回复：【ElliE】（长期更新）艾莉·古尔丁的Pitchfork大冒险

After flirting with indie dance, then Calvin Harris and Starsmith-produced EDM, singer Ellie Goulding takes a strong turn toward club-ready synth-pop.
在试探了另类舞曲和Calvin Harris以及Starsmith制作的EDM之后，EllieGoulding强势进攻夜店电子合成舞曲。

But after flirting with indie dance, then Calvin Harris and Starsmith-produced EDM, Goulding is adding some Swedes to her arsenal for Delirium: Max Martin, Carl Falk, and Peter Svensson, to be specific. And Goulding, who went from being famous only in the UK to perform at the White House, very much deserves at this point in her career to have a third record fit with all the big pop trimmings.
不过，在与另类舞曲和Calvin Harris、Starsmith制作的电子舞曲周旋了一番后，骨钉姐为她的新专阵容添兵买马，准确的说就是Max Martin、Carl Falk和Peter Svensson这些瑞典名将。而对于一路从英国到美国甚至还在白宫进行演出的骨钉姐来说，在其事业中的这个关键点值得这么一张顺应潮流的三专。

While Halcyon was a dark collection that flitted between club-ready synth-pop and soulful, orchestral ballads, Delirium dives headfirst into the former with confidence. At times, the record exists in the same '80s-pop wannabe universe as Carly Rae Jepsen’s E•MO•TION or Taylor Swift’s 1989, with gushing vocals and Moroder-kissed synths on tracks like "Codes" and her Fifty Shades of Grey song "Love Me Like You Do". Elsewhere, she inches back to her dance music roots on the sultry house-leaning "Don’t Need Nobody" and the marriage of a scratchy acoustic loop with techno on "Devotion".
比起上一张暗黑合集《Halcyon》中合成器舞曲与深情的管弦芭乐的相互交织，《Delirium》自信地冲进了前者合成器流行的舞池中，有时你会感觉这张专辑和Carly Rae Jepsen的《E·MO·TION》、Taylor Swift的《1989》都属于对80年代流行的致敬，比如Codes里涌出的人声和如同Giorgio Moroder附身的合成音色，还有她为五十度灰献声的Love Me Like You Do。除此之外，还有性感的浩室舞曲Don’t Need Nobody中她重燃的舞曲之魂，以及Devotion里抓耳的民谣吉他loop和techno的有机交融。

But while the best tracks here are the ones that transcend and build on pop trends, a few others merely copy them."Keep on Dancin’" is a more minimalist sibling to Adam Lambert’s Martin-produced hit "Ghost Town" and while "Something in the way you Move" might be a mighty fine song in a vacuum, Selena Gomez has already done it with "Me & the Rhythm". The bubbly, "I'm sticking to you like glue" doo-wop of "Around U" feels particularly out of place among Delirium’s darker, deeper tones, playing like a better fit for Meghan Trainor than Goulding. Still, even when the songs here evoke other hits, they’re still bangers in their own right.
除了几首以当下流行趋势为基础创作并且超脱的优质歌曲外，其他的几首就只是单单地抄袭了，比如Keep On Dancing更多的是一首低配版的Adam Lambert的马丁热单Ghost Town， 而Something in the Way You Move在当下算不上一首好歌，Selena Gomez以前的Me & the Rhythm就是这种类型的并且还更上一层楼，Around U里欢快的"I’m sticking to you likeglue"感觉在《Delirium》黑暗、深沉的语调中显得格格不入，Meghan Trainor比起骨钉姐更适合这首歌，不过，尽管这几首歌的灵感都是来自其他歌曲，但这并不代表它们没有火起来的权利。

And Goulding’s signature vibrato and energy make even the more trend-chasing songs on the album fully hers. Her voice is fullest in the jangly ballad "Lost and Found", where she keeps her straightforward vocals at the forefront. "We got other things we can do with our," she sings flirtatiously in the verses of "Codes", stopping for a beat, before drawing out "tiiime" into a high-pitched lilt, but she moves into a punchy, shouting sing-song for the chorus.
骨钉姐标志性的颤音和能量让她专辑里那些比较商业化的歌显得非常个性，在叮当作响的抒情歌Lost and Found里她的声音更是被完全发挥，你可以直接的感受到她将人声放在了第一位。在Codes的主歌部分她这样挑逗地唱到："We got other things we can do with our"，然后在那声高调的“tiiime”前停下一拍，但她副歌部分又转向了有力、呐喊般的歌唱。

