【搬运】【译】滚石杂志Rolling Stone评Charli XCX 2019年专辑《Charli》
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：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.
在你谈崩的恋爱背后，往往藏着这两种悲惨境遇。要么你的爱人是一个爱扯谎的混蛋，要么更糟，你意识到你才是那个混蛋。第二种认识构成了《Charli (查莉)》的创作动机。这是那个气质朋克、原名Charlotte Aitchison的英国前卫流行女王五年内推出的第一张LP唱片。在社交媒体时代，这样的创作动机是激进的——人们在全天候宣传自己的正当性，却很少有人为做过的糟心事道歉。
“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)” 中发问。她在毒品泛滥的好莱坞开车兜风时，对一个人思念至极，同时又为出卖了真朋友而苦恼。“Sorry I broke you down/Sorry I tore your heart (抱歉让你崩溃/抱歉让你心碎)”她在“February 2017 (2017的二月)”中这样唱道，热切地等待着一条短信回复。“I’m sorry if I’m selfish … sorry if I’m a little scared (如果你认为我很自私，那么我很抱歉…… 抱歉，我有点害怕)”她在“Blame It On Your Love (把这怪罪于你的爱)”中一吐为快，让这首歌成了又一首关于“我搞砸了”的挽歌。Lizzo的说唱部分是对Charli的鼓励，她抱有同情地摇头唱到: “I’ma give you one chance to fall in love/Give you one chance — don’t fuck this up! (我给你一个坠入爱河的机会/给你一次机会，别搞砸了!)”
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.
虽然《Charli 》中的单曲带有悲伤色彩，专辑的主基调却欢快得出奇。这是Charli许多冉冉升起的明星音乐人合作产生的效果。从出道开始，她就与许多歌星联系紧密，特别是那些和她一样性格刚强的女歌手们（举例来说，Icona Pop的“I Love It (我乐意)”和Iggy Azalea的“Fancy (奢侈)”都是与Charli XCX共同完成的作品）。在制作单曲“February 2017 (2017的二月)”时，她与美国乐坛内两位颇有魅力的流行歌手进行了合作。一位是独立音乐唱作人Clairo，而另一位是卧室制作人、DJ兼唱作人Yaeji。在一段短暂的无线电干扰音后，Yaeji加入了这段由电音写成的悲伤自辩书，用韩语唱词表达了同情。实际上，《Charli 》就像前卫流行乐歌手们组成的联合国，他们感知并认同性别的流动性。“Gone (离去)”加入了法国流行音乐使者Christine and the Queens，她与Charli组队用双语表演了一首二重唱。“Click (点击)”邀请了爱沙尼亚说唱歌手兼表演艺术家Tommy Cash加入。“Shake it (摇动它)”重新团聚了那些曾与她在《Pop 2 (流行2)》中的单曲“I Got It (我知道了)” 有过合作的女歌手们——巴西变装女侠Pabllo Vittar、芝加哥制作极度情绪化硬核的芝加哥MC CupcakKe，洛杉矶一举成名的泛性恋歌手、Sia的朋友Brooke Candy。她们与新奥尔良弹跳音乐女王Big Freedia联合，共同制作了一首带色情意味的说唱金曲。在一个分裂的时代，这张专辑体现的包容性构成了一个绝佳的比喻，预示着流行乐正在演化为一门国际通用的“语言”。
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.
专辑大胆的制作理念强调了“世界大同”的观念，哪怕这样的尝试有时会带来失误——不同的人声在被篡改、模糊、扭曲之后失去了原本的辨识度。作为专辑的监制和Charli XCX近年来的音效师，A.G. COOK延续了旗下厂牌PC Music的特色，把玩烂的电子流行乐处理得戏谑而怪异。专辑中最好的曲目都保留了这种哈哈镜般的制作特色，让专辑从氛围到旋律无一不激动人心。“Click ”为听众呈现了一曲关于自拍的饶舌赞歌，伴奏中加入的电子游戏厅音效萦绕耳畔，为歌曲打着节拍。歌曲“Warm (温暖)”的和声悦耳，像是Charli与乐队Haim之间一场情人般的交谈。“Gone ”和与Sky Ferreira合作的雷鬼音乐“Cross You Out (把你划掉)”则将我们指向了结局本身。
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.
这张专辑有着技术性拜物教的意味、抓耳的流行乐桥段、独特的心声吐露，而Charli在其中既像策划和平衡这些元素的“博物馆馆长”，又像首当其冲的“啦啦队队员”。这就是这张专辑的魅力所在。然而，这并不意味着她的个人作品缺乏可圈可点之处。歌曲“Official”用生动的画面构成了一首动人的歌谣。在电子化的弹指声、滚滚的棉花糖云和独角兽轻柔的叹息中，处理后的人声描绘着被单下婴儿的身影，追忆着“the things we do by the sink in my kitchen (那些我们在厨房做过的事)”。而后，在几秒钟的合唱过后，所有的电子音效都消失了。你所听到的，只有单薄的人声在痛苦地呻吟，用与创作流行乐一样郑重的方式，表达出对一段关系的渴求。
注：歌词翻译摘录于网易云
