The NYC band’s first album in seven years is sluggish and slight, rendering their signature sound as background music.

Hype. It's a bitch. Ascending mediocre bands to heights of unwarranted popularity, and smacking the truly great down to ...

《First Impressions of Earth》是The Strokes乐队加入RCA之后的第二张专辑，也是乐队的第三张正式专辑。专辑在美国发行第一周的销量为8万8千张,在本周Billboard 200专辑榜中的排名却与《Room on Fire》持平，名列本周第四位。在本周Billboard 200专辑榜中的排名却与《Room on Fire》持平，名列本周第四位。
在专辑的制作方面，The Strokes仍和包办了前两张专辑的老搭档Gordon Raphael继续合作，顺理成章的就是，The Strokes在音乐上不仅再次延续了之前的复古曲风，而且更是将乐队擅长做的旋律华的精彩的Riff发挥得淋漓尽致。无论是开篇曲目《You Only Live Once》，还是打榜单曲《Juicebox》，或是《Razor Blade》，The Strokes标志性的Riff都贯穿始终，而创作核心Julian Casablancas也再次包办了其中大多数的歌曲。

Yeah Yeah Yeahs已有相当大的进步——从他们同名EP那附庸风雅却又美妙的垃圾朋克，一直到Machine中直逼人心的紧迫感。《Fever to Tell》是乐队的第一张专辑（也是张标有Parental Advisory的专辑），乐队在专辑中的表现也同样显示他们的不断成长，但也显示这个组合开始不再完全拥有他们过去的一些特点。在时间利用效率上，他们的EP会是很好体现差异的范例，在乐队从前发行的EP中，噪音、旋律、混沌以及歌曲的总体结构所占的份额都在这个15到20分钟里安排得相当平衡。似乎乐队需要一张EP的时间限制来给他们的专辑限制界限——或许37分钟，因为《Fever to Tell》确实在几个不同的时段里听起来有点散漫而单调。这个问题主要是归结于差劲的专辑排序——乐队以他们所能录制出的最粗鲁最狂暴的声音作为专辑开篇，却又一下子转变成没完没了的实验以及优美的民谣作品——嘲讽的是，这种突然的转变就象这张专辑是他们有意把两张EP硬生生的拼起来的一样。乐队无论是崭新的一面还是延续以前的一面，都有非凡卓越——也有令人沮丧的时刻。
《Fever to Tell》的不足之处（象No No No，听起来冗长又罗嗦的一首朋克单曲，还捎加实验元素，不过这种实验音乐听起来有点笨拙。）也许他们应该从以前EP里拿来一些尝试过又获得成功的单曲，但这么做对于象Yeah Yeah Yeahs这种机敏善变的乐队来说无疑会让他们陷入停滞。事实上，他们在如此之短的时间内能够炮制出那么多的歌——尽管这只是他们的处女作——这张专辑听上去好象乐队正处于转型期；Yeah Yeah Yeahs也已经从根本上去重新思考他们音乐的发展。总而言之，《Fever to Tell》可能会让你觉得有些失望，但和EP中的好歌对于乐队成长的影响比起，专辑会显得更有价值，而这张专辑也无不证明就算Yeah Yeah Yeahs的音乐处于摇摆不定的阶段，但他们仍是一支令人激动的乐队。

A short, sharp twelve track album of sensual, fresh, and atmospheric songs.

Japanese edition of 2001 album includes three bonus tracks (all previously released as UK B-sides), 'Joline', 'Handsprings' & 'Hotel Yorba' (Enhanced Video). 19 tracks.

回顾Black Rebel Motorcycle Club（以下简称BRMC）过往的所有录音室专辑，你会发现一个尴尬而又奇怪的现象：他们的专辑得到的评价始终褒贬不一，有人给出高分，就有人贬得一文不值。如今，面对他们的新作《Specter At The Feast》，这种情况依然存在。
但实际上，你能从这张作品中听出他们过往各个时期的特点——节奏平缓的开篇曲《Fire Walker》遥望了首张专辑《B.R.M.C.》；曲风激进的《Teenage Disease》和《Rival》是对《Take Them On, On Your Own》的回溯；《Howl》中的美