事先说明一下：翻译之前我先大致看了好几家的乐评，发现乐评的大致风格是评价性的表达非常多，并且有相当一部分都是非常本土的表达。直接翻译成中文很有可能造成表达不顺、以及言不达意等等问题，所以在翻译的时候我会适当进行转换处理。
译文追求的目标有两个：一个是尽可能贴近中文表达习惯，保证中文的语言质量。所以某些英文特有的表达我会直接换成中文的对等说法，还有一个是原文的感情色彩给表现出来，毕竟乐评最重要的就是它的评价。
原文和译文都会给出来，要是大家觉得有什么不对的地方欢迎指正。
目前只翻了婊×和滚石两篇。剩下的我会慢慢翻

没人吗

首先是婊×
评分7.9 甜味剂是8.1
Released five months after thecatharsis of Sweetener, these songs of affirmation feel lighter,freer, and more fun, carried effortlessly by Grande’s undeniable voice.
在情感升华的《甜味剂》发行五个月后，葛朗台用她的天籁之音轻松唱响了肯定之音，只是这次更加轻盈自由，也更加有趣。
In 2016, Ariana Grande manifested herself a future scandal. It was the premise of her self-aware monologue as a first-time host on “SNL,” but the gag was cutting. “Ithink I’m in a place where I’m ready to be caught in a real adult scandal,something to take my career to the next level,” she said. By that point, threeyears into her chart-topping musical career, her only offense of note had been licking a bunch of donuts. Grande continued, over a bed of lounge piano: “Miley’s had’em, Bieber’s had ’em, everyone’s had ’em, and each day, I sit by my window andI dream, ‘What will my scandal be?’” She was joking, but not really. A couple ofyears earlier she’d suggested as much in a New York Times interview: “Maybe one day I’ll get away with something naughty.”
亚丽安娜·葛朗台早在2016年就预言了她在未来将要面临的流言蜚语。所有的一切都始于她第一次做客“周六夜现场”时的一段内心留白：“我觉得我已准备好面对成人式的丑闻了，并因此迈入职业生涯的下一阶段。”节目组删掉了这一段发言。那时，她的音乐生涯才开始三年，却已成为Billborad榜头的常客。而她唯一值得一提的丑闻只有甜甜圈事件。她当时继续说道：“麦莉有过丑闻，比伯也有，所有人都有。我每天都坐在窗边想，前方会有什么等着我呢？”虽然亚丽安娜当时不过在开玩笑，却也带着几分认真。更早几年，她在接受纽约时报采访说：“说不定我能劫后余生呢。”

Of course, Grande couldn'tpossibly have known back then what exactly was in store for her, how difficultand cruel the world would prove to be. After confronting the aftermath of adeadly attack on the Manchester stop of her 2017 Dangerous Woman tour, she retreated, reemerging a year later with newresolve. The story of her personal2018 is a little too familiar now: She broke up with Mac Miller, quickly and very publicly became engaged to Pete Davidson, andthen called that relationship off while grieving Miller’s death. In the midstof it all was Sweetener, a potent album that soundtracked her newfound role as pop'smost lovable personality. With Rihanna focused on makeup and lingerie, Beyoncépreoccupied as the better half of the Carters, and Taylor unwilling to shareanything beyond an entry-level grasp of politics, Grande ascended.
当然，那个时候葛朗台对前方的狂风暴雨一无所知，也毫不了解世道的艰辛残酷。2017年，一场致命恐袭席卷了“危险尤物”巡演曼彻斯特站的舞台，她亲自出面处理了后续事宜。随后她淡出公众视野，又带着新的决心回归。她在2018年的感情颠簸对我们也不再陌生：她先是和马克·米勒分手，随后飞速而高调地和皮特·戴维森订婚，但最后婚约却因她为马克·米勒的逝世心碎而不了了之。在一切的风波当中，专辑《甜味剂》问世。这张强大的专辑用歌声铭刻了她做为新生流行歌手最打动人心的特质。蕾哈娜此时还沉迷于彩妆和内衣事业，碧昂斯仍以卡特夫妇半身的形象面对公众，泰勒还不愿对政治发表一句评论，亚莉安娜·格兰特从天而降。

