酷女孩与她的新流行奇想,中文翻译

2019-09-30 17:09栏目:关于娱乐
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有如一道启示,中度合成化的响动氛围中穿出了一道人性之光

@Jeffery_:当重打击乐坛沦变为偷工减料的小买卖吸金宝地的时候,就有了The Chainsmokers,Charlie Puth,艾德 Sheeran与他们的pop/ballad cliches的落地。而 < Pop 2 >的腾飞出世,恰巧给了那么些舞曲坛的毒瘤们重拳一击。

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失真化人声处理贯穿整个篇幅,给 <Pop 2 >蒙上了一层面纱,为其添上几抹神秘,迷幻的色彩。A.G. Cook操刀下的Charli,由稚嫩转变向成熟,从拾壹分高歌“I just wanna break the rules”的捣蛋女孩蜕产生为嘶哑声线下碎念“I got it”的Femmebot。然则,Charli对于细节管理的炉火纯青,无疑将<Pop 2>推向了章程顶峰。正如<Tears>中歇斯底里又轻描淡写的沙哑尖叫声恰是对贫瘠悲痛之情的自然表露,就连<Track 10>初始机器人短路的肤浅音响效果也披流露一丝泡泡糖爱意……工业噪音与特殊音响效果的灌入,是<Pop 2>对扭曲人性最含蓄,又是最直白的流露。

(作者:Meaghan Garvey)

Femmebot Charli的内心深处亦藏匿着emotional的单方面,但他的表达方式可要比Poppy在<I'm Poppy>中选拔其将在破音的叫床式vocal贰回又三次狼狈分外地再一次宣誓“P-O-P-P-Y I'm Poppy” 要强得多,同为开场曲的<Backseat>是迄今Charli最佳的单曲,熟练本身对在此以前任的感念之情难以放心,Charli与Carly索性turn it up。随着auto-tune处理后的“all alone”向高潮循序推动,她们亦独自午夜驱车驶向未知远方。第二段Chorus过后紧接的一段漂移噪音为这覆水难收的恋爱画上多少个省略号,意犹未尽……

Charli XCX’s latest mixtape is a vision of what pop music could be, the sound of an eclectic, hyperreal future where romantic love is fun but fucked and partying is an emotional refuge.

<Pop 2>是Charli XCX迄今最成熟,最隐私,最艺术性的创作。专辑的多元性和玄妙性,使其变为民谣坛难得一见的一块synth pop宝物。至于为啥笔者从未给那张专辑赋予9.5+的高分,那就得问问最繁琐的那首<Out Of My Head>了。

Charli XCX的新颖混音带代表了流行音乐的前程恐怕——兼收并蓄、抢先具体。在这里,爱情充满生趣又叫人纳闷,寻欢作乐成了独一的情义慰藉。

@louisy:假使说在<Number 1 Angel>里,洗茶依然一个披着酒茶色大衣的甜心精灵,那么<Pop 2>便是她根本黑化,拥抱内心最深处的阴暗面包车型客车宣言。在A. G. 库克的主刀下,auto-tune化的人声,失真的工业噪音,扭曲变异的synth,使他的音乐充满了萧条、凌乱、失序与碰撞的底细。在这么好像无章可循的编写制定下,她却铺陈了两条清晰的情绪主线:前半有个别是他再三投诉恋人的决定离去和不懂保养,在"Lucky"里竟是将vocal中度模糊化和电气化,营造撕心裂肺的气氛;后半有些他又以俏皮的话音嗔怪那份爱太过"Delicious",极其渴望与意中人不再分离。一向到终极他都未曾为和睦的争执心境找到出口,就疑似未命名的终曲"Track 10",试图把全体都留白。那张mixtape在总体上或者还并未有被碾碎得更为成熟和精细,但却是洗茶进级她的流行美学后做出的最具前景感的Pop 2.0。

