P4K BNA Kali Uchis ORQUÍDEAS 乐评&翻译

With a lavish new album, the Colombian American singer serves up lush ballads about protecting your peace and sizzling reggaeton to disturb it.

这位哥伦比亚裔美国歌手的新专辑内容丰富，既有关于保护和平的抒情歌曲，也有让人热血沸腾的雷鬼音乐。

In the video for “Te Mata,” a highlight from her resplendent new album Orquídeas, Kali Uchis embodies the ritual cruelties and delights of life as a femme fatale. The visual is grainy and textured, unmistakably Almodóvarian with its vivid, saturated color palette, high drama, and vintage glam. She vamps in an ivory, crystal-encrusted mermaid gown. She throws a cordless phone handset through a window. She shoves glass bottles off a table in a fit of rage. She cries a single tear in a baby-blue robe and matching lace bra, her eyes framed by immaculately feathered lashes. She chuckles when an anonymous hand presses a revolver to her forehead.

Kali Uchis 的新专辑《Orquídeas》中有一首名为 "Te Mata "的歌曲，在这首歌的视频中，Kali Uchis 展现了作为一个 "女魔头 "生活中的残酷和乐趣。画面颗粒感十足，质感十足，鲜明的阿尔莫多瓦风格，饱和的色调，强烈的戏剧性，复古的华丽。她身着镶嵌水晶的象牙色美人鱼长裙，妩媚动人。她把无绳电话听筒扔到窗外。她怒不可遏地将玻璃瓶从桌上扔下。她穿着婴儿蓝的长袍和配套的蕾丝胸罩，眼睛被完美无瑕的羽毛状睫毛衬托，哭得一滴眼泪都没有。当一只无名的手将左轮手枪抵在她的额头上时，她笑了。

“Te Mata” is a supreme example of Uchis’ gift for crafting universes of revenge, infatuation, and sorrow. As she’s released more Spanish-language music in recent years, including her 2020 LP Sin Miedo (del Amor y Otros Demonios) ∞, Uchis has sharpened that vision, securing chart hits along the way. On Orquídeas, she writes another instruction manual for baddie behavior, where women are encouraged to stuff toxic exes into the trunks of their cars and loaf the day away in red-glitter bustiers and platform heels. But the album is also a reflection of the capaciousness of diasporic music. Despite the overwhelming commercial success of bilingual artists of Latin American descent, our corporate music industry overlords still find it impossible to believe a major label singer might thrive making original music in both Spanish and English. Like Selena Quintanilla before her, Uchis proves them wrong.

"Te Mata "是乌奇斯精心打造复仇、痴情和悲伤世界的绝佳范例。近年来，乌奇斯发行了更多西班牙语音乐作品，包括 2020 年发行的专辑《Sin Miedo (del Amor y Otros Demonios) ∞》，她的音乐视野更加开阔，并在排行榜上屡获佳绩。在《Orquídeas》这张专辑中，她写下了另一本 "坏女人 "行为指南，鼓励女性把毒舌前男友塞进汽车后备箱，穿着闪着红光的半身裙和高跟鞋闲逛一整天。不过，这张专辑也反映了散居地音乐的宽广胸怀。尽管拉美裔双语歌手在商业上取得了巨大成功，但我们的企业音乐产业霸主们仍然无法相信，一个大唱片公司的歌手可以同时用西班牙语和英语创作原创音乐。就像之前的塞莱娜-金塔尼拉（Selena Quintanilla）一样，乌奇斯证明他们错了。

Much of Orquídeas reprises the shimmering daydreams Uchis is known for, luxuriating in background harmonies and synth arpeggios that feel like they’re enveloped in charmeuse fabrics. “Young, Rich & in Love,” “Diosa,” and “Perdiste” were designed to play in the background while you bathe in a clawfoot tub full of milk and rose petals. “Heladito” is a lovely return to form; longtime fans will recognize the doo-wop melodic sensibility and pure longing of Uchis’ 2015 Por Vida EP—though she nods to a new era, singing, “No soy pop star pero si soy internacional.”

