋，以及小红莓的刺痛。有有趣的图像，不可磨灭的钩子，和真正的成熟迹象。在梦幻般的《镜球》(mirrorball)中，斯威夫特将成名的关联陷阱比作迪斯科球，唱着踮着脚尖飞舞的歌曲，努力让它看起来毫不费力。《八月》是一首关于禁忌之爱的美妙的、充满激情的夏日赞歌，像《Style》和《Getaway Car》这样的近距离、炽热的歌曲被换成了在车后的沉思。和我们一样，泰勒·斯威夫特知道她曾经有过更好的暑假，她将会有更好的暑假。至少她对这个问题做了充分的考虑。

翻译完惹

所以婊叉可能对看到霉成为她所做音乐领域的“开拓者”的期待，多于看到她成为“集大成者”?

很高的分了