【搬运】【译】叉婊Pitchfork评Lil Uzi Vert 2020年单曲《Pop》

搬运自：微信公众号【评论搬一堆】（在原文基础上添加了英语原文与排版调整）

翻译：Vivian

审译：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成为那个转调魔法师之前，他是个快嘴说唱高手，艺名来自于他小巧的身材和先发制人的风格。为了让歌曲更加抓耳，他曾一度放弃了标志性的“冲锋枪”式个人风格。然而，在歌曲“Free Uzi”中，他证明了自己依然宝刀未老。在公众翘首以待的新专辑< Eternal Atake>中，许多单曲都让人想起了那个充满力量的“老乌鸡”，而“POP”是最让人惊艳的一首。“Straight bars, (异性恋酒吧)” 他这样开场，再用连串的拟声词“BOW, BOW, BOW (鞠躬，鞠躬，鞠躬)”来向听众开炮。你仿佛可以看见他在漫画书上飞速打出的夸张字符。

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最好的作品都是喧闹的，但他之前的说唱段落很少比得上“POP”的活力。这首单曲是整张专辑开场部分的核心曲目。在他的Baby Pluto人设之下，Uzi用咕哝声似的勾人乐段把长段的句子简化成了一个词，一个又一个的音节像穿在项链上的珍珠。他的说唱是聪明的(“Turned a dead nigga to a blunt of weed/And that last boy taste like Reggie” “把一个死了的黑人变成了杂草/最后一个男孩的味道像雷吉”)。这样的说唱让人兴奋，因为他能孤注一掷，让听众在音乐的感召下起鸡皮疙瘩。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. (有一百万，没有克莉丝汀/脖子闪闪发亮，手腕闪闪发亮，拳头闪闪闪发亮/黑人在做大事情/你从没见过这么干净的老铁)”（nigga为歧视性表述，请勿使用） Uzi的状态难得一见，当他的说唱在加速的唱词中燃烧时，听众很容易认为他已经超然物外了。

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.

从最初受<天堂之门>启发的艺术作品到近期短片中的外星人绑架事件（他自己也这样承认），Uzi很显然与宇宙世界很有共鸣。当一个“外星人”既古怪又充满革命性，这样的标签可以追溯到Future（曾命名了他的首张专辑<Pluto>）和把自己称为火星人的Lil Wayne等音乐人身上。“POP”虽然没有如前辈们的音乐那样具有突破性，相比较起来也更接地气，但这依然是一首异常精彩的单曲。在Brandon Finessin和Oogie Mane的“超导率”制作帮助下，Uzi的表演似乎来自月球之外的远方。