Maybe some people look at Sophia, the world’s first robotic citizen, and feel optimistic about the endless horizon of potential, both technological and human; I look at Sophia and feel an unsettling sadness. There is something profoundly tragic in her existence, a sense of uncanny anti-natalism that triggers a strange empathy for those who also did not ask to be born. Sophia has sharp cheekbones and golden eyes, molded in the likeness of Audrey Hepburn. Her bald head opens at the back to unveil a disturbing metal cap that hides the whirring mechanics within her skull. Through knee-jerk millennial instinct, that vulnerable bald skull always flashes me back to those unforgettable photos of Britney Spears at the gas station in 2007—head freshly shaved, eyes blank and wild, umbrella wielded as a machete. It is the image of a woman who has decided to finish the job the world started: complete disassembly.

@Voiiz:那张Mixtape 让自个儿以为到安慰,Charli依然那贰个能够的派对酷女孩。她对pop的探求也到了贰个新的低度,褪去了<Superlove>的中国风外壳,剥下了<Boom Clap>的商业贸易皮囊,今后的她与事先相比少了出道时的野心,<Pop 2>已然是一张回归创作本人的高水准文章。

当大家看向Sophia,那世界上首先个机械市民的时候,或然会对前景的可是潜在的能量感到乐观——无论是对科技(science and technology)来讲如故对人类来说。但当自家看向Sophia,我感到忧愁和不安。她的留存带着一种深入的正剧色彩,一种危急的反出生主义(anti-natalism又称人口调控主义,认为那一个世界带给婴儿的无可制止的切肤之痛远超过转瞬即逝的欢乐)让本身对那类存在抱有意外的同情——他们未尝选拔出生与否的权利。以奥黛丽赫本为模板铸造出来的Sophia有着锋利的颧骨和海洋蓝的瞳孔。她光秃秃的后脑壳开着口子,上边附着一块令人不安的金属盖用来掩藏她头骨内呼呼作响的构件。出于千禧年一代的直觉,那几个光秃秃的、虚亏的后脑壳总让作者想起2007年BritneySpears在加油站被拍下的那组难忘的肖像——她刚刚剃光头发,眼神空洞、疯狂,像摇曳砍刀同样挥动着雨伞,这些女孩子决定活动实现那个世界协助实行挑起的职务——透顶肢解本身。

<Pop 2>保留了<Sucker>的天真,又周到地连通了大人的思维意况。歌词里不再有“I don’t wanna go to school,I just wanna break the rules”,更加多的是“I’m better off alone”。在那张Mixtape里,Charli 依然是突出酷娃,玩闹,恋爱,思索。

   

除此而外,那照旧一张高档制作,阵容姿色庞大的风行大碟,从朴宰范到新人Alma,还会有加入作曲的大力婊Noonie Bao,Charli向我们来得了她惊人的生活圈,和那些爱不释手明星的搭档,也是那张专辑高品位,高制作的由来之一。

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@二十二: 在<Pop 2>中,你能够听见一流Mario的四日游音响效果、急行车制动器踏板的噪音、女生的嘶吼尖叫......Charli总是擅长捕捉一些时常被忽视却能很好地反映心理的声音,然后放进一支支单曲中,拼贴成极具今世色彩、令人耳花缭乱的文章。从他的著述中,我们能够窥得她的个人世界的一角:有意思,且整个都保持着它们的原始。也正由此,

索菲娅登上巴西《ELLE》

Charli并未也不要求隐敝自身的真情实意,在充满着虚伪气息的当今社会中显示那么特立独行,那么“酷”。<Pop 2>是对流行的三回再定义,也是Charli为温馨量身定制的私有标签,它让我们信赖这几个女孩必会形成引领音乐时髦的一股强大技巧。

      

@Navy:Charli XCX在<Pop 2>那张专辑中请来了众多现行反革命流行乐的开路先锋人物,Carly Rae Jepsen,Tove Lo,MØ, Mykki Blanco…..Charli不想要得,她只想重操旧业制作舞曲的野趣,况兼通过区别的歌唱家的协作发掘音乐的更四种大概性。在现阶段被流媒体算法调控的爵士乐坛里,<Pop 2>就像一股清流,在差不离的特辑里面是那么的差别经常和惹人热衷。

