搬運自：網(wǎng)易云音樂專欄【Music Online Zine Courier】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：豆目豆科

Charli XCX never quits. She’s pivoted before, abandoning the hip aspirations of True Romance to embrace her snotty pop heart on 2014’s Sucker. There*,* she spent a significant amount of time flipping off not haters, but fair weather ass-kissers who only showed up once “the right people” said she was cool. Charli’s embrace of success’ trashier Trappings bucked against anyone determined to portray her agency as so-called respectability (the antithesis to “evil pop,” as Taylor Swift might have it), a reputation she shucks off like yesterday’s false eyelashes here.

Charli XCX從未放棄追求進(jìn)步。她之前就有過革新，在2014年的《Sucker》中放棄了《True Romance》中對時尚的追求，反去擁抱了她那顆“低賤”的流行心。如今，她花了相當(dāng)多的時間來抨擊的并非是她的那些黑粉，而是那些逢場作戲、人前一套人后插刀的馬屁精。Charli一改對成功的抱負(fù)，對那些一意把她的機構(gòu)描繪成所謂的“體面”“可敬”（“evil pop”的對立面，這點可能與Taylor Swift不謀而合了）的人進(jìn)行了強烈反擊，她視聲名如糞土就像摘取昨夜的假睫毛一樣輕而易舉。

On the first single from Charli’s forthcoming fourth album, there’s no sneering at rule-makers. The bi-continental 24-year-old is no longer bound by authority—she exudes it. “Cos after the after party/We’re gonna stay ’til morning/Then when the time is up/We do it all again,” she sings with hiccupy determination, her voice sounding, as it often does, like a gang of rowdy girls fighting over one mic. Like this year’s Vroom Vroom, her theme is unapologetically shallow: “I got glitter in my underwear like it’s Studio 54,” is the sharpest line in a song that concludes, “We do it ice cream for dinner/Bucket of liquor/We’re getting sicker.”

在Charli即將發(fā)行的第四張專輯的第一支單曲中，并沒有對掌權(quán)者的譏諷。24歲的她早已脫離權(quán)威的約束——她自己就散發(fā)著權(quán)威的氣息。“Cos after the afterparty/We're gonna stay 'til morning/Then when the time is up/We do it all again”，她像是打著嗝卻又十分堅定地唱道，具體來說她的聲音聽起來，就像她常常做的那樣，像一幫女孩兒在爭搶同一個麥克風(fēng)發(fā)言。就像今年的《Vroom Vroom》一樣，她的主題也是毫不掩飾的淺薄?！癐 got glitter in my underwear like it's Studio 54,”這是歌曲中最尖刻的一句話，從所得的結(jié)論中也可見一斑：“We do it ice cream for dinner/Bucket of liquor/We're getting sicker.”

For all the sloppy behavior on show, “After the Afterparty” runs on extreme precision: the way Charli’s voice cascades like a cocktail fountain, how the opening piano tinkles like the sun coming up before bursting into a saccharine confetti bomb. It’s guileless but fiercely sculptured, produced by relative unknown FRED with assistance from a novel pairing: mainstream duo Stargate and PC Music’s SOPHIE, whose 3D zippiness guides the second verse. Lil Yachty’s feature is asinine, but his “bubblegum Trap” vibe and reputation as an irritant fit Charli’s defiant reclamation of a forsaken manufacturing industry.

盡管“After the Afterparty”中有很多馬馬虎虎的演繹，但仍是極其精準(zhǔn)到位的：Charli的聲音像雞尾酒噴泉一樣傾瀉而出，開場的鋼琴像太陽升起一樣漸強、叮咚作響，最后再爆出一個糖紙炸彈。這首曲子非常樸實直白，但仍被雕琢得十分精細(xì)，由相對不知名的FRED制作、并有一對新奇的組合協(xié)助——熱門二人組合Stargate和PC Music的SOPHIE，后者全方位烘托出的輕快感引導(dǎo)著第二段主歌的內(nèi)容。要說Lil Yachty的特色可謂是無稽之談，但他 “Bubblegum Trap”氛圍和能作出刺激聽感音樂的噱頭，非常適于Charli選擇對被遺棄領(lǐng)域挑釁似的再開辟。

Back in 2013, some critics reached to reframe Miley Cyrus’ “We Can't Stop” as a tragic cry for help about losing control. Towards the end of “Afterparty,” Charli’s vocals start to slip and stutter, the vocoder as malfunctioning time machine, but the track resists being turned into a morality tale. Its neon nihilism and aggressive self-possession are the drivers of Charli’s career rather than its destructors. Nobody can go harder, faster, or give fewer fucks. Charli XCX never quits.

早在2013年，一些評論家就將Miley Cyrus的“We Can't Stop”重新定義為一個關(guān)于失去控制的悲劇性呼救。而在“Afterparty”的尾聲，Charli的聲音愈加斷斷續(xù)續(xù)，聲碼器就像故障了的時間機器，但這首曲子并沒有“淪”為一個前面提到的警示寓言。霓虹燈下的虛無主義和咄咄逼人的自持仍是Charli職業(yè)生涯的驅(qū)動力，而非Charli事業(yè)前程的攔路虎。沒有人這一輩子一路狂飆、從不減速，更不可能沒有“拋錨”過，但至少Charli XCX從未放棄過。