In retrospect, Sweetenerwas a bridge, a necessary post-tragedy assertion of survival and strength. Incontrast, thank u, next, released just five months later, feels like thedeliverance following Sweetener's catharsis. When she put outthe title track as asingle last fall, it felt like something had finally clicked. She’d not only survived a real adult scandal, but she’d alsocracked it, and herself, wide open. She was untouchable. That seems to be theethos of thank u, next, which stands out in sublime contrast to herprevious releases. There are no wonky guest features or unconvincing, if alwaystechnically adept, ballads, as on past albums; she no longer needs thosedistractions. But as usual, it’s Grande’s voice—gently whistling here, totallyannihilating there, always undeniable—that carries the album.
现在回首再看，《甜味剂》是张过渡专辑，是创伤过后对仍旧存活和仍有余力的再三确认。而五个月后发行的《谢谢，下一个》则截然相反，继《甜味剂》对情感的净化之后，她更像是随之而来的情感释放。去年秋天，她空降了专辑的同名曲，并似乎就此打开了什么东西的开关。她不仅从成人式的丑闻中存活了下来，还给了它迎头一击，并就此放飞了自我。她不再任人亵玩。这似乎成为了整张专辑精神内核，并与她以往的专辑形成了强烈反差。这张专辑不再有别的歌手参与，也不再有炫技却流于表面的抒情曲。这些东西毫无必要，还干扰人心。但一如既往的是她的歌声成就了整张专辑，她时而飙个哨音，时而飙个冲击性极强的高音，令人难以抗拒。

The release of “7 rings” as a singlelast month brought scandal anew. She was immediately accused of both theft and appropriation, and an unfortunate misspelled tattoo punctuated the episode. And while she kinda-sorta engineeredher own absolution in the form of a 2 Chainz remix, Grande’s collaborators on the song—Victoria Monét and TaylaParx—are also her longtime friends and co-writers, not simply anonymous voices hired because black slang andAtlanta rap rhythms are trendy. In general, thank u, next is a calling card for Monét and Parx, both signedartists with forthcoming projects of their own, who have helped Grande capturethe zeitgeist in clever lines and melodies. (Almost too perfectly, “thank u,next” producer Tommy Brown is co-writer Monét’s ex.) But “7 rings,” frankly, is just as good as any track on thelast album or this one. I suspect it was actually the jarring shift in her tonethat left people confused and disarmed; It seemed she’d ditched the inspiringmoral high ground, luxuriating instead in Tiffany's jewelry and pink VeuveClicquot.
上个月，《7 rings》作为单曲发行，风云再起。有人马上就指责她抄袭和文化挪用，她手上拼错的日语纹身更是火上浇油。她随后和歌手2-chainz合作，发行了《7 rings》的混音版本，算是稍微平息了风波。这首歌中，格拉德的合作人Victoria Monét 和 Tayla Parx可不只是为了赶黑人俚语和亚特拉大rap潮流而请来的无名之辈，她们是葛朗台的莫逆之交和联合作曲家。《谢谢，下一位》就像是Monét 和Tayla Parx出道名片一样，她们帮葛朗台在歌词和旋律中抓住了当下潮流，且将于不久发行他们自己的音乐作品。（无独有偶，《谢谢，下一位》单曲的制作人Tommy Brown是Monét的前任）但坦诚而言，《7 rings》在这两张专辑中并不十分出彩。风格上的强烈转变让人不知所措。在这首歌里，她似乎懒得再严守激励人心的道德高地，转而醉心于Tiffany珠宝和粉色凯歌香槟的奢华。

Though thank u, next’s12 songs are inspired by romantic and sexual relationships, taken together,they are actually assertions and affirmations of self, a reflection ofmillennial group chats the world over. “needy” is a therapist’s dream: “You cango ahead and call me selfish/But after all this damage, I can’t help it.” Theextended space-metaphor of “NASA” is The-Dream-lite by way of Kacey Musgraves, executed in good faith.
尽管《谢谢，下一位》中的十二首歌曲是在浪漫和性关系中孕育而生，但她们共同为自我发声肯定，反映了世界各地千禧一代的共同心声。《needy》是在梦里的自我疗伤：“你可以得寸进尺，指责我自私/事已至此，我已无法自拔。”《NASA》延展了“空间”这一隐喻，正是Kacey Musgraves对The-Dream歌曲的善意诠释。

