搬運(yùn)自：微信公眾號(hào)【評(píng)論搬一堆】（在原文基礎(chǔ)上添加了英語(yǔ)原文與排版調(diào)整）

翻譯：Vivian

審譯：Ryan-Chopin/WhitneyL

排版：Ryan-Chopin

There are two basic brands of sad when your relationship craters: One’s when your lover turns out to be a lying asshole. Worse, arguably, is when you realize the asshole’s you. This latter sad is woven throughout?Charli, the first LP in five years by the punky English avant-pop queen born Charlotte Aitchison. This impulse is radical by definition in the social media age — a spectacle of people broadcasting their rightness 24/7 in which, by and large, no one apologizes for shit.

在你談崩的戀愛(ài)背后，往往藏著這兩種悲慘境遇。要么你的愛(ài)人是一個(gè)愛(ài)扯謊的混蛋，要么更糟，你意識(shí)到你才是那個(gè)混蛋。第二種認(rèn)識(shí)構(gòu)成了《Charli (查莉)》的創(chuàng)作動(dòng)機(jī)。這是那個(gè)氣質(zhì)朋克、原名Charlotte Aitchison的英國(guó)前衛(wèi)流行女王五年內(nèi)推出的第一張LP唱片。在社交媒體時(shí)代，這樣的創(chuàng)作動(dòng)機(jī)是激進(jìn)的——人們?cè)谌旌蛐麄髯约旱恼?dāng)性，卻很少有人為做過(guò)的糟心事道歉。

“Did I fuck it up?”?Charli XCX?wonders on “Thoughts,” driving around Hollywood full of drugs, missing someone hard, with a gnawing sense she’s traded her real friends for fakes. “Sorry I broke you down/Sorry I tore your heart” she offers on “February 2017,” feverishly waiting for her device to ping with a response. “I’m sorry if I’m selfish … sorry if I’m a little scared” she blurts on “Blame It On Your Love,” another fucking-it-up lament that gets pep-talked by?Lizzo, who just shakes her head sympathetically: “I’ma give you one chance to fall in love/Give you one chance — don’t fuck this up!”

“Did I fuck it up? (是否我已搞砸一切?)” Charli XCX 在歌曲“Thoughts (思考)” 中發(fā)問(wèn)。她在毒品泛濫的好萊塢開(kāi)車兜風(fēng)時(shí)，對(duì)一個(gè)人思念至極，同時(shí)又為出賣了真朋友而苦惱?！癝orry I broke you down/Sorry I tore your heart (抱歉讓你崩潰/抱歉讓你心碎)”她在“February 2017 (2017的二月)”中這樣唱道，熱切地等待著一條短信回復(fù)?！癐’m sorry if I’m selfish … sorry if I’m a little scared (如果你認(rèn)為我很自私，那么我很抱歉……?抱歉，我有點(diǎn)害怕)”她在“Blame It On Your Love (把這怪罪于你的愛(ài))”中一吐為快，讓這首歌成了又一首關(guān)于“我搞砸了”的挽歌。Lizzo的說(shuō)唱部分是對(duì)Charli的鼓勵(lì)，她抱有同情地?fù)u頭唱到: “I’ma give you one chance to fall in love/Give you one chance — don’t fuck this up! (我給你一個(gè)墜入愛(ài)河的機(jī)會(huì)/給你一次機(jī)會(huì)，別搞砸了!)”

But?Charli?is a surprisingly joyous set of sad bangers, largely due to a busload of game, rising-star collaborators — unsurprising for an artist defined by her close alliances, especially with other strong women, from the get-go (see?Icona Pop’s “I Love It” and?Iggy Azalea’s “Fancy,” both Charli XCX co-writes). On “February 2017,” she gets help from two of America’s more compelling pop breakouts, the indie-styled singer-songwriter?Clairo, and the bedroom-house producer-DJ-singer-songwriter?Yaeji, who jumps on the digitally-distressed apologia, after a burst of radio static, with commiseration in Korean. Indeed,?Charli?is something of an avant-pop UN, with a gender-fluid sensibility. “Gone” is a bilingual tag-team with French pop emissaries?Christine and the Queens. “Click” features Estonian rapper-cum-performance artist?Tommy Cash. “Shake It,” reunites the girl-gang from her?Pop 2?mixtape showcase “I Got It” — Brazilian drag heroine?Pabllo Vittar, outré-emo Chicago MC?CupcakKe, pansexual L.A. firestarter/Sia pal?Brooke Candy—for a porny rap throwdown with New Orleans bounce queen?Big Freedia. The inclusiveness is a nice metaphor in these divisive days; saavy too, advancing pop’s evolution as international lingua franca.