《Orquídeas》的大部分歌曲都重现了乌奇斯擅长的闪亮白日梦，背景和声和合成器琶音让人感觉就像被包裹在细腻的面料中一样奢华。"Young, Rich & in Love"、"Diosa "和 "Perdiste "是专为在充满牛奶和玫瑰花瓣的浴缸中沐浴时播放的背景音乐。"Heladito "是一次可爱的回归；老歌迷会认出乌奇斯2015年发行的《Por Vida》EP中的嘟-op旋律感和纯粹的渴望--尽管她向新时代致意，唱道："No soy pop star pero si soy internacional"。

The first third of the record is so uniformly luxurious that the songs are almost hard to distinguish. But the synth-pop glitter bomb “Igual Que Un Ángel” is a beaming exception, its cherubic hook a sure shot for TikTok virality. Over a funky bassline and prismatic chimes, Uchis and the mulleted corrido prince Peso Pluma sing about a woman who never falls prey to superficial love. Pluma’s nasal vocal tones layer effortlessly over the groove, unlocking a new superpower. Uchis’ vocal performance across the record represents a leap forward too: 12 years ago, she possessed the more limited—but still soulful—range of a lounge singer; now she stretches her voice to a fluttering whistle register on “¿Como Así?”

这张唱片的前三分之一是如此千篇一律的奢华，以至于歌曲几乎难以区分。不过，合成器流行音乐闪光弹《Igual Que Un Ángel》是个例外，它的小天使式歌词一定会在 TikTok 上引起轰动。在时髦的基调和棱镜般的钟声中，Uchis 和唢呐王子 Peso Pluma 唱出了一个从不为肤浅的爱情所迷惑的女人的故事。Pluma 的鼻音毫不费力地叠加在旋律上，释放出一种新的超能力。乌奇斯在整张专辑中的演唱也是一次飞跃：12 年前，她的音域比较有限，但仍然是一位深情的休闲歌手；现在，她在 "¿Como Así? "一曲中将嗓音延伸到了飘逸的口哨音域。

When she dives into Latin American idioms, Uchis is unstoppable; Latina mode is absolutely on. For “Te Mata,” the Colombian American returns to bolero after first exploring the style via her La Lupe and Los Zafiros covers from Sin Miedo. Women bolero singers have been entrenched in cultural memory as hysterical, abject divas, but with “Te Mata,” Uchis joins a growing wave of young artists reinterpreting the form as an expression of power. Over a gentle Spanish guitar and jagged string arrangements, Uchis sings of being cast as the “diabla” in a selfish lover’s story, only to realize she’s much better off without him (the kicker: he finds her newfound autonomy so painful it might kill him). Though she’s not as much of a vocal powerhouse as La Lupe, Uchis’ smoldering performance is still gorgeous, channeling the wounded desperation and hard-earned freedom of the women who came before her.

当乌奇斯涉足拉美音乐时，她的拉丁模式绝对是势不可挡。在 "Te Mata "一曲中，这位美籍哥伦比亚人在翻唱了《Sin Miedo》中的 La Lupe 和 Los Zafiros 之后，又回到了波莱罗舞曲中。博莱罗女歌手在文化记忆中一直是歇斯底里、卑微的女歌手，但通过《Te Mata》，乌奇斯加入了越来越多年轻艺术家的行列，重新诠释了这种表达力量的形式。在轻柔的西班牙吉他和参差不齐的弦乐伴奏下，乌奇斯唱道自己在一个自私的情人的故事中被塑造成 "diabla"，但后来发现没有他她会过得更好（更有意思的是：他发现她新发现的自主权是如此痛苦，以至于可能会杀了他）。虽然乌奇斯的唱功不如拉露佩，但她的表演依然华丽，将前辈女性受伤后的绝望和来之不易的自由演绎得淋漓尽致。

After sad-girl hour, though, it’s time for Uchis to scorch the earth in an old-school reggaeton blaze. Built on an updated instrumental of Andy Boy and DJ Blass’ “Dem Bow,” “Muñekita” recruits El Alfa and City Girls’ JT for three and a half minutes of knee-injuring perreo magic, fueled by Kali’s feline purrs, El Alfa’s twittering breakdown, and JT’s staggering levels of shade. It’s got a delicious collection of one-liners; I highly recommend adding “sana, sana, colita de rana, bitch” to your arsenal of slander. “Labios Mordidos,” which features fellow paisa Karol G, is a sapphic ode to a dancefloor diosa who’s as sweet as arepas de choclo; its kicks are harsh, its moans are orgasmic, and its lyrics are devilishly coy.

