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机翻：
Billie Eilish - 比以往任何时候都更快乐评论：一个独特而令人惊叹的明星
这个早熟的热门制造机Eilish 听起来仍然不像其他人
当全世界都在关注布兰妮斯皮尔斯的最新斗争，和她一样的 Z 世代们生活的是否更好？和布兰妮一样，比莉·艾利什 (Billie Eilish) 在 13 岁时以一首优美的歌曲《海洋之眼》(Ocean Eyes) 走红后，在 14 岁时就已成为明星，并在 14 岁时签署了唱片合约。与布兰妮不同，她看起来不像是一个为了成功而培养出来的娱乐圈孩子（尽管她的父母是洛杉矶的演员）而且显然不在乎你是否喜欢她，故意用恐怖的图像和听起来奇怪的歌曲疏远随机的观察者。
事实证明，几乎没有人被她疏远。她的首张专辑在美国获得四次白金，在这里获得双白金，她将于 2022 年夏天在 O2 Arena 演出五晚。
我想要的一切是 2019 年专辑间单曲的名字，当时梦想的现实听起来并不好——在视频中，她和她的制作人兄弟 Finneas O'Connell 故意开车下海——而且可以肯定现在并没有。她在封面上哭了，以防新专辑名称的讽刺还不是很明显。在其中的 16 首歌曲中，她详细介绍了一些相关的问题：她在几首歌曲中抨击令人失望的男人，讨厌因穿或不穿而受到批评 Overheated 和口语“不是我的责任”，并发现她没有不再与男性幻想的老朋友有任何共同之处。
但在其他方面，她的存在现在听起来令人难以承受和忍受。在保密协议上，她抱怨“我几乎不能出去”，并且不得不在他出去的路上签个保密协议。关于变老和毁灭性的悲伤-你的力量，她似乎指的是她过去的虐待关系。她幻想着消失在夏威夷岛上。
至少在音乐上，虽然她和 Finneas 赢得了大奖。但她听起来仍然不像其他人，即使是在比莉·博萨诺瓦 (Billie Bossa Nova) 或主打歌的爵士原声灵魂上向后伸手时——那种极度沮丧的歌声总是让人目瞪口呆。制作充满了好奇。软键盘听起来像是在《Everybody Dies》的另一个房间里演奏。一条沙哑的、断断续续的合成器线路的出现为 I didn't Change My Number 的后半部分增添了张力。
她听起来仍然不像一个有光泽的竞技丛林的填充物，这是她吸引力的重要组成部分。她的做事方式非常不同，这也意味着一种新的生存方式。
原文：
Billie Eilish - Happier Than Ever review: a unique and transfixing star
Precocious hitmaker Eilish still doesn’t sound like anyone else
While the world follows the latest struggles of Britney Spears, is life any better for her Generation Z equivalent? Like Britney, Billie Eilish hit vast stardom absurdly young, signing her record deal at 14 after a beautiful song she wrote aged 13, Ocean Eyes, went viral. Unlike Britney, she didn’t seem like a showbiz kid groomed for success (although her parents are LA actors) and apparently couldn’t care less whether you liked her or not, deliberately alienating casual observers with horror imagery and songs that sounded strange and bleak.
Turns out barely anyone was alienated. Her debut album went four-times platinum in the US, double-platinum here, and she’ll play five nights at the O2 Arena in summer 2022.
Everything I Wanted was the title of a between-albums single in 2019. The reality of the dream didn’t sound great then – in the video she and her producer brother Finneas O’Connell deliberately drive a car into the sea – and it sure doesn’t now. She’s crying on the cover, in case the irony of the new album title wasn’t already obvious. Across the 16 songs within, she details some problems that are relatable: she jabs at disappointing men on several songs, hates being criticised for what she wears or doesn’t wear on Overheated and the spoken word Not My Responsibility, and finds that she no longer has anything in common with an old friend on Male Fantasy.
But in other ways, her existence now sounds unbearable. On NDA, she complains “I can barely go outside” and has to make a casual fling sign a non-disclosure agreement on his way out. On Getting Older and the devastatingly sad Your Power, she seems to be referring to an abusive relationship in her past. She fantasises about disappearing on a Hawaiian island.
Musically at least, she and Finneas are winning big. She still sounds like no one else, even when reaching backwards on Billie Bossa Nova or the jazzy acoustic soul of the title track – that profoundly despondent singing voice always transfixing. The production is full of curious touches. The soft keyboards sound like they’re playing in another room on Everybody Dies. A scratchy, stuttering synth line arrives to add tension to the back half of I Didn’t Change My Number.
She still doesn’t sound anything like a glossy arena filler, which is a huge part of her appeal. She’s doing things very differently, which hopefully means a new way to survive too.
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