Charli XCX knows this trope—the glitched-out femmebot, programmed for love—all too well. She grew up on Britney and the Spice Girls, then joined Myspace and catapulted into the brash, neon-tinted world of bloghouse and Hype Machine electro. After spending her early teens performing in big sunglasses and blonde wigs at DIY London raves, she signed to Asylum Records at 18 to live her pop star dreams. With the massive success of Icona Pop’s “I Love It” and Iggy Azalea’s “Fancy” (both co-written by Charli) alongside her first solo hit, “Boom Clap,” her mainstream crossover seemed like a given, ready whenever she was. Instead, she doubled down on the weirdo Tumblr-core mixtapes she used to release for free, linking with post-post-modern bubblegum bass crew PC Music to try and figure out exactly what kind of artist she wanted to be. “Go fuck your prototype/I’m an upgrade of your stereotype,” Charli purrs on “Femmebot,” a cut off her latest tape, Pop 2, before her humanoid vocals stutter and short-circuit. Or as Robyn put it seven years prior: “Fembots have feelings, too.”

本张专辑7位编辑的平均分四舍五入为7.9分

Charli XCX太明了这些比喻了——三个为爱而生却出了故障的女机器人。听Britney、the Spice Girls长大的他到场了Myspace(社交网址,致力于开掘突出音乐人)、贰头扎进了bloghouse(爵士乐风格,受电子乐和法兰西共和国浩室的震慑,特征饱含失真声效、8-bit声效、间断的人声和爵士乐骨架)和Hype Machine electro(音乐网址“炒作机器”流行的电子乐风格)霓虹色的艳红尘界。十四伍周岁的她戴着英雄的太阳镜和浅灰褐的假发,在London各种锐舞派对上带来表演。18岁时,她与Asylum Records签约继续他的追梦之路。凭仗Icona Pop“I Love It”和Iggy Azalea“Fancy”的赫赫成功(Charli到场了这两首文章的作文)和他个人单曲“Boom Clap”的大热,她的功成名就就好像已然是铁板钉钉。跨界主流的Charli获得了市情接受,但他却选取了与后后当代bubblegum bass(融入了每一项夜店电子中国风风格,通过失真的合成器效果创设出生意盎然的人工材料,将女子阴柔美放大到Infiniti)风格团体PC Music联手,加倍努力地创作那二个他过去陆续免费发行的、以Tumblr客商为非常重要受众的古怪混音带,继而弄清本身毕竟想形成怎么样的音乐家。在Charli最新作“Pop 2”的“Femmebot”中,在他的人形机器声线卡壳、短路从前,她娇嗔到:“去你的算法原型/老娘是您始终不渝纪念的升迁”,大概,套用罗布yn八年前在同名作中的说法:“(女)机器人也可能有激情”。

【作者】:IND!ENATION

   

【推荐曲目】:Backseat, Track 10

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【评分】:@Jeffery_ 9.3 @louisy 8.8 @二十二 8.5 @CHJ 8.2 @Navy 7.8 @Voiiz 6.8 @LOR 6.2

Myspace发表的宣传照上十六岁的Charli XCX

© 本文版权归作者  IND!ENATION  全数,任何形式转发请联系小编。

       

Pop 2—the best full-length work of both Charli and PC Music’s respective careers—is the antidote to the overwhelming monotony of the 2017 pop charts. It’s Charli’s second mixtape of 2017, which, calling your project a “mixtape” is a pretty negligible move these days, especially if you’re putting it up for sale. But for Charli, who’s been expressing herself in the format since before it was cool, there’s a meaningful distinction: albums mean compromise; mixtapes mean total creative freedom. As streaming services render organic music discovery obsolete, and as major label A&R decisions feel increasingly like a demented cross-promotional Mad-Lib of someone who has heard approximately four rap songs, Pop 2’s sprawling, thoughtful mass of guests—from Brazilian drag queen/vocalist Pabllo Vittar, to Estonian emcee Tommy Cash, to Hollyweird-via-Cologne pop conceptualist Kim Petras—put me on to no less than five artists I’d never heard of before. Because Pop 2’s not really about Charli XCX, Pop Star Extraordinaire; it’s an uninhibited, anti-algorithm vision of what pop music could be.

