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：Joonly EC

審譯：Whitney.L

排版：Ryan-Chopin

Just when Miley was looking like the sane one, she’s back with a new EP that’s sure to irritate everyone who’d hoped her writhing, wrecking-ball days were in the past.?She Is Coming?is an unkempt little EP that tries to cram her wild oeuvre, from molly to Mark Ronson, into just six songs. That said, you can’t deny Cyrus remains a freak of pop nature. Only she would tell the guys who just won Grammys and Oscars for “Shallow” to try their hand at lite, percussive trap. That’s just Miley being Miley. And she’s just getting started (two more EPs are scheduled for release later this year).

正當(dāng)所有人都以為麥莉不再瘋狂時(shí)，她便攜著全新EP歸來(lái)，勢(shì)必要激怒那些希望她痛苦的人，她向世界宣告破壞球時(shí)期(2013-2015年)的舌婊已經(jīng)是過去式了，迎來(lái)的是《She Is Coming(舌皇駕到)》。這是一張凌亂的小EP，她試圖把從Molly到Mark Ronson的全部作品塞進(jìn)六首歌里。正是因?yàn)榇说攘鑱y，你不能否認(rèn)Cyrus是一個(gè)真正玩音樂的怪人。只有她才會(huì)告訴那些剛剛憑借“Shallow”獲得格萊美獎(jiǎng)和奧斯卡獎(jiǎng)的家伙們(個(gè)人覺得特指Mark Ranson，他是Shallow的主要制作人，也是麥莉新EP的主要合作對(duì)象)，去試試做喜歡的。你大爺還是你大爺，麥莉也還是麥莉，永遠(yuǎn)獨(dú)特大膽。這張EP僅僅是一個(gè)開始(今年晚些時(shí)候還會(huì)有兩張EP發(fā)布)。

“Cattitude” is a return to gyrating glory, time-pegged for Pride. Cyrus cedes the nastiest lines to RuPaul, one of her biggest musical influences, who interpolates his 2014 “Sissy That Walk” while Cyrus echoes the?rump-a-pum-pum?of Missy Elliott’s “Work It” in the background. Together, this feline power couple eclipses the more forgettable collabs with Ghostface Killah and Swae Lee.?

“Cattitude(貓態(tài)度)”是峰回路轉(zhuǎn)的榮耀回歸，是與時(shí)間掛鉤的驕傲。Cyrus把最情色的歌詞讓給了RuPaul(頂級(jí)變裝皇后兼歌手、模特、制作人...)，RuPaul是對(duì)她影響最大的音樂人物之一。RuPaul在這首歌中引用了自己14年的曲目“Sissy That Walk(小蹄子大膽浪起來(lái))”，而Cyrus則在背景音樂中模仿了Missy Elliott的“Work It”中“砰砰砰”的聲音。這對(duì)充滿力量的“貓”在一起就顯得另外兩首分別和Ghostface Killah、Swae Lee合作的曲目NBCS了。

The pussy-power shifts gears with the minor-key head-banger, “Mother’s Daughter,” the chorus of which (“Don’t fuck with my freedom”) making for a catch-all resistance anthem Cyrus’ delivers with a perplexing amount of ennui. On that song, she also toys with our Pavlovian response to hearing Snap’s “I’ve Got The Power” by singing? “she’s got the power,” but nothing like that electric shock of recognition ever arrives. On the other hand, in a song about preserving independence, there is something defiant and formidable about the idea that Cyrus would withhold gratification on her own song (fucking with our freedom, so to speak) just to prove a point.

女子力流露在“Mother’s Daughter”的重金屬小調(diào)中，這首歌的副歌(“Don't fuck with my freedom休想控制姐的自由”)構(gòu)成了一首包羅萬(wàn)象的反抗之曲，Cyrus的演唱充斥著厭倦的態(tài)度。在這首歌中，她還用我們聽到Snap的“I’ve Got The Power(我有這個(gè)權(quán)利)”時(shí)的巴甫洛夫式的反應(yīng)，即唱“she’s Got The Power(她有這個(gè)權(quán)利)”，來(lái)玩弄我們的這種反應(yīng)。另一方面，在一首關(guān)于追求獨(dú)立自由的歌曲中，Cyrus為了證明自己的觀點(diǎn)，會(huì)對(duì)自己的歌曲保持克制(可以說是干涉我們的自由)，這種想法十分挑釁但不乏令人生畏。

Cyrus closes out with “The Most,” a song she wrote before marrying her husband, Liam Hemsworth. It’s an embattled marital ballad about the paradoxical rush of bewilderment and gratitude that comes from being loved. “All that you are is all I ever need / I don’t know why you still believe in me,” she sings, conflicted yet in awe, over a bed of crackling keys. The song sounds more like it’s from?Tunnel of Love?than?Bangerz, but that’s because she’ll never stop experimenting with other people’s sounds. She?can’t?stop. Miley will always be Miley.

Cyrus與丈夫Liam Hemsworth結(jié)婚前寫了一首名為“The Most(摯愛)”的歌，作為這張EP的收尾。這是一首關(guān)于婚姻中的摩擦的芭樂，講述了作為摯愛而出現(xiàn)的疑惑與感激交織的復(fù)雜感情?！癆ll that you are is all I ever need / I don’t know why you still believe in me(你就是我的畢生所求/我不敢相信你還愛著我)”她在一堆噼啪作響的琴鍵上唱道，內(nèi)心充滿矛盾和敬畏。這首歌聽起來(lái)更像是出自《Tunnel of Love(愛的隧道，不知道原作者指的是誰(shuí)的作品，麥莉沒有這首歌也沒有同名專輯)》，而不是《Bangerz》，但那是因?yàn)樗肋h(yuǎn)不會(huì)停止嘗試別人的風(fēng)格。她不能停止。麥莉永遠(yuǎn)是麥莉，只有她能形容自己。