Soul singer Wendy Rene’s “After Laughter (Comes Tears),” most famously sampled by Wu-Tang on the heartbreaking “Tearz,”is cleverly repurposed into “fake smile,” possibly thank u, next’s mostcompelling song and the thesis of this current era in Grande’s life. “I can’tfake another smile/I can’t fake like I’m alright/And I won’t say I’m feelingfine/After what I been through, I can’t lie,” she sings in reclamation.
“After Laughter(Comes Tears)”一曲由灵魂乐手Wendy Rene创作，这首歌最广为人知的采样成就了歌手Wu-Tang的心碎之作《Tearz》。而这次，亚丽安娜变换了这段采样原有的主旨，编入了《fake smile》开头。这首歌或许是这张专辑中最吸引人心的曲子，也是葛朗台最近这段人生的总结。她在歌声中一再感慨：“我不能再假笑了/我不能再假装万事大吉/我也不会再说我感觉还好/我已历经风雨，再也无法说谎。”

There are more high pointsthroughout—the soaring hook on the Max Martin classic “bad idea,” the slinky emotional honesty of “ghostin,” thedelightful Beyoncé facsimile “make up”—but it’s still the album’s existence atall that thrills. The gentle familiarity of Grande’s musical references makesfor effortlessly digestible, of-the-moment pop songs, but they’re elevated by apalpable despair that sits just below the surface. Beyond her four-octavesoprano and robust wielding of it, thank u, next is buoyed by an urgency thatcould only come from the depths of her self-described “damage.” That it comesso soon after an already-spectacularly received album only swells the effect.
专辑之中还有许多亮点，比如Max Martin经典式编曲而成《bad idea》中高亢的副歌，《ghostin》中婉转情深的坦诚，《make up》对碧昂丝风格的模仿，但真正震撼人心的却是专辑本身。葛朗台的音乐引人共鸣，是当下正火的流行风格，而潜藏在这表层之下的绝望感又将表层之上的一切升华。葛朗台在专辑中将她横跨四个八度的音域运用得出神入化，但除此之外，真正令人为之振奋的地方却是专辑的匆忙问世，而正是她受到的深深伤害令一切显得如此匆忙。“《甜味剂》大获成功，《谢谢，下一位》又在如此短时间内出世，这无疑加速了她的大爆。”

Grande explained in a recent Billboard interview that her motivation is “to release music like rappersdo”—without the burden or unwieldiness of the major label machine, butcertainly with much of its power. For all its spontaneity, thank u, nextstill registers as a big event. She has bragged that the album was written in a week and recorded in a couplemore, and while that expediencygives it its weightlessness, it also accounts for the occasional notes ofsloppy writing; I can’t get past, for example, the premise of “bloodline,”which seems to confuse genealogy with hypothetical procreation. But in the rarespots where the production is grating and the writing limp, Grande makes up forit with skill and intuition. thank u, next may be an imperfect albumbut it’s a perfect next chapter.
葛朗台在最近Billboard的一次采访中表示，她想要“像rapper一样发歌”—即搁置他们签约公司厂牌的制约，做真正展现出自身力量的歌曲。尽管《谢谢，下一位》的一切都具有偶然性，但这张专辑的问世仍旧是她的一件大事。葛朗台也有炫耀过，他们只在一个星期里写完了所有歌，制作时间也不过几星期。所以尽管情有可原，但这的确能够说明，这张专辑在作词上的不足：比如，我无法理解，为何《bloodline》将血缘关系和性幻想中的交媾混为一谈。但就算这张专辑有少许制作和作词的纰漏，葛朗台也能运用技巧和天分弥补。《谢谢，下一位》作为音乐专辑可能不算完美，但她仍旧为葛朗台翻开了下一章的完美人生。

支持惹

婊×完
然而还是没人
好糊子

历害

支持了，大工程