Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us. Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the...(展开全部) Fresh grief, like fresh love, has a way of sharpening our vision and bringing on painful clarifications. No matter how temporary we know these states to be, the vulnerability and transformation they demand can overpower the strongest among us. Then there are the rare, fertile moments when both occur, when mourning and limerence heighten, complicate and explain each other; the songs that comprise Angel Olsen’s Big Time were forged in such a whiplash. Big Time is an album about the expansive power of new love, but this brightness and optimism is tempered by a profound and layered sense of loss. During Olsen’s process of coming to terms with her queerness and confronting the traumas that had been keeping her from fully accepting herself, she felt it was time to come out to her parents, a hurdle she’d been avoiding for some time. “Finally, at the ripe age of 34, I was free to be me,” she said. Three days later, her father died and shortly after her mother passed away. The shards of this grief—the shortening of her chance to finally be seen more fully by her parents— are scattered throughout the album. Three weeks after her mother’s funeral she was in the studio, recording this incredibly wise and tender new album. Loss has long been a subject of Olsen’s elegiac songs, but few can write elegies with quite the reckless energy as she. If that bursting-at-the-seams, running downhill energy has come to seem intractable to her work, this album proves Olsen is now writing from a more rooted place of clarity. She’s working with an elastic, expansive mastery of her voice—both sonically and artistically. These are songs not just about transformational mourning, but of finding freedom and joy in the privations as they come.
词作上最偏爱“Thanks for the free ride and all of the good times”的释然;曲作上最偏爱《Right Now》的朗朗和《Go Home》里“AM”的遗风。心上人的出现使我们注定我们不会再听到Angel Olsen在《Lark》里那样惊天动地的嘶鸣;不过无妨,《Big Time》还是拥有这个时代最好的一种茫茫莽莽。
cut:”All The Good Times,” “Right Now,” “Chasing the Sun.” Olsen暖了很多呀 终于可以面对自己了!要一直开心。每一张的outro都一如既往地好听 🌈💖 我一直觉得她是一个很神奇的存在,悲剧般的经历反而让她做出了她音乐生涯中最温暖、最具有希望的专辑。或许是因为在这段时间里她找到了自我和人生方向,这张专辑表现出她前所未有的温情,没有抨击、没有...cut:”All The Good Times,” “Right Now,” “Chasing the Sun.” Olsen暖了很多呀 终于可以面对自己了!要一直开心。每一张的outro都一如既往地好听 🌈💖 我一直觉得她是一个很神奇的存在,悲剧般的经历反而让她做出了她音乐生涯中最温暖、最具有希望的专辑。或许是因为在这段时间里她找到了自我和人生方向,这张专辑表现出她前所未有的温情,没有抨击、没有恨意,只有爱与光明。这就是现在的Angel Olsen,我爱她的一切,祝她在2022以后一直如此明澈地快乐。(展开)
原文地址: https://www.newyorker.com/magazine/2022/06/06/angel-olsen-sees-your-pain 刊登于《纽约客》2022年6月刊 原文 by Amanda Petrusich, May 30, 2022 翻译 by me 译者按:偶然间读到后很受触动,看到了一个更加脆弱却依旧勇敢的Angel Olsen,她从伤痛中走出来,并将...
(展开)
译者按:Jenn Pelly用极其精妙繁复的雅言完成了对Olsen新专辑《Big Time》的review;我想原文与这张专辑里的诗意是相合的。 在过去的十余年中,Angel Olsen所创作歌集中钢索般流利的文笔向来以存在于思绪中的情绪重量为根据——“Hiding out inside my head”;“I like the th...
(展开)
她在《All the flowers》里唱到“I'd spend the hours counting all the flowers/I'll gone so fast, I'll fly/Across the midnight sky”;在《Through the fires》里唱到“To love without boundary and put it to use, /To remember the ghost who exists in the past, /But...