“Pop 2”是Charli和PC Music各自音乐生涯的超级文章,是二零一七年大同小异叫人难以忍受的风靡榜单的一针活血剂。那是Charli前年发行的第二张混音带(mixtape)——现这段时间,将创作称作混音带是一件没多概况义的事,尤其是当您企图发售骗钱的时候。但对于Charli那位长久用先于前卫的点子来表明自己的歌星来说,两个兼有分明区别:“专辑”意味着向市场妥洽,而“混音带”则意味相对的创作自由。在流媒体时期,本必不可缺的饰演者发掘环节被丢进了历史长河,主流厂牌艺能开采单位(A&RAV4)的表决尤其信任裙带关系,他们的办事越是像一张只听过四首乡村音乐歌曲的人都能成就的脑梗塞填字游戏。而Pop 2却有一张经过不假思虑但又不用规律可寻的客座名单——从巴西联邦共和国变装皇后/歌唱家Pabllo Vittar到爱沙尼亚流行乐歌星汤米Cash再到由德意志联邦共和国爱丁堡出征好莱坞的流行概念至上论者Kim Petras。那中间有不下四个名字小编从不听过,小编的专注力全都集中在他们身上。“Pop 2”如同并不以Charli XCX那位卓越的盛行偶像为主导,“Pop 2”真正的为主是周旋算法(anti-algorithm)、是天马行空、是流行音乐的特别可能。

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“Pop 2”的有的合营者

      

It’s not just the guest roster that sets Pop 2 so apart from the mainstream pop landscape, it’s the way these voices are integrated, making its 10 tracks feel less like a cool-kid curation project and more like a popping afterparty you’ve stumbled into. On “Out of My Head”—the kind of song that makes you want to slam a Strawberita and dance all night—Charli doesn’t show up in the mix until the second verse, giving the spotlight to Swedish bloghouse revivalist Tove Lo and Finnish trop-goth ALMA. By the bridge, the three voices have braided together almost imperceptibly. And on “Backseat,” an instant night-drive classic (and a fever-dream collab for anyone who replies to celebrity tweets with “mom”), Charli and synth-pop sweetheart Carly Rae Jepsen exchange verse and hook duty before coming together as one voice, howling “All alone, all alone, all alone” in unison. These are huge, emotionally climactic songs, with soaring melodies and bass that sounds like the shifting of skyscraper scaffolding. But there’s something doomed and loveless in the air, too; on Pop 2, romantic love is fun but fucked and partying is an emotional refuge.

让“Pop 2”有别于主流音乐风貌的永不止那张客座名单。那十首曲目的音响整合格局让那张作品远不唯有是一批爱耍酷的年轻人图谋的展出,“Pop 2”更像二个您不时遇上的余兴派对:“Out of My Head”是一首会让您干掉一杯草莓(英经济学名:strawberry)Margaret再跳上一整夜的歌曲,直到第二段主歌才面世的Charli把柔光灯留给了Sverigebloghouse复兴者Tove Lo和芬兰共和国trop-goth集大成者ALMA,到了过场部分,三把声音就这么不留印迹地融入到了合伙。“Backseat”是一首驱车夜行的必备曲目(也是那么些会在球星动态更新下喊“阿妈”的听众在发胸口痛的时候本领梦到的合营 *不知底那句话的话能够参照下图),Charli和合成器流行(synth-pop)甜心Carly Rae Jepsen交换着主歌和副歌,到了最终,她们的响声融为一炉,齐声高唱着“留自身独自一位/留自个儿独自一人/留自个儿独自一位”。这张文章有着高昂的旋律和宏伟的低音响效果果(有如拆除高层建筑脚手架相似),有着三个又多少个激情高潮,但中间仍有一丝宿命感、一丝爱的紧缺感。在“Pop 2”的社会风气,爱情充满生趣又叫人纳闷,寻欢作乐成了独一的心情安慰。

