搬運自：微信公眾號【評論搬一堆】（在原文基礎(chǔ)上添加了英語原文與排版調(diào)整）

翻譯：Vivian

審譯：Joonly EC

排版：Ryan-Chopin

Before?Lil Uzi Vert?was a singsong mage, he was a quick-spitter whose name came from his compact size and rapid-fire style. The open bolt, submachine-like flow was largely absent during his pursuit of the perfect earworm, but “Free Uzi” proved he was still capable of unloading the clip. A chunk of his long-awaited, newly released album?Eternal Atake?weaponizes the Old Uzi, but “POP” is where it is most strikingly used. “Straight bars,” he opens, before unleashing an onomatopoeic barrage,”BOW, BOW, BOW,” that you can almost see slapped across the splash page of a comic book.

在Lil Uzi Vert成為那個轉(zhuǎn)調(diào)魔法師之前，他是個快嘴說唱高手，藝名來自于他小巧的身材和先發(fā)制人的風格。為了讓歌曲更加抓耳，他曾一度放棄了標志性的“沖鋒槍”式個人風格。然而，在歌曲“Free Uzi”中，他證明了自己依然寶刀未老。在公眾翹首以待的新專輯< Eternal Atake>中，許多單曲都讓人想起了那個充滿力量的“老烏雞”，而“POP”是最讓人驚艷的一首?！癝traight bars, (異性戀酒吧)”?他這樣開場，再用連串的擬聲詞“BOW, BOW, BOW (鞠躬，鞠躬，鞠躬)”來向聽眾開炮。你仿佛可以看見他在漫畫書上飛速打出的夸張字符。

The best Uzi songs are full of hijinks, and few of his verses match the oomph of “POP,” the centerpiece of the album’s high-powered opening section. Performing under his Baby Pluto persona, Uzi utilizes the grumbled hook to turn entire sentences into a single word, stringing syllables together like pearls along a necklace. His raps can be clever (“Turned a dead nigga to a blunt of weed/And that last boy taste like?Reggie”), but the exhilaration comes from his ability to create hair-raising goosebumps by hurling himself around. “Got a million, no Christine/Neck gleam, wrist gleam, fist gleam/Lil nigga but I’m doin’ big things/You ain’t ever seen a nigga this clean,” he barks. Uzi is in rare form, and when his rapping reaches a fever-pitch in the accelerated closing verse, it’s easy to believe that he is out of this world.

Uzi最好的作品都是喧鬧的，但他之前的說唱段落很少比得上“POP”的活力。這首單曲是整張專輯開場部分的核心曲目。在他的Baby Pluto人設之下，Uzi用咕噥聲似的勾人樂段把長段的句子簡化成了一個詞，一個又一個的音節(jié)像穿在項鏈上的珍珠。他的說唱是聰明的(“Turned a dead nigga to a blunt of weed/And that last boy taste like Reggie”?“把一個死了的黑人變成了雜草/最后一個男孩的味道像雷吉”)。這樣的說唱讓人興奮，因為他能孤注一擲，讓聽眾在音樂的感召下起雞皮疙瘩。他咆哮: “Got a million, no Christine/Neck gleam, wrist gleam, fist gleam/Lil nigga but I’m doin’ big things/You ain’t ever seen a nigga this clean. (有一百萬，沒有克莉絲汀/脖子閃閃發(fā)亮，手腕閃閃發(fā)亮，拳頭閃閃閃發(fā)亮/黑人在做大事情/你從沒見過這么干凈的老鐵)”（nigga為歧視性表述，請勿使用）?Uzi的狀態(tài)難得一見，當他的說唱在加速的唱詞中燃燒時，聽眾很容易認為他已經(jīng)超然物外了。

From the original?Heaven’s Gate-inspired artwork?to the UFO abduction of?his short film?(and by?his own admission), it’s clear the idea of being from space resonates with Uzi. Being “alien” has come to represent not just eccentricity but evolution, following genre-shifters like?Future, who named his debut album?Pluto, and?Lil Wayne, who long called himself a Martian. “POP” doesn’t quite tap into the otherworldly, groundbreaking transmissions of Uzi’s predecessors, or of other?self-proclaimed extraterrestrials, but it is nearly as spectacular. Zipping through Brandon Finessin and Oogie Mane’s whirring hyperdrive production, Uzi supplies a performance seemingly originating far beyond the furthest reaches of the moon.

從最初受<天堂之門>啟發(fā)的藝術(shù)作品到近期短片中的外星人綁架事件（他自己也這樣承認），Uzi很顯然與宇宙世界很有共鳴。當一個“外星人”既古怪又充滿革命性，這樣的標簽可以追溯到Future（曾命名了他的首張專輯<Pluto>）和把自己稱為火星人的Lil Wayne等音樂人身上。“POP”雖然沒有如前輩們的音樂那樣具有突破性，相比較起來也更接地氣，但這依然是一首異常精彩的單曲。在Brandon Finessin和Oogie Mane的“超導率”制作幫助下，Uzi的表演似乎來自月球之外的遠方。