搬运和翻译婊叉对骨钉姐很多很好的评价

【第一章】光线姐大战电子民谣

Hailed as a UK buzz artist for her blend of folk and pop sensibility, this newcomer is more akin to Scandinavians Lykke Li and Jenny Wilson.
这位因对民谣和流行的融合风格独具洞察力而被誉为英国热门歌手的流行新星，与斯堪的纳维亚的莱克·李和珍妮·威尔逊更加相似了。

In the UK it's hard to hear Ellie Goulding above the hullaballoo of the hype-cycles. Tipped in January as the sound of 2010 in two tastemaker polls, she's received distinctly underwhelmed reviews now her album has been released. It's an odd record to have been caught in the crossfire: There's no high concept or big personality, it doesn't ride any particular fashion wave or nostalgia agenda.
在英国，很难在一片哗然、到处炒作的娱乐圈中听到Ellie Goulding。在一月份的2010届BBC年度之声的两轮竞选中，她得到了非常不尽人意的评价，而现在她的专辑释出了，这是一张陷入乐坛竞争中的奇怪专辑：里面既没有高深的概念，也没有强烈的个性，也没有搭上某个独特的时尚或怀旧热潮的便车。

Instead, critics have seized upon a sense of contrivance, the idea that UK pop culture is meme-splicing from the recent past, and that Goulding has been cynically designed to hitch the nu-folk fad of 2008 (Laura Marling) to the 1980s pop vogue of last year (Little Boots) and achieve full-spectrum media approval from Mojo to Popjustice. And so she's getting shot by both sides: not folky enough for purists, not sensational enough for the pop crowd, but mid-market, middlebrow-- the new Dido.
相反，让评论者们感受到一种有意为之的感觉，他们认为英国流行文化是在不断将过往的流行元素进行拼凑，而骨钉姐意图将08年复兴民谣的热潮（Laura Marling）和去年流行的80年代流行风潮（Little Boots）相结合，以实现获得从Mojo到Popjustice等媒体的全盘肯定，但也因此，她不被任意一边流派所待见：对于硬核民谣党来说不够纯粹，对于流行乐听众来说不够轰动，而对于中间市场、一般趣味的路人来说，她是新的Dido（一位英国女歌手）。

If she'd been born ElseGoldsdottir, and hailed from Helsinki rather than Hereford, Goulding probably wouldn't have these problems. Maybe it's because ABBA started out in folk groups, but the Scandinavians seem more comfortable with the idea of a confessional pop that marries immediacy with intimacy. Goulding would fit in perfectly alongside Lykke Li, Jenny Wilson, even Robyn.
如果骨钉姐是Else Goldsdottir，并且从赫尔辛基发迹而不是赫里福，就可能不会有这么多麻烦了，可能因为是ABBA来自一支民谣乐队吧，不过斯堪的纳维亚人貌似很享受这种私人化流行音乐，仿佛讲述着一段冲着肉欲而去的露骨婚姻。骨钉姐可以完美地融入Lykke Li、Jenny Wilson甚至是Robyn这类歌手的行列。

Outside of its immediate context, Lights is a sometimes great, always promising debut. It's an album about leaving home, and it works best when the contrast between the folk singer and the pop production chimes with the tensions between the pull of home and the allure of the city.
除了这张专辑的内容比较直接以外，《Lights》是一张时而令人惊艳又非常有远见的处女作，这是一张关于离开家的专辑，其魅力在于两种元素的相互交融，其一是民谣歌手和流行编排之间的强烈反差，其二则是徘徊于家的吸引和城市诱惑之间的为难心结。

