对于“夜开始时的舞池即兴”，明亮、烦躁的"Kill V. Maim"是一个典型的例子。拉拉队一样的反复呼喊、掀翻屋顶的节奏，都结束于强劲的庆祝似的vocal fry呐喊（气泡音/低音）。
The former is exemplified by the bright, anxious "Kill V. Maim", with its mocking cheerleader chant over blown-out beats and Boucher working both ends of her register in a propulsive celebration of vocal fry.

新专 5.8预定

"Flesh Without Blood"也是一样，这首歌是2015年最甜蜜的玩意，强调了Boucher不止能发出在专辑《Visions》里有机会展示的声音。这首歌是Boucher 在吃 Miley打包的午饭，但愿这首歌有无穷无尽的体育馆EDM remixes.
Same for "Flesh Without Blood", which is the sweetest ****-off of 2015, one that highlights that there is much more to Boucher's voice than Visions ever had a chance to reveal. The song is Boucher eating the lunch that Miley packed, may it be #blessed with infinite stadium-EDM remixes.

这次的先行真是一言难尽，感激力量都吊打这几首了

支持！！！

几年了一直忘了下

GKD！

有没有啥大佬推荐类似风格的专辑？

后《Art Angels》时代，大概不会有人拒绝Boucher写的歌：这是一张专辑，也是一张简历。一个写下了"California"的人，一定也可以为“marquee Nashville” 写出跨界的热单吧。"Easily" 也提示未来她可能会与Kesha共同写歌。
Post-Art Angels, it's hard to imagine anyone will reject a Boucher-penned cut: This is an album, but it's also a resume, and someone who made "California" could certainly be making crossover hits for any marquee Nashville name, while "Easily" suggests that Kesha co-writes should be in Boucher's future.

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而“夜结束时的舞池即兴”的编排，展现了Grimes作为制作人的精湛和工整。"Realiti"、 "Venus Fly" with Janelle Monáe, 、 "Butterfly" 让她和另一群音乐人比肩。确实，她像Monáe和 Annie Clark一样都是音乐的主创，但是纯粹从流行音乐制作人的角度，她娴熟和聪明得像是在 Top 40行列，像是Greg Kurstin 或者 Diplo。
The late-night closers and their arrangements are where Boucher shows her mastery and discipline as a producer. "Realiti", "Venus Fly" with Janelle Monáe, and "Butterfly" give her a new set of peers: Sure, she's there with collaborator Monáe and Annie Clark as an auteur, but purely as a pop producer she's as deft and clever as anyone we consider a master of Top 40 craft—be it Greg Kurstin or Diplo.

这专商业水平怎样，属于小众另类的风格🐴

楼主下一张翻什么

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