The phantom pang of missing someone before you ever meet them is an emotion worthy of its own word. That fated feeling of love and the passage of time is the theme that runs between Carly Rae Jepsen’s smash hit “Call Me Maybe” and the National’s antisocial romance “Slow Show”; it’s also the kind of thing Taylor Swift might write about. One of the loveliest tracks on folklore, the surprise album the singer-songwriter made primarily with the National’s guitarist Aaron Dessner, stands out for a strangely similar reason: a thread connecting two strangers that exists long before either realizes it’s there. “And isn’t it just so pretty to think/All along there was some/Invisible string/Tying you to me,” she sings on the delightfully plucky “invisible string,” simultaneously recalling famous lines from Jane Eyre and The Sun Also Rises.
犹如幻觉般痛苦去思念一个你甚至还没认识的某个人，这是一种值得用语言表达的情感。爱情的宿命感和时间的流逝，正如Carly Rae Jepsen轰动一时的热门歌曲Call Me Maybe和The National反社会爱情歌曲Slow Show所展现的共同主题；这也是泰勒·斯威夫特（Taylor Swift）可能会写的那种东西。作为Folklore中最可爱的歌曲之一（指invisible string），这位歌手兼词曲作者与吉他手亚伦·德斯纳（Aaron Dessner）合作制作的令人惊讶的专辑，同样表达出相似的概念，她在“invisible string”唱道：“一条连接两个陌生人的线，而这两个陌生人早就意识到了。“一直以来都有一根无形的绳子把你和我绑在一起，这不是很美吗？”，让人回忆起《Jane Eyre》和《The Sun Also Rises》中的名句。

folklore will forever be known as Taylor Swift’s “indie” album, a sweater-weather record released on a whim in the blue heat of this lonely summer, filled with cinematic love songs in search of a film soundtrack. There are those who already dislike folklore on principle, who assume it’s another calculated attempt on Swift’s part to position her career as just so (how dare she); meanwhile, fans will hold it up as tangible proof that their leader can do just about anything (also a stretch). While it’s true that folklore pushes the limits of Swift’s sound in a particular, perhaps unexpected direction, her reference points feel more like mainstream “indie” homage than innovation, taking cues from her collaborators’ work and bits of nostalgia.
Folklore将永远作为泰勒·斯威夫特的“独立”专辑而铭记，这是一张在这个孤独的夏天酷暑中突发奇想发布的关于羊毛衫，天气的记录，里面充满了可以找到与之匹配电影的完美电影情歌。有些人打心底里（刻板影响）不喜欢Folklore，他们认为这是斯威夫特的另一个精心策划的尝试（她怎么敢这么做）；同时，粉丝们会把它当作他们的领袖Swift可以do anything的确凿证据（也是一种延伸）。虽然Folklore确实把斯威夫特的声音推向了一个特别的、也许是出乎意料的方向，但她的参考点更像是主流的“独立”敬意，而不是创新，这从她的合作者的工作和一些怀旧的片段中找到线索。

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At its best, folklore asserts something that has been true from the start of Swift’s career: Her biggest strength is her storytelling, her well-honed songwriting craft meeting the vivid whimsy of her imagination; the music these stories are set to is subject to change, so long as it can be rooted in these traditions. You can tell that this is what drives Swift by the way she molds her songs: cramming specific details into curious cadences, bending the lines to her will. It’s especially apparent on folklore, where the production—mostly by Dessner, with Jack Antonoff’s pop flair occasionally in the mix—is more minimal than she typically goes for. Her words rise above the sparse pianos, moody guitars, and sweeping orchestration, as quotable as ever.
从斯威夫特的职业生涯一开始就可以看到Folklore会存在，她最大的优势就是讲故事，她精雕细琢的作曲技巧满足了她生动的想象力；这些故事设定的音乐是可以改变的，只要它能植根于这些传统。你可以从斯威夫特塑造歌曲的方式中看出，这就是斯威夫特的动力：把具体细节塞进节奏中，按照自己的意愿解释台词。这一点在Folklore中尤为突出，主要由德斯纳（Dessner）和杰克•安托诺夫（Jack Antonoff）的组合所制作出的东西比她所追求的东西要少（应该指这次极简的伴奏）。她的作词超越了点缀的钢琴、情绪化的吉他和一丝不苟的配器，一如以往一样引人瞩目。