(展开)
10 有用 Pablo 2022-06-03 19:11:27
8.7 轻如鸿毛,随风飘荡。在经历了人生中许多重大变故之后,她选择用释然去面对一切。这次她将自己的声音置于声道的最前方,伴随着辽阔的声场、恰到好处的混响与充满旧时代光辉和金黄质感的舒缓器乐,在夕阳下娓娓道来用隽永的旋律与根源音乐向听众亲密地述说自己的故事。而这样的音乐正是因为质朴、缺乏雕琢才显得尤为动人
3 有用 逸者路加🇵🇸 2022-06-03 12:11:16
8 Angel Olsen的两次乡村乐尝试里,Half Way Home像素描,Big Time则更像水彩。比起预期中关于丧亲、旧偶、酷儿身份的抒怀,Big Time更接近一场内聚的自我对谈,All Mirrors中大量的不协和音不再出现,曲风向宁静平和的countrypolitan回撤,意味着内在的和解与希望。词作里老套的韵脚有点笨拙,但也不失真诚。cut:4
5 有用 tONy顺仔 2023-03-04 23:25:52 澳大利亚
8.2(2⃣️),《All Mirrors》阴冷刺骨的恢弘弦乐不再作为哥特电影的幕布,而是化作平原峡谷与天际拥吻的落日余晖。没有想到她会选择用乡村乐作为表达载体并以更为“传统”的形式去进行情感的描摹,那些清澈的温柔的器乐的弹拨轻按恰到好处地让情绪漫散而开,而也正是这样的正统与朴素让她关于悲苦与心碎的书写更加真实与动人,笔触更为轻盈和柔和,而相比之下她又承受着更沉重更绝望的痛苦。但在这里,她在这流金... 8.2(2⃣️),《All Mirrors》阴冷刺骨的恢弘弦乐不再作为哥特电影的幕布,而是化作平原峡谷与天际拥吻的落日余晖。没有想到她会选择用乡村乐作为表达载体并以更为“传统”的形式去进行情感的描摹,那些清澈的温柔的器乐的弹拨轻按恰到好处地让情绪漫散而开,而也正是这样的正统与朴素让她关于悲苦与心碎的书写更加真实与动人,笔触更为轻盈和柔和,而相比之下她又承受着更沉重更绝望的痛苦。但在这里,她在这流金式的复古中平静地回眸,慢慢揭开伤口的血痂,让那暮色的光辉照射进来,为她这份勇敢且不易的和解与释怀狠狠感动一把! (展开)
6 有用 才睡醒 2022-06-03 13:42:00
词作上最偏爱“Thanks for the free ride and all of the good times”的释然;曲作上最偏爱《Right Now》的朗朗和《Go Home》里“AM”的遗风。心上人的出现使我们注定我们不会再听到Angel Olsen在《Lark》里那样惊天动地的嘶鸣;不过无妨,《Big Time》还是拥有这个时代最好的一种茫茫莽莽。
3 有用 回輈 2022-06-03 01:20:17
cut:”All The Good Times,” “Right Now,” “Chasing the Sun.” Olsen暖了很多呀 终于可以面对自己了!要一直开心。每一张的outro都一如既往地好听 🌈💖 我一直觉得她是一个很神奇的存在,悲剧般的经历反而让她做出了她音乐生涯中最温暖、最具有希望的专辑。或许是因为在这段时间里她找到了自我和人生方向,这张专辑表现出她前所未有的温情,没有抨击、没有... cut:”All The Good Times,” “Right Now,” “Chasing the Sun.” Olsen暖了很多呀 终于可以面对自己了!要一直开心。每一张的outro都一如既往地好听 🌈💖 我一直觉得她是一个很神奇的存在,悲剧般的经历反而让她做出了她音乐生涯中最温暖、最具有希望的专辑。或许是因为在这段时间里她找到了自我和人生方向,这张专辑表现出她前所未有的温情,没有抨击、没有恨意,只有爱与光明。这就是现在的Angel Olsen,我爱她的一切,祝她在2022以后一直如此明澈地快乐。 (展开)
0 有用 Shakir o︿o 2024-09-16 12:43:23 北京
美丽空灵是她一贯的标签,但这次她的重心似乎放在了精神上,缺少了些活力 7/10
0 有用 PonyYAM 2025-03-04 23:19:07 广东
为这张专辑落泪两次,分别是在ghost on最后接近曲目一半的纯伴奏以及chasing the sun最后钢琴与和声响起时 / ✂️:1-4、6、8-10
0 有用 月亮会保护你: 2024-05-14 09:21:22 北京
喜欢制作多于词作。
1 有用 屁魚鼠梨 2024-06-11 19:32:49 上海
真正的惨逼音乐
0 有用 藤岡未咲 2024-07-30 12:09:58 江苏
封面蛮好看的