Samia《The Baby》2020/FLAC/BD

每个人都不是“婴儿”。当您爱人们或通过网络模因将自己婴儿化时,您就称他们为“孩子” 。对于Z世代来说,在一切都太少或太少(污染太多,工作太少,债务太重)的时代,可爱的自我识别为“婴儿”会软化成年的严酷现实。二十三岁的萨米亚·芬纳蒂(Samia Finnerty)的首张专辑《婴儿》以优雅的方式处理“太多”问题,以微妙,反省的歌曲创作和富有诗意的抒情之美引导年轻成年的陷阱。

从技术上讲,Baby是Samia的第一个全长项目,但是她已经在娱乐行业根深蒂固了一段时间。她的父母是演员凯西·纳吉米(Kathy Najimy)和丹·芬纳蒂(Dan Finnerty),萨米亚(Samia)在她一生的大部分时间里一直在表演和追求音乐。当她17岁,住在纽约时,她做了一个假经理的电子邮件地址来帮助她的书展。在痛苦的“电影中是否有东西?”一词中,她观察到这个行业,好像她已经离开了行业,唱着尖叫“每个人都死了,但他们不应该死,反正被邀请去”原始吉他。

像大陪审团的同伴河马校区和双峰峰一样,萨米亚(Samia)偏爱阳光明媚的独立摇滚声音,非常适合在您的高中周围绕圈行驶,并思考您现在的外观如何。但是她用自己的声音与众不同,这才是真正令人兴奋的事情发生的地方。它既黑暗又光滑,就像融化的焦糖一样,她将其放在歌曲的最前列,除了吉他,鼓组和偶尔通风的合成器或键盘之外,这些歌曲稀疏。她灵活的语气使她能够探索各种各样的感觉,从愤怒到讽刺再到乐观乐观。

她亲密的歌词常常让人联想到不良的情绪-背叛,无能为力,人类对他人的强烈需求。萨米亚(Samia)在专辑的第一首诗中唱道:“我说爱你比我的头大/然后你沉迷于/然后我说,’我怕我需要男人’/您说,’需要我,然后”。这听起来很压倒性的,让自己像这样的人,被嘲笑,对话的语气使经文感到既个人又有害。她提供了清晰的图像,例如在“无法治愈”上,她讲述了攀登篱笆后割大腿的回忆,她记得“很害怕我被破伤风/我每晚检查它/紫色和黄色/可识别的皮肤是如此粗糙而紧密。” 她所产生的图像从现实到形而上,但它们总是令人回味和感官。

萨米亚(Samia)经常放弃用晦涩的歌词掩盖不舒服的个人情感的做法,而是选择了叙事的清晰度和准确性。尚不清楚她专辑标题中的“婴儿”是谁,但是,这个词的亲密感仍然说明了萨米亚这一代人现在正在占据的奇怪空间。正如许多人喜欢说的2020届,当特朗普当选并大流行时毕业时,我们是大学新生。由于工作前景不佳,而且通常没有医疗保险,所以我们中的许多人已经转向与父母同住。在一切都如此危险的时刻,很难成年,而当你仍然如此脆弱时,就不要再把自己当成婴儿了。但是生活仍然在发生,并且仍然在所有典型的方式上伤害着他们—心碎,坏朋友,混乱。像萨米亚(Samia)这样的词曲作者仍在努力弄清这一点。

By阿什利·巴丹(Ashley Bardhan)

Everyone and no one is “baby.” You call people “baby” when you love them, or when you’re infantilizing yourself via internet meme. For Gen Z, cutesy self-identification as “baby” softens a harsh reality of coming of age in a time where everything is too much or too little—too much pollution, too few jobs, too much debt. Twenty-three-year-old Samia Finnerty’s debut album The Baby deals with “too much” in elegant ways, navigating the trappings of young adulthood with subtle, reflective songwriting and poetic lyrical beauty.

The Baby is technically Samia’s first full-length project, but she’s been entrenched in the entertainment industry for a while. Her parents are the actors Kathy Najimy and Dan Finnerty, and Samia has been acting and pursuing music for most of her life. When she was 17 and living in New York, she made a fake manager’s email address to help her book shows. On the painful “Is There Something in the Movies?,” she observes the industry as if she’s somewhat removed from it, sing-shrieking “Everyone dies/But they shouldn’t die young/Anyway, you’re invited to set” over a plaintive acoustic guitar.

Like Grand Jury labelmates Hippo Campus and Twin Peaks, Samia favors a sardonically sunny indie rock sound, good for driving in circles around your old high school and thinking about how different you look now. But she sets herself apart with her voice, which is where the truly exciting things happen. It’s dark and smooth like a melted caramel, and she sets it at the forefront of her songs, which are sparse aside from a guitar, a drum set, and occasional airy synth or keyboard. The flexibility of her tone allows her to explore a wide range of feelings, from anger to sarcasm to wry optimism.

Her intimate lyrics often conjure bad feelings—betrayal, powerlessness, the gross human need to impress others. On the album’s first verse, Samia sings, “I said loving you is bigger than my head/And then you dove in/And then I said, ‘I’m afraid that I need men’/ You said, ‘Need me, then.’” It sounds overwhelming, giving yourself to someone like that, being taunted into it, and the conversational tone makes the verses feel both personal and perverse. She offers crystal clear images, like on “Does Not Heal,” where she recounts cutting her thigh after climbing a fence, remembering being “so scared I had tetanus/I checked on it every night/Purple and yellow/The pregnable skin was so coarse and tight.” The images she produces range from realistic to metaphysical, but they’re always evocative and sensory.

Samia often forgoes the practice of burying uncomfortable personal emotions with obscure lyrics, opting for diaristic clarity and precision. It’s unclear who the “baby” of her album title is, but still, the intimacy of the term speaks to the weird in-between space that Samia’s generation is occupying right now. As many people like to say of the Class of 2020, we were college freshmen when Trump was elected and graduated in a pandemic. With few job prospects and usually no health insurance, a lot of us have turned to living with our parents. It’s hard to become an adult at a time where everything is so dangerous, to stop seeing yourself as a baby when you’re still so vulnerable. But life still happens and it still hurts in all the typical ways—heartbreak, bad friends, confusion. Songwriters like Samia are still trying to make sense of it.

By Ashley Bardhan

专辑列表:
2020 – The Baby

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