不过，在 "悲伤女孩 "一小时之后，乌奇斯就该用老派雷鬼音乐炙烤大地了。《Muñekita》以安迪男孩和 DJ Blass 的《Dem Bow》为基础，加入了 El Alfa 和 City Girls 的 JT，在 Kali 的猫咪咕噜声、El Alfa 的叽叽喳喳和 JT 的惊人嗓音的衬托下，为我们带来了三分半钟让人膝盖受伤的 Perreo 魔力。它的单口相声非常精彩，我强烈推荐将 "sana, sana, colita de rana, bitch "加入你的诽谤武库。"Labios Mordidos "由同为舞者的 Karol G 献唱，是一曲献给舞池中像甜甜圈一样甜美的舞者的蓝宝石颂歌；它的踢腿声尖锐刺耳，呻吟声令人高潮迭起，而歌词则邪恶而腼腆。

The ventures into new genres are thrilling, too. “No Hay Ley Parte 2,” a refresh of the 2022 single, adds a smutty dembow riddim to the original ’90s house production, courtesy of superstars Tainy, El Guincho, Jam City, Ovy on the Drums, and Geeneus. The new rendition also includes a verse of come-ons from Puerto Rican playboy Rauw Alejandro. His dirty talk is a fitting accompaniment to Uchis’ breezy hook; along with the added reggaeton percussion, it elevates “No Hay Ley” to a blissful crest.

对新流派的尝试也令人激动。《No Hay Ley Parte 2》是 2022 年单曲的升级版，在原版 90 年代 House 制作的基础上，加入了性感的 dembow riddim，由超级巨星 Tainy、El Guincho、Jam City、Ovy on the Drums 和 Geeneus 联手打造。新版本中还加入了波多黎各花花公子劳乌-亚历杭德罗（Rauw Alejandro）的一段荤段子。他的荤段子与乌奇斯轻快的歌词相得益彰，再加上雷鬼打击乐，将《No Hay Ley》提升到了一个幸福的顶点。

On closer “Dame Beso // Muévete,” Uchis indulges in ’90s merengue. True to form, she puts her own pleasure at the thematic center of the song, and you can practically picture a frosty Presidente in your hand, the sweat dripping down your back as Los Toros Band and Toño Rosario hits blast from a speaker. Halfway through, the band picks up the pace into a full-on perico ripiao; it’s an unexpected party trick and exuberant send-off engineered for Saturday-morning cleaning efficiency.

在最后一首歌《Dame Beso // Muévete》中，乌奇斯沉醉于 90 年代的梅伦格舞曲。她将自己的快乐作为歌曲的主题中心，你几乎可以想象出手握冰镇总统牌啤酒，背上汗水淋漓，扬声器里传来洛斯托罗斯乐队和托诺-罗萨里奥的音乐。歌曲进行到一半时，乐队加快了节奏，变成了全场perico ripiao；这是一个意想不到的派对小把戏，也是为周六上午的清洁效率而设计的热情洋溢的欢送仪式。

Uchis has built her entire repertoire on stories of seduction and anguish, fantasies where women and femmes can be as bad as they are tender. On “Me Pongo Loca,” she spells out this naked truth: “Digo que a mí me vale cero/Pero tampoco soy hecha de hielo” (“I say that I don’t care at all/But I’m not made of ice either”). On Orquídeas, the Kali Uchis Doctrine of Reina Ideology—in which drop-dead goddesses never need to text back—is more potent than ever. Most importantly, the sound of Orquídeas represents the fluidity of being a diaspora kid—even if the suits will never get it.

乌奇斯的全部作品都是关于诱惑和痛苦的故事，幻想中的女人和女性可以是坏的，也可以是温柔的。在 "Me Pongo Loca "一曲中，她道出了这个赤裸裸的事实："Digo que a mí me vale cero/Pero tampoco soy hecha de hielo"（"我说我根本不在乎/但我也不是冰做的"）。在 Orquídeas 中，卡利-乌奇斯的 "Reina 意识形态学说"--"死掉的女神永远不需要发回短信"--比以往任何时候都更加有力。最重要的是，Orquídeas 的声音代表了散居海外的孩子的流动性--即使那些西装革履的人永远不会明白这一点。

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