pitchfork评价

One way to hear New Long Leg is as a cringe-tinged dramedy—like Fleabag or Girls—with Florence Shaw as the performer who knows exactly how to deliver her own script. This album is not the type to be nominated for a Grammy, but it really ought to get Emmys for writing and acting. The lyrics infest your brain with quotables that reverberate for days, but more than the words it’s Shaw’s intonation that’s so funny and so heartbreaking: the grudging cadences, the way she can inject an unreadable alloy of earnestness and irony into an inanity like “I can rebuild.” The self-portrait painted here is of a burned-out shell drifting numbly through a life that senselessly accumulates irritations, humiliations, discomforts, chores, and interpersonal skirmishes, offset by the tiny comforts of Twix bars and artisanal treats. There’s a personal dimension to the inner emptiness (a sapping break-up), but because New Long Leg’s release coincided with the depressive pall that swept over the world thanks to lockdown, Shaw’s interiority synced up perfectly with exterior conditions. It’s no coincidence that the most exciting rock record in years is about the inability to feel excitement. Within Shaw is a voice of a generation distilling how it feels to be alive right now: “Do everything and feel nothing.” –Simon Reynolds

机器翻译下，不喜勿喷

听《新长腿》的一种方式是把它当作一个令人厌恶的剧情片，就像《跳蚤》或《女孩》一样，由Florence Shaw担任表演者，她完全知道如何呈现她自己的剧本。这张专辑不是被提名格莱美奖的类型，但它真的应该在写作和表演方面获得艾美奖。歌词中的名言警句在你的大脑中回荡了好几天，但比歌词更重要的是肖的语调，它是如此有趣，如此令人心碎：幽怨的腔调，她可以在 "I can rebuild"这样的无稽之谈中注入一种难以理解的真诚和讽刺的合金。这里的自画像是一个被烧毁的躯壳，麻木地在生活中漂流，毫无意义地积累着恼怒、羞辱、不快、杂务和人际冲突，被Twix巧克力和手工点心的微小舒适所抵消。内心的空虚有个人的维度（分手的消耗），但由于《新长腿》的发行恰好是由于禁闭而席卷世界的抑郁症，肖的内在性与外部条件完美同步。多年来最激动人心的摇滚乐唱片是关于无法感到兴奋的问题，这不是巧合。在肖的内心，是一代人的声音，提炼出现在活着的感觉。"什么都做，什么都不觉得"。-Simon Reynolds