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专辑英文名: The Blue Hour
歌手: Suede
音乐风格: Britpop
资源格式: FLAC
发行时间: 2018年
地区: 英国
语言: 英语
专辑介绍：
文/Mark Beaumont
译/语非
'If you’re interested in the extremes then you’re at the danger of excess finishing you. That’s what happened to the band
如果你乐于走向极端，那么你就有透支自己的危险。这就是Suede乐队面临的状况。
Desperate parents with search dogs stagger through undergrowth, howling the name of their lost son. In the thick of night, a man and child bury something that may be a dead bird, or something heavier. Screams and chants mingle beneath chorales summoned forth from The Omen and piano refrains compelled by the power of Christ straight out of The Exorcist.
悲痛欲绝的父母，还有蹒跚于灌木丛中的搜救犬，呼喊着他们走失的儿子的名字。在漆黑的夜幕下，一男子与儿童在掩埋些什么，可能是一具鸟的尸体，或者是某些更沉重的东西。在神秘预兆和钢琴副歌的召唤下，赞美诗的唱词中隐隐听到阵阵尖叫，受基督的神力驱使，在驱魔人那里得以释放。
Never knowingly understated, the reformed Suede have followed the desolate, widescreen kitchen sink drama of 2016’s Night Thoughts – which arrived alongside an album-length film by Roger Sargent tracing the flashbacks of a drowning man – by going full gritty Brit horror flick. Their tone remains the towering, grandiose theatre of the ruined romantic but, in the cinematic parlance they’ve been aspiring to since 1992, The Blue Hour is less Human Traffic or Nil By Mouth, more Kill List.
无需刻意隐瞒，重组后的Suede乐队遵循着2016年荒凉、宏阔的歌剧式专辑《午夜梦回》（“Night Thoughts”）的路线（与之同时发行的还有一部与专辑时间同等长度的由Roger Sargent导演的恐怖片，讲述了一位溺死男子的生前闪回片段）。这张专辑依然有着浪漫破灭、波澜壮阔的歌剧意味，但从电影角度来看，《晨昏时刻》（The Blue Hour）更像是《杀戮名单》，而非《人口贩卖》或者《切勿吞食》这类影片。
With age, family and sobriety, Suede’s albums have slowly drifted out of the city, shifting scenes from urban swirl to suburban stagnation, and now to the rusted playgrounds and glass-spattered flyovers of the ring-road wastelands. Here, with ominous strings and operatic choirs, singer Brett Anderson paints a dark, impressionistic moodscape a bit like a post-Britpop Hereditary. Sinister interludes – a poem about a dead bird called “Roadkill”, a mysterious night burial scene, the Brechtian menace of Chalk Circles – separate The Blue Hour into four indistinct acts, loosely related to Anderson’s recent autobiography Coal Black Mornings and each containing a smattering of sublime moments like fine-cut opals wrapped in bloodied bedsheets.
伴随着年岁的增长和家庭的陪伴，Suede乐队已经足够成熟、清醒，他们的专辑也逐渐从描绘旋涡般的城市景观转向淤塞的郊区，如今他们将目光投向了锈蚀的游乐场和荒凉的环形公路地带满地玻璃碎片的高架桥。随着阴森的弦乐和唱诗班合唱，主唱Brett Anderson描绘出后英伦时代时代遗留下的晦暗、印象派的景观。一首关于一只死掉的鸟的名为“Roadkill”的诗在专辑中作为插曲，以及一首布莱希特式的、描绘诡异的夜间葬礼景象的“Chalk Circles”，将这张专辑分为界限模糊的四个部分，与Brett Anderson最近出版的自传《煤黑色的清晨》有丝缕的联系，并且每一部分都包含了一点类似于“用沾满血污的床单包裹精美的玛瑙石”如此悲壮的时刻。
Opener “As One”, a kind of Britpop Night of the Demon hinting at lonely runaways and child abductions, introduces a section dealing with child-like trauma and escape. “Wastelands” (this album’s “Trash”) finds Anderson dreaming of running off to some derelict sprawl “where the horror slowly fades, where the children in us play”. On scream-into-the-storm ballad “Beyond the Outskirts”, an instant classic worthy of their 1994 masterpiece Dog Man Star, he casts himself as a foppish Pied Piper for small-town dreamers – “come with us, we’ll jump out of the paint and into the fire”.
开篇曲目“As One”仿佛暗示独自流浪和儿童诱拐的英伦摇滚式的“恶魔之夜”，展现了儿童受到创伤并离家出走；单曲“Wasterlands”（好比他们的过往金曲“Trash”）展现了Brett Anderson的幻想图景，奔向荒废已久的城郊废物堆砌地带（“恐惧慢慢消散的地方/孩子们玩耍的地方”）；单曲“Beyond the Outskirts”有如抒情歌谣，仿佛是“风暴中的尖叫”，堪比于乐队在1994年发行的杰作《犬人星》（“Dog Man Star”）中的现成的经典作品，主唱将自己视为小镇里自命不凡的花衣吹笛人（“跟我们走吧，跳出画作跃入火焰”）。
More mature mid-sections feature the euphoric “Life is Golden” and classy indie pop like “Cold Hands” and “Don’t Be Afraid If Nobody Loves You” and, never a band to bow out with a big billowing ballad when three will do, stratospheric stunners “All the Wild Places”, “The Invisibles” and the phenomenal “Flytipping” round off a record that swats lesser indie rock albums away with its opera glasses like the flimsy chaff they are. Though their themes remain in the gutter, Suede aspire to monuments, and The Blue Hour will stand as another sordid masterwork.
专辑不乏更成熟、更欢欣的中间段作品“Life is Golden”以及流利漂亮的独立流行乐“Cold Hands”、“Don’t Be Afraid If Nobody Loves You”，乐队以超乎寻常、令人惊叹的三支单曲圆满收束整张专辑（“All the Wild Places”、“The Invisibles”、“Flytipping”）。尽管Suede乐队的作品主题一如既往地关注阴暗面，但他们渴望树立丰碑，而《晨昏时刻》正好是他们又一张污秽的杰作。
专辑曲目：
01. As One
02. Wasterlands
03. Mistress
04. Beyond The Outskirts
05. Chalk Circles
06. Cold Hands
07. Life is Golden
08. Roadkill
09. Tides
10. Don't Be Afraid If Nobody Loves You
11. Dead Bird
12. All The Wild Places
13. The Invisibles
14. Flytipping
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