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：油條糖餅

校正：兔嘰/Martin-Z/Ryan-Chopin

Ariana Grande’s “Everytime” Is Pure Pop Bliss
新曲"everytime"是純粹的流行樂狂歡

On Ariana Grande’s fourth album Sweetener, the music reaches its apex—musically, creatively, and energy-wise—during the middle run bookended by singles “God is a woman” and “no tears left to cry.” ?In this streak, Sweetener peaks as a pop album, showcasing Grande’s undeniable power as a singer and matching it to a series of different, mesmerizing hooks, sounds, and grooves from the pep rally exuberance of title-track “sweetener” to “everytime,” a gorgeous song about dangerous infatuation

在Ariana Grande的第四張專輯《sweetener》中，其音樂在音樂藝術(shù)性、創(chuàng)造性和音樂能量方面都達(dá)到了頂峰，“god is a woman”和“no tears left to cry”兩首主打單曲尤為突出。在這種流動傾向中，《sweetener》作為一張流行專輯合格且超出預(yù)期的，它展現(xiàn)了Grande獨特的歌手魅力，與其匹配的是一系列與眾不同、引人入勝的引導(dǎo)元素和音色，還有從同名單曲“sweetener”到“everytime”從始至終的活力。其中“everytime”是一首關(guān)于瘋狂迷戀愛人的歌曲，制作人Max Martin和Llya Salmanzadeh的強強聯(lián)合，給了Grande一個展示炙熱之愛和青春欲望的契機和平臺。

On “everytime” in particular, the production combo of Max Martin and Ilya Salmanzadeh provide a perfect canvass for Ariana Grande to portray an in-depth picture of intense love and youthful desire. The best pop songs about love make you want to be in it, or remember it, or make you feel like you’re experiencing it, all of which is provoked at the onset of “everytime’s” twinkling production. It’s only exacerbated by Grande’s passionate expressions of the inconsistencies and obsessions that come with that kind of all-encompassing devotion: “I get weak and fall like a teenager/ why, oh why does God keep bringing me back to you?/ I get drunk, pretend that I’m over it / Self-destruct, show up like an idiot,” she sings on the chorus. A brew of desire, dependency, frustration, and exasperation color the rest of the song, which is the album’s most relatable and euphoric.

一首制作精良的流行情歌會讓你身臨其境，銘記于心，并能給予更好的代入感，這些特點在“everytime”精良的制作里都有所體現(xiàn)。舍棄了其普通獻(xiàn)身精神帶來易變的情緒和瘋狂的迷戀，Grande用富有激情的音樂表達(dá)賦予了它活力：“I get weak and fall like a teenager/ why, oh why does God keep bringing me back to you?/ I get drunk, pretend that I’m over it / Self-destruct, show up like an idiot（我像青春期少女一樣變得脆弱、為你傾倒／為何上帝總將我?guī)У侥闵磉叄夜嘧碜约?，假裝已經(jīng)渡過一切／其實只是在自我摧毀，展現(xiàn)著傻瓜般的外表）”，她在副歌里唱道。欲望、依賴、失望和憤怒的音樂色彩在歌曲中相互交織，使其成為整張專輯中最為歡快、最吸引人的一首單曲。

The song’s of synths, Caribbean steel drums, and heavy bass are reminiscent of pop records from the 90s, but with an updated sound that makes it fit in with much of radio-friendly music today. Essentially, it’s the right kind of Max Martin record, and Grande’s strong voice and her ability to be delicate, vulnerable, and forceful at once make her the perfect person to helm it. It’s hard to imagine any other singer in pop who could do this song as well, making lines like, “I get tired of your no-shows, you get tired of my control / They keep telling me to let go, but I don’t really let go when I say so” sound both pristine vocally and believable emotionally. There’s something so personable about Grande as an artist and person that give lyrical cliches a genuine truthfulness, and Sweetener is at its best when that comes across.

歌曲中合成器的運用、加勒比風(fēng)格的鋼鼓和重低音都是對20世紀(jì)90年代流行音樂的致敬，而這些懷舊元素配合了新鮮的音色，從而更加符合當(dāng)今快節(jié)奏、悅耳的音樂審美。Grande自身的音色能夠同時表現(xiàn)柔和、脆弱和強有力的色彩與情緒，使Max Martin成為最適合擔(dān)任“掌舵者”的人選。很難想象還會有其他流行歌手能做出此般優(yōu)秀的歌曲，創(chuàng)作出“I get tired of your no-shows, you get tired of my control / They keep telling me to let go, but I don’t really let go when I say so（我厭倦了你的冷漠，你也厭煩我的控制欲／身邊人和我說我該放下這段感情，但當(dāng)我這樣說的時候我卻并沒有真正釋懷）”這樣音色干凈并觸動人心的樂段。Grande作為一名藝人，在歌曲中會展現(xiàn)非常私人化的一面，她會打破歌詞創(chuàng)作的條條框框，注入新鮮元素，使其更真誠坦率?！秙weetener》就是這些特點最鮮明的體現(xiàn)。