Aside from a little well-done sass("You were talking deep like it was mad love to you/ You wanted my heart but I just liked your tattoos") on the album’s single "On My Mind", there’s an adult sophistication to Delirium. Nobody’s shaking off haters, bemoaning that same old love, or asking that you don’t tell your mother that you, uh, made out with someone? Granted, Delirium is fun, but the mood is upfront, Goulding’s romantic propositions more realistic demands than adolescent, yearning questions. A track like "Codes" might be dressed up in sexy language but the sentiment is clear: can we please put a label on this? "When love’s not playing out like the movies/ It doesn’t mean its falling apart/ Don’t panic," she assures on the stand-out "Don’tPanic", whose musical-box quality makes it sound like a polished Lights-era throwback. Delirium manages to be a cool, dramatic pop album that rarely hyperbolizes what love is all about. And might I remind you that this is the person who wrote "Burn".
除了首单On My Mind里一些大快人心的狠话以外："You were talking deep like it was mad love to you/ You wanted my heart but I just liked your tattoos"，《Delirium》是一张蕴含着成人世界复杂伦理的专辑，没有人能逃过仇人、为自己的旧爱哀叹，亦或者是警告对方不要告诉老妈俩人亲热的事情等。的确，《Delirium》非常有趣，但它的心境是坦率而直白的，骨钉姐对浪漫的定义远比无忧无虑的青春期、美好的向往更加现实和成熟，就比如Codes这首被挑逗的语气包裹的歌所要清楚传达的是：我们能成熟点吗？"When love’s not playing out like the movies/ It doesn’t mean it’s falling apart/Don’t panic, "她在Don’t Panic这首歌里肯定到，且其音乐盒质感的音色让这首歌听起来像是回到了Lights时期一般的纯真。《Delirium》是一张飒爽而戏剧化但又很少去夸谈“什么才是爱”的流行专辑，恕我提醒一句她可是创作出Burn的啊。

Delirium grounds Ellie Goulding’s penchant for spectacle in tightly-written pop songs. Her evocative storytelling and ability to craft great dance music is all here, but repackaged as something more emotionally tangible, ditching feel-good EDM lyrical logic for realness. And while these songs can sometimes evoke other major players in her genre, she makes Max Martin’s signatures feel personal, making a mature pop record that feels like a natural progression.
《Delirium》是骨钉姐对创作流行歌曲的狂热之情的真实写照，她引人入胜的故事描绘和优秀的舞曲制作能力都在这张专辑中大放异彩，并且在被重新包装的过程中摒弃了洗脑的电子舞曲编排桎梏，以更加切实的情感去还原本真。尽管这些歌曲有时能启发同风格内的主流竞争对手，但这其中能让Max Martin的热单模板凸显个人特色，并且能让一张传统的流行专辑更加自然完整的，非艾莉·古尔丁莫属。

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【第四章】“蓝调”中的自我反思

With her fourth album, the pop songwriter reaches a welcome sense of self-assurance. But if this was supposed to be an introspective record, that’s not what’s happening musically.
这位流行创作歌手在她第四张专辑中开始重视被广泛接受的自我价值认同，但对于这么一张自我反省的专辑来讲，其音乐并没有诠释好这一点。

A half-decade of EDM collaborations and false starts later, Goulding returns with Brightest Blue, an album about taking control of her life and identity—with a few proven hits tacked onto a bonus EP billed as Side 2. Pop music hasn’t been fun for some time, so a quieter record makes sense commercially as well as spiritually. But Brightest Blue has a unique problem: Its suffocating production undermines the more grounded lyrics.
经过半年的电子舞曲合作和多次的商业宣传失败后，骨钉姐带来了她的新专辑《Brightest Blue》，这是一张关于掌控自己的生活和自我认识的专辑，外加一张热门歌曲EP作为Side B，流行音乐已经麻木了有一段时间，因此一张安静些的唱片无论在商业上还是精神上在此刻都显得更有意义，但《Brightest Blue》有个关键的问题，其散发理性之美的歌词被令人窒息的制作所埋没了。

If Goulding intended to make an introspective record, that’s not what’s happening musically. This is a crowded, obscenely expensive-sounding album. Though the crew is small by pop standards (including previous collaborators Jim Eliot and Joe Kearns), multiple songs feature real orchestras and real choirs competing with synthetic orchestras and Goulding’s own multi-tracked vocals. This isn’t always a bad thing; “Love I’m Given” updates the post-Adele songs from 2012’s Halcyon, even mimicking the looped vocal riff from “Only You.” But after five or six other electronic-gospel hybrids, the title track doesn’t stand out. When “Tides” breaks through the monotony, the skittering, trebly production feels too small to compete against the surrounding density.
如果骨钉姐想要做一关于张自我反省的唱片，那么这张专辑在音乐上是令人失望的，这是一张拥挤的、听起来又很高贵的专辑，虽然按流行音乐的标准来看这张专辑的团队规模不大（包括前合作制作人 Jim Eliot和Joe Kearns），但里面有很多歌有着这样的情况：真实的管弦乐和合唱团队的现场收音，与合成弦乐及骨钉姐自己的多音轨和声相互竞争，不过这其实也不算坏事；Love I Given是2012年《Halcyon》里后Adele风格歌曲的一次更新（这里的Post-Adele不会是指成人抒情吧...），甚至还模仿了Only You里的循环人声切片；将同名曲Brightest Blue放在五六首电子福音的融合作品后便显得暗淡了；而当Tides试图打破了这种单调后，其俏皮、高调的制作又在全专营造的氛围下显得格局太小。