让们来看看姨妈是如何slay的吧

翻得不好的地方还请指正

Today on Pitchfork, we are taking a critical look at the rise of Taylor Swift—from country underdog to pop superstar—with new reviews of her first five records.
今天在Pitchfork，我们将就泰勒·斯威夫特前五张专辑的新评论，剖析她从无名村姑到流行巨星的蜕变之旅。

In early 2012, Taylor Swift turned in 20 songs to her label for what would become her fourth album, Red. They were all further outgrowths of the pop-country sound she had mastered in her early years, as a teenager finding her voice in the Nashville scene, trying on songs like “Tim McGraw” to reflect the starlight over Georgia and the allure and disappointment of romantic love through a lens that was unmistakably hers. As she amassed a body of work for Red, she was still writing songs about love and its fugitive presence, songs about relationships that swelled like an obsessive thought, songs that picked up and enhanced the smallest pixels of intimate detail as if they were scanning security footage in a crime procedural. When she strummed a chord, it shimmered and just hung there. It sounded like Swift, an organic progression from her previous records.
在2012年早些时候，TS为自己第四张专辑《Red》创作了20首歌并递交给了唱片公司。 她小小年纪便开始在纳什维尔追寻自己的音乐梦想，并写出了“Tim Mcgraw”这样的作品，这首歌里你可以通过TS独特的视角感受到佐治亚州的星光以及浪漫爱情故事的迷人与怅然，而这20首歌正是她这些年对乡村流行音乐摸索的结晶。在《RED》的创作时期，她仍然在写着关于爱的萌芽与消逝的歌，每首歌都讲了一段慢慢酝酿成痴迷的感情，TS像观察犯罪过程的监控录像一般仔细，收集并用放大镜放大最小的像素画面。她轻轻拨动的和弦却熠熠生辉，余音绕梁。不错，《RED》听起来非常泰勒斯威夫特，并且是她以往作品基础上的一大进步。

呜呜呜好长 本可一个下午才翻了六段

厕红大王

Looking at the albums that followed Red, it’s obvious Swift longed for the inorganic, to send her songs through the distortions of modern pop and see what kind of genetically-scrambled horror would come back. You can hear it immediately in the first song she wrote in collaboration with pop gurus Max Martin and Shellback, “We Are Never Ever Getting Back Together”—a mutation is happening. A chord thrums from an acoustic guitar which then turns inside out as it plays, as if caught in the neck of a vacuum. It didn’t sound like the old Taylor Swift, the one who wrote 20 new Taylor Swift songs for a new Taylor Swift album. It sounded like a new version of her, being fitfully born.
当我们把目光投向《RED》之后的TS专辑，很明显TS渴望一些非原生态的东西，她将她的歌曲用现代流行的扭曲进行加工，并十分期待会得到怎样的“混血怪物”。你可在她与流行音乐大师Max Martin的首支合作曲“长长长”中听出她的这种趋势，毫无疑问，“长长长”是一个变异物种：你原本以为是从原声吉他中弹奏出的和弦变成了并非人拨弦而出的声音，并且仿佛会卡在真空中。这听起来并不像那个为RED创作了20首歌的老泰勒，而是一个全新的她，在最恰当的时候向我们走来。

这是真的么？？好nb

red的确很优秀

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