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翻译：油条糖饼

校正：兔叽/Martin-Z/Ryan-Chopin

Ariana Grande’s “Everytime” Is Pure Pop Bliss
新曲"everytime"是纯粹的流行乐狂欢

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的第四张专辑《sweetener》中，其音乐在音乐艺术性、创造性和音乐能量方面都达到了顶峰，“god is a woman”和“no tears left to cry”两首主打单曲尤为突出。在这种流动倾向中，《sweetener》作为一张流行专辑合格且超出预期的，它展现了Grande独特的歌手魅力，与其匹配的是一系列与众不同、引人入胜的引导元素和音色，还有从同名单曲“sweetener”到“everytime”从始至终的活力。其中“everytime”是一首关于疯狂迷恋爱人的歌曲，制作人Max Martin和Llya Salmanzadeh的强强联合，给了Grande一个展示炙热之爱和青春欲望的契机和平台。

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会让你身临其境，铭记于心，并能给予更好的代入感，这些特点在“everytime”精良的制作里都有所体现。舍弃了其普通献身精神带来易变的情绪和疯狂的迷恋，Grande用富有激情的音乐表达赋予了它活力：“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（我像青春期少女一样变得脆弱、为你倾倒／为何上帝总将我带到你身边／我灌醉自己，假装已经渡过一切／其实只是在自我摧毁，展现着傻瓜般的外表）”，她在副歌里唱道。欲望、依赖、失望和愤怒的音乐色彩在歌曲中相互交织，使其成为整张专辑中最为欢快、最吸引人的一首单曲。

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.

歌曲中合成器的运用、加勒比风格的钢鼓和重低音都是对20世纪90年代流行音乐的致敬，而这些怀旧元素配合了新鲜的音色，从而更加符合当今快节奏、悦耳的音乐审美。Grande自身的音色能够同时表现柔和、脆弱和强有力的色彩与情绪，使Max Martin成为最适合担任“掌舵者”的人选。很难想象还会有其他流行歌手能做出此般优秀的歌曲，创作出“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（我厌倦了你的冷漠，你也厌烦我的控制欲／身边人和我说我该放下这段感情，但当我这样说的时候我却并没有真正释怀）”这样音色干净并触动人心的乐段。Grande作为一名艺人，在歌曲中会展现非常私人化的一面，她会打破歌词创作的条条框框，注入新鲜元素，使其更真诚坦率。《sweetener》就是这些特点最鲜明的体现。