更美好的夏天暗示残夏不行

The theme of folklore is a very different way of acknowledging that people will talk, an idea that animated 2017’s trap-tinged work of minor villainy, Reputation. Swift knows her own mythology like a model knows her angles, and that’s part of what makes folklorefascinating if you maintain an open mind: a kind of reverse-engineered “mindie” project, it sonically situates her closest to Lana and chamber-pop belter Florence Welch, but may also occasionally remind you of Triple-A radio, Sufjan Stevens if he killed his more ambitious tendencies, or Big Red Machine, Dessner’s duo with Justin Vernon (see: the sparse and soulful “peace”). The album’s actual duet with Vernon, “exile,” is a little like a Bon Iver take on “Falling Slowly,” the centerpiece of the 2007 folk musical Once: awkwardly dragging until the clouds slowly part to allow something beautiful to build. Swift is playing the long game here, and while there are no wild missteps, the album could use some selective pruning (see: “seven,” “hoax”).
Forklore的主题是以一种非常不同的方式来描写人们会说的说话，这一角度又让人想起了2017年的《Reputation》。斯威夫特了解自己的乐坛神话，就像模特知道自己最合适的角度一样，如果你保持开放的心态去倾听，这就是让Forklore变得迷人的一部分：一种返璞归真的“亚-独立”项目，它在声音上把她与Lana Del Rey和流行歌手弗洛伦斯·韦尔奇（Florence Welch）联系在一起，但也可能偶尔让你想起Triple-A radio，苏菲亚·史蒂文斯（Sufjan Stevens）（扼杀了野心的版本），或者Big Red Machine，德斯纳与贾斯汀·弗农的二人组合（见简单而深情的“peace”）。这张专辑与Bon的合唱“Exile”，有点像是2007年民间音乐剧《Once,》的中心曲《Falling Slowly》：缓慢的等待，直到云朵慢慢散去，让美丽的东西得以建立。斯威夫特在Forklore制作的时常普遍很长，虽然没有失误，但专辑可以适当精剪（见：“seven”，“hoax”）。

It’s worth pointing out that folklore isn’t a total outlier in Swift’s catalog either, or even her recent work. The tracks with Antonoff shift away from the ’80s electro-pop of 1989 and onward, but they lean into the Mazzy Star swoon of Lover’s title track, Swift’s ongoing fascination with Imogen Heap, and a twinge of the Cranberries. There are interesting images, indelible hooks, and real signs of maturity. In the dreamy “mirrorball,” Swift likens the relatability trap of fame to a disco ball, singing of fluttering on tiptoes and trying hard to make it look effortless. “august” is a great, lusty Swift summer anthem about forbidden love, where the up-close, white-hot heat of songs like “Style” or “Getaway Car” is traded for wistful reflection in the rearview. Like the rest of us, Taylor Swift knows she’s had better summers before and she’ll have better summers again. At least she’s made thoughtful use of this one.
值得一提的是，Forklore在斯威夫特的生涯中也不是一个完全的异类，甚至她最近的作品也有类似作品。Antonoff制作的《1989》通过80年代的电子流行音乐中脱颖而出，随后他的制作团队步入Mazzy Star《Lover》同名，看得出斯威夫特对Imogen Heap的迷恋，以及对Cranberries的。他们的歌曲都充满着有趣的图像，印象深刻的hooks，和成熟。在梦幻般的“mirrorball”中，斯威夫特把成名的陷阱比作迪斯科舞会，踮起脚尖唱歌，努力让它看起来毫不费力。《august》是一首关于禁锢的爱美妙而很Taylor Swift的夏日赞歌，与这首歌类似的如“Style”或“Getaway Car”。像大多数人一样一样，泰勒·斯威夫特知道她以前有过更好的夏天，她还会有更好的夏天，至少可以从歌词中看到。

一把子感谢楼主了

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这评价很高了

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seven女皇被陷害了

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