卫报乐评机翻：40/100

Justin Bieber: Justice review – hot goings-on, not What's Going On

The star has recast himself as a tender humanitarian, which means a civil rights speech shoehorned into an album of anaemic love songs.

贾斯汀·比伯：司法评论-热点事件，而不是发生了什么

这位明星把自己塑造成一个温柔的人道主义者，这意味着一个民权演讲被塞进了一张贫乏的情歌专辑。

Justin Bieber’s sixth studio album comes accompanied by a personal statement. “In a time when there’s so much wrong with this broken planet, we all crave healing – and justice – for humanity,” it says. “This is me doing a small part. My part. I want to continue the conversation of what justice looks like so we can continue to heal.”

贾斯汀·比伯的第六张录音室专辑附有个人声明。“在这个破碎的星球有这么多问题的时代，我们都渴望人类的康复和正义，”报告说。“这是我做的一小部分。我的角色。我想继续讨论正义是什么样子的，这样我们才能继续治愈。”

You can certainly see why he has done this. We’re living through an era when it’s held to be important that pop music tackles – or at least is seen to be tackling – serious issues. It’s not unlike that point in the 80s when even Duran Duran felt obliged to mention nuclear war, lest anyone think that they weren’t agonising over the prospect of mutually assured destruction when not cavorting with models on yachts.

你当然明白他为什么要这样做。我们正生活在一个流行音乐处理或至少被认为是处理严重问题的重要时代。这一点与80年代的杜兰·杜兰（Duran Duran）也觉得有必要提及核战争的时候没什么不同，以免有人认为他们在不与游艇上的模特们一起颠簸时，不会为相互保证的毁灭前景而苦恼。

Perhaps the Serious Issues imperative currently weighs heavy on Bieber. His last album came trailed by Yummy, not so much a single as a jingle, its chorus patently designed for kids to play in their TikTok videos, the latterday equivalent of trying to spark a novelty dance craze. There was a distinct note of avaricious desperation about the way Yummy was promoted. Better to appear concerned with healing and justice for humanity than with gaming the streaming figures by telling your Instagram followers to play your new single non-stop while they sleep.

或许，目前迫切需要解决的严重问题让比伯感到沉重。他的上一张专辑《美味》（Yummy）紧随其后，与其说是单曲，不如说是叮当乐，它的合唱显然是为孩子们设计的，让他们在自己的TikTok视频中播放，这相当于最近试图激起一股新奇的舞蹈热潮。对于《美味佳肴》的宣传方式，有一种明显的贪婪的绝望。最好表现出对治疗和人类正义的关心，而不是通过告诉你的Instagram追随者在睡觉的时候不停地播放你的新单曲来游戏流媒体人物。

And you can see how the theme of “continuing the conversation of what justice looks like” fits with the interlude that bisects the album, an excerpt from a 1967 sermon given by Martin Luther King during which he described the biblical story of Shadrach, Meshach and Abednego as an act of civil disobedience: “If you have never found something so dear and so precious to you that you will die for it then you ain’t fit to live.” The recording is intense, stirring and completely at odds with the songs that surround it.

你可以看到“继续谈论正义是什么样子”的主题如何与将这张专辑一分为二的插曲相吻合，这是1967年马丁·路德·金（Martin Luther King）布道中的一段摘录，他在布道中把《圣经》中关于沙得拉赫、米沙赫和阿伯内戈的故事描述为一种公民不服从的行为：“如果你从未发现什么对你来说是如此的珍贵和珍贵，以至于你会为它而死，那么你就不适合活下去了。”这段录音非常激烈，激动人心，与周围的歌曲完全不一致。

Aside from Lonely, a wracked and genuinely moving confessional about Bieber’s fall from grace – “everybody saw me sick, it felt like no one gave a shit” – these stick fast to the subject of how much he loves his wife. You feel a little churlish saying it – the poor bloke’s clearly been through the special kind of hell reserved for anyone unfortunate enough to become famous at a young age, and it’s lovely that he has found happiness and peace – but this is a topic that tends to pall fairly quickly, even in the most skilful hands, as the early 70s oeuvre of Paul McCartney attests. Here, its predominance leads the listener to develop a kind of frantic desperation to hear something that isn’t about how great Bieber’s wife is. The title of Off My Face looks promising, but that turns out to be about his wife as well: “One touch and you got me stoned.”