   

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“Mom”

  

It’s Pop 2’s production, more than anything, that places it on the vanguard of a complete stylistic breakthrough, thanks wap720ly to PC Music’s A.G. Cook, whose credit appears on every song. I was skeptical of the label’s high-concept art school antics when they first emerged; but the further they’ve gotten from the Web 1.0 shtick, the more vital the collective’s impeccable, poignant pop futurism has become. And though Pop 2 sounds like the future, even more delightful is the way it hybridizes sounds from the past two decades of weirdo electronics: the synthetic maximalism of Rustie and HudMo, heartfelt late ’90s Eurodance a la Aqua or DJ Sammy, Crystal Castles’ goth electro-scuzz, J-pop super-producer Yasutaka Nakata’s wistful Shibuya-kei, Cher’s “Believe,” and of course, Britney, from Blackout to Britney Jean. And though it’s by now common practice for pop stars to flirt with hip-hop production, the results often reveal a cynically low level of engagement with the genre—tacking on “Metro Boomin-Type Beat,” some 808s, and calling it a day. Here, Charli and A.G. Cook know exactly what they’re going for: the “Versace”-style repetition on alien posse cut “I Got It”; the pristine, sultry chords, reminiscent of Late Nights With Jeremih on “Out of My Head”; the slurry, decayed cadences on “Delicious,” calling to mind Travis Scott or Swae Lee.

但着实将“Pop 2”推向本场风格突围运动最前沿的,是它的炮制手法——那关键归功于PC Music的祖师爷A.G. Cook,他到场了有着文章的创设。在这么些集体刚刚成军的时候,小编已经对她们艺术高校之流尝试的那叁个富于感官激情的奇怪风格以为疑虑。但随着他们越是多地吸收Web 1.0作风(音乐人Jerome英雄联盟定义的音乐风格,灵感来自早先时代网络),他们的著述风格也越加有生机(一种忧虑的、一丝不苟的风行今后主义)。“Pop 2”极具现在感,更令人喜欢的是,它神奇地融入了千古二十年来习以为常古怪的电子乐:Rustie/HudMo推崇的合成器极繁主义风格、Aqua/DJ Sammy一类心理奋发的九十时代中期亚洲重打击乐风格(Eurodance)、CrystalCastles的哥特电子风格(goth electro)、日本盛行乐坛超级制作人中田康贵情深意重的涩谷系风格(指Perfume小说“Perfect Star Perfect Style”)、Cher “Believe” 的品格、以及布兰妮从“Blackout”到“Britney姬恩”所尝试的全体风格。对于明日的流行歌星来讲,引用嘻哈音乐创设手法已然是不以为奇,但讽刺的是,那些产品十有八九无法很好的玉石俱摧原有风格,制作人往往甩出多少个Metro Boomin(U.S.音乐人,协笔者富含Future、Travis 斯科特、德雷克、Migos、Young Thug、Big Sean)式节拍和808合成器音色来草草结束。但Charli和A.G. Cook却很通晓他俩所追求的职能:多少人爵士乐文章(posse cut)“I Got It”的双重句段相比较Migos的“Versace”多了几分异星氛围;“Delicious” 中含混晦暗的圆润顿挫令人回看Travis Scott和Swae Lee ;“Out of My Head”中叫人别开生面的和弦如Jeremih“Late Nights”般撩人。

   