雖然《Charli 》中的單曲帶有悲傷色彩，專輯的主基調(diào)卻歡快得出奇。這是Charli許多冉冉升起的明星音樂(lè)人合作產(chǎn)生的效果。從出道開(kāi)始，她就與許多歌星聯(lián)系緊密，特別是那些和她一樣性格剛強(qiáng)的女歌手們（舉例來(lái)說(shuō)，Icona Pop的“I Love It (我樂(lè)意)”和Iggy Azalea的“Fancy (奢侈)”都是與Charli XCX共同完成的作品）。在制作單曲“February 2017 (2017的二月)”時(shí)，她與美國(guó)樂(lè)壇內(nèi)兩位頗有魅力的流行歌手進(jìn)行了合作。一位是獨(dú)立音樂(lè)唱作人Clairo，而另一位是臥室制作人、DJ兼唱作人Yaeji。在一段短暫的無(wú)線電干擾音后，Yaeji加入了這段由電音寫成的悲傷自辯書，用韓語(yǔ)唱詞表達(dá)了同情。實(shí)際上，《Charli 》就像前衛(wèi)流行樂(lè)歌手們組成的聯(lián)合國(guó)，他們感知并認(rèn)同性別的流動(dòng)性。“Gone (離去)”加入了法國(guó)流行音樂(lè)使者Christine and the Queens，她與Charli組隊(duì)用雙語(yǔ)表演了一首二重唱?！癈lick (點(diǎn)擊)”邀請(qǐng)了愛(ài)沙尼亞說(shuō)唱歌手兼表演藝術(shù)家Tommy Cash加入?！癝hake it (搖動(dòng)它)”重新團(tuán)聚了那些曾與她在《Pop 2 (流行2)》中的單曲“I Got It (我知道了)”?有過(guò)合作的女歌手們——巴西變裝女俠Pabllo Vittar、芝加哥制作極度情緒化硬核的芝加哥MC CupcakKe，洛杉磯一舉成名的泛性戀歌手、Sia的朋友Brooke Candy。她們與新奧爾良彈跳音樂(lè)女王Big Freedia聯(lián)合，共同制作了一首帶色情意味的說(shuō)唱金曲。在一個(gè)分裂的時(shí)代，這張專輯體現(xiàn)的包容性構(gòu)成了一個(gè)絕佳的比喻，預(yù)示著流行樂(lè)正在演化為一門國(guó)際通用的“語(yǔ)言”。

The thrill-ride production doubles down on the one-world notion, sometimes to a fault — voices are smeared, blurred and distorted to the point where they can be hard to differentiate. Overseeing it is A.G. Cook, who’s been Charli XCX’s main sound scientist for a few years now, and whose PC Music label has branded itself by stretching electro-pop tropes into cartoonishly strange shapes. On the best tracks, like “Click,” a rap paean to selfie curation set to a steroidal?pachinko-parlor?beat, and “Warm,” a lovers’ colloquy harmonized gorgeously with?Haim, the funhouse-mirror production magnifies vibe and melody into something breathtaking. Elsewhere, on “Gone” or the?Sky Ferreira?kaiju reggae collab “Cross You Out,” it feels like an end unto itself.

專輯大膽的制作理念強(qiáng)調(diào)了“世界大同”的觀念，哪怕這樣的嘗試有時(shí)會(huì)帶來(lái)失誤——不同的人聲在被篡改、模糊、扭曲之后失去了原本的辨識(shí)度。作為專輯的監(jiān)制和Charli XCX近年來(lái)的音效師，A.G. COOK延續(xù)了旗下廠牌PC Music的特色，把玩爛的電子流行樂(lè)處理得戲謔而怪異。專輯中最好的曲目都保留了這種哈哈鏡般的制作特色，讓專輯從氛圍到旋律無(wú)一不激動(dòng)人心。“Click ”為聽(tīng)眾呈現(xiàn)了一曲關(guān)于自拍的饒舌贊歌，伴奏中加入的電子游戲廳音效縈繞耳畔，為歌曲打著節(jié)拍。歌曲“Warm (溫暖)”的和聲悅耳，像是Charli與樂(lè)隊(duì)Haim之間一場(chǎng)情人般的交談。“Gone ”和與Sky Ferreira合作的雷鬼音樂(lè)“Cross You Out (把你劃掉)”則將我們指向了結(jié)局本身。

But mostly, the tech-fetishism, pop hooks, and idiosyncratic heart work together, with Charli functioning as much as expert curator and cheerleader as main attraction. Not that she can’t go it alone. On “Official,” she delivers an intimate ballad with vivid images — the shape a sleeping body makes beneath the sheets, “the things we do by the sink in my kitchen — run through a voice processor amid digitized fingersnaps, billowing cotton-candy clouds, and benevolent unicorn sighs. And then, for a few seconds on the chorus, the electronics?all drop away, and you hear an aching human voice, negotiating a relationship with the same authority that she makes pop music.

這張專輯有著技術(shù)性拜物教的意味、抓耳的流行樂(lè)橋段、獨(dú)特的心聲吐露，而Charli在其中既像策劃和平衡這些元素的“博物館館長(zhǎng)”，又像首當(dāng)其沖的“啦啦隊(duì)隊(duì)員”。這就是這張專輯的魅力所在。然而，這并不意味著她的個(gè)人作品缺乏可圈可點(diǎn)之處。歌曲“Official”用生動(dòng)的畫面構(gòu)成了一首動(dòng)人的歌謠。在電子化的彈指聲、滾滾的棉花糖云和獨(dú)角獸輕柔的嘆息中，處理后的人聲描繪著被單下嬰兒的身影，追憶著“the things we do by the sink in my kitchen (那些我們?cè)趶N房做過(guò)的事)”。而后，在幾秒鐘的合唱過(guò)后，所有的電子音效都消失了。你所聽(tīng)到的，只有單薄的人聲在痛苦地呻吟，用與創(chuàng)作流行樂(lè)一樣鄭重的方式，表達(dá)出對(duì)一段關(guān)系的渴求。

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注：歌詞翻譯摘錄于網(wǎng)易云