除了孤独，一个关于比伯失宠的痛苦和真实的感人的忏悔——“每个人都看到我生病了，感觉没人管闲事”——这些都紧紧围绕着他有多爱他的妻子这个主题。说这话你会觉得有点无礼——这个可怜的家伙显然经历过一种特别的地狱，这种地狱是留给那些不幸的人的，他们在年轻的时候就成名了，他找到了幸福与安宁，这是一件很可爱的事——但这是一个很快就会黯然失色的话题，即使是在最有技巧的人手中，就像70年代早期的作品一样保罗·麦卡特尼的证词。在这里，它的优势导致听众发展出一种疯狂的绝望，听到一些不是关于比伯的妻子有多伟大。《Off My Face》的标题看起来很有希望，但事实证明，这也是关于他妻子的：“一碰就把我迷住了。”

Moreover, you really start to wonder what any of this has to do with Martin Luther King, or indeed justice for humanity and the healing of our broken world. Without wishing to sound overly proscriptive, you really can’t just stick a civil rights speech in the middle of a load of songs about how fit your missus is, then start carrying on like you’ve made What’s Going On.

此外，你真的开始怀疑这些与马丁·路德·金有什么关系，或者说，与为人类伸张正义和治愈我们破碎的世界有什么关系。如果你不想听起来过于禁止，你真的不能只是把一个民权演讲放在一大堆关于你的妻子有多适合的歌曲中间，然后开始像你做了什么一样继续下去。

The lyrics are set to music that varies from Bruno Mars-esque pop-R&B (Peaches), to surprisingly Radio 2-ish safety-scissors pop-rock (Ghost), to stuff that roughly emulates the tropical house stylings of Bieber’s big 2015 hit Sorry (Love You Different). The quality ranges from in-one-ear-and-straight-out-the-other to pretty good: Die For You is a neatly done approximation of early-80s MTV-friendly new wave pop. The guest stars are well-chosen: Burna Boy, the Kid Laroi and Chance the Rapper, whose sharp verse at least injects some wit into the proceedings, rhyming “fleshy” with “a temper like Joe Pesci”.

But what’s conspicuously absent are the kind of nailed-on pop anthems that peppered Bieber’s best album, the post-breakdown, career-saving Purpose: nothing here approaches the earworm status of Love Yourself or What Do You Mean? And that – rather than its failure to live up to any putative advance billing – is Justice’s biggest problem.

歌词的音乐风格从Bruno Mars风格的流行R＆B（桃子）到Radio 2风格的安全剪刀流行摇滚（Ghost），再到模仿Bieber 2015年热门单曲的热带房屋风格的音乐，都应有尽有。 对不起（爱你与众不同）。 音质从入耳式和直入式的到另一种都不错：Die For You是80年代早期MTV流行的流行音乐的巧妙组合。 来宾的明星都是精心挑选的：伯纳·博伊（Burna Boy），基德·拉洛伊（Kid Laroi）和说唱歌手机会（Chance the Rapper），他们敏锐的诗句至少在程序中注入了智慧，用“像乔·佩西（Joe Pesci）的脾气”押韵“轻柔”。

但是，显而易见的是，那些钉着流行歌曲的歌曲使Bieber的最佳专辑，崩溃后，节省职业的目标更加红火。目的：在这方面没有什么能像“爱自己”这样的ear虫状态或您的意思吗？ 这是司法的最大问题，而不是未能履行任何假定的预付款。