"Guns and horses" may be the best opening invitation for travel since "TwoDivided by Zero" kicked off the Pet Shop Boys' Please: "Let's join forces, we've got our guns and horses...." It builds from spare acoustics to urgent trance-pop-- "I left my house, left my clothes, door widen open, heaven knows, but you're so worth it, you are..."--concluding with a desperate a cappella coda, and a brief breathless chuckle at her casual audacity.
其中Guns and Horses或许是自Two Divided by Zero（Pet Shop Boys的专辑《Please》的intro）后最佳的旅行邀请函：“Let's join forces, we've got our guns and horses....”，这首歌的制作从简单的原声吉他到急促的trance舞曲一气呵成：“I left my house, left my clothes, door widen open, heaven knows, but you're so worth it, you are...”—以充满渴望的清唱尾奏和简短、喘吁、随性的笑声结束。

"Wish I Stayed" is apparently the first song that Goulding emailed to Vincent Frank (aka Frankmusik, south London's bedroom pop auteur) as an acoustic songwriter. It's still the song that best-capturesthe tensions of Lights, with Goulding singing of "skipping ropes, trampolines" and crafty schoolgirl smokes. It's reminiscent of the suburban pop of the Sundays (if they'd had an electro makeover like their forbears Everything But the Girl)-- the details of small lives and sitting room triumphs, the low horizons and "the carelessness of running away."
Wish I Stayed显然是骨钉姐以原声词曲作者的身份通过电子邮件发给Vincent Frank的第一首歌（又名Frankmusik，一位来自南伦敦的卧室独立流行制作人），这首歌仍然是《Lights》中最能体现那种离家的为难感的歌，骨钉姐唱着“skipping ropes,trampolines”和狡猾的女学生抽着烟，不禁让人想起周日的郊外流行热门（假如他们像工业革命时的先人那样将所有东西电气化，但除了女孩们……）--让人想起那些曾经的美好生活点滴、家乡的地平线和“逃跑时的粗心大意”。

Lights is mostly produced by Frank's protégé Starsmith, and he does a largely good job, notably on the euphoric e-rush of "Starry Eyed" and "Under the Sheets", a grand, almost Björkian hyperballad.
Frank的徒弟Starsmith是《Lights》的主要制作人，他将这张专辑做得相当优秀，尤其是Starry Eyed和Under the sheets中电子编排触电般的快感，几乎有着和Björk的Hyperballad一样的宏大感。

On the negative side, "The Writer" is a big the bluster of a song, with a chorus where the spectre of the Cranberries' DoloresO' Riordan is all too vivid, whose future success could be Goulding's undoing.The cheap tinsel backing track to "I'll Hold My Breath" isreminiscent of Wham!'s "Last Christmas", while "Your Biggest Mistake"could be a Frankmusik cast-off.
然而还有一些缺点，作为《Lights》中的一曲怒吼，The Writer的和弦中充满着Cranberries乐队的Dolores O'Riordan的影子，而其光辉可能掩盖了骨钉姐这首歌的魅力，还有那首廉价的如同用圣诞节的闪片装饰的I'll Hold My Breath简直是Wham!的Last Christmas的翻版，而且Your Biggest Mistake很有可能是Frankmusik的弃子。
【婊叉太mean了】

But at its best Lights feels remarkably uncontrived,cantering across genres, following personal whims and visions rather thanmarketing agendas. Unusually for a British pop debut album, it doesn't seem desperatefor the immediate approval of chart success. You get the feeling Goulding couldwrite another album or two (after Lights, Cameras, and then Action)before she really gets going, becoming the sound of 2012 or 2015 or whenever.Whether the UK pop industry has the patience to bear with her remains to beseen.
总之，好的方面在于《Lights》让人听起来非常自然，不局限于流派，追求个人的灵感和理想而不屈服于商业的安排，而这对于英伦流行歌手的处女作来说是难能可贵的，它的与众不同在于不因榜单的成功所认可而浮躁，这让人感觉，只要她想，她甚至可以先多出几张专辑，首专《Lights》，之后二专《Cameras》，然后三专《Action》（想象一下镜头前开拍的女明星），晚点再去取她的12或者15届BBC年度之声，不过英国的流行音乐产业是否有那个耐心还得看她的后续作品。

第一次翻译乐评，有翻译的不好的地方请大家帮忙指正

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