The strangest and most uncannily similar stylistic comparison to Pop 2, though, is former “Teen Mom” Farrah Abraham’s outsider opus, My Teenage Dream Ended. Sweepingly ridiculed as one of 2012’s worst albums, that judgment, five years later, feels wildly narrow-minded. It is a baffling work, to be sure: frantic layers of dubstep, EDM, witch-house, and breakbeats seem to run in the opposite direction as Abraham’s absurdly AutoTuned narratives about surviving the death of her husband. (In a recent interview, the album’s producer, Frederick M. Cuevas, admits that Abraham recorded her diaristic lyrics before ever hearing the music.) After my first full spin of Pop 2, I couldn’t shake the thought: “This sounds like Farrah, but good.” The album’s vocal processing is unlike anything I’ve heard in pop; Cook’s aggressive, evocative filtering has the paradoxical effect of heightening the humanity of it all. On “Lucky,” the tape’s saddest, wildest song (whose title cannot be understood without an implicit nod to Britney, whose own “Lucky” was her first of many explorations of the soul-sucking side-effects of stardom), Charli’s voice warps from anthropomorphic pan flute to rogue AOL dial-up tone to primal scream from the soul. When she sings, “You got no reception, you’re breaking up,” her voice gently stutters like it’s just out of service range, a subtle but brilliant touch.

对于“Pop 2”来讲,最古怪、最特别地的风格比较,大致要数前M电视真人秀“Teen Mom”明星Farrah 亚伯拉罕的跨界之作“My Teenage Dream Ended”。那张小说被世家作弄为二〇一一年最烂专辑之一,在三年后看来这么的主张就好像十一分狭隘。诚然,那是一张叫人疑心的创作:由dubstep、EDM、witch-house、breakbeats构成的纷纷声响档案的次序就好像与亚伯拉罕走出亡夫阴影的专辑宗旨并肩前进。另外,亚伯拉罕的声线被修音到近似的荒唐地步(在方今一回采聚焦,专辑制作人FrederickM. Cuevas承认,早在谱写音乐前,亚伯拉罕就曾经录好了他日记般的歌词 *意即亚伯拉罕的歌声差非常少完全重视前期制作)。首次听完“Pop 2”,笔者的脑海展示了二个挥之不去的念头:“那听上去仿佛进级版的Farrah”。那张专辑的人声管理有别于作者听过的任何流行小说。库克极具侵袭性、叫人浮想联翩的人声滤镜反倒彰显了带有个中的心性,发生了一种自相抵触的法力。在那张文章最忧郁、最萧疏的戏码“Lucky”中(要是不能够精通里面蕴藏的对布兰妮的远瞻就不能确实驾驭这几个题目,同名歌曲“Lucky”是Britney索求巨星名望反噬灵魂副成效的开始尝试),Charli的鸣响声犹在耳扭曲变形——从拟人化的排箫到奇异的拨号上网提示音到发自灵魂的原始野性尖啸。当她唱到:“您的复信号相当/正在活动挂机”时,她温柔的响动开端结巴,就类似真的抢先了非非确定性信号范围,这些处理特别微小,但却是神来之笔。      

But the tape’s best moment is saved for last. Unceremoniously titled “Track 10,” the song glitches into focus as if beamed in from interstellar broadband. Charli’s hyper-filtered melodies float over a celestial synth choir, building into a densely-layered collage of her own voice, howling at the moon until their vocal chords go ragged. Halfway through, the track explodes into ecstatic drums and vocal effects from Lil Data, a PC Music artist who uses a program called TidalCycles to compose via code. Far from the pristine perfection of PC Music’s early releases, there’s something a bit messy about the whole thing—a sense of humanity, beaming plainly from its hyper-synthetic surroundings, that feels like a revelation.

那张小说最地道的片段被留到了最后。那首被唐突地命名叫“Track 10”的著述在故障音中慢慢聚集,就如赶上星际的广播日常。Charli被高度修饰的歌声浮于有如仙乐的合成器乐段之上,她用自身的声息营造了三个档案的次序复杂的声部,对月吟啸直至声嘶力竭。文章中途(3分44秒处起先)发生出的鼓声和人声出自Lil Data之手,那位PC Music旗下的明星运用一款堪当TidalCycles的主次编码谱曲。相比较一丝不苟的刚开始阶段创作,PC Music前段时间的著述多了一分凌乱、一分人性,那分人性在高度合成化的音响氛围中艳光四射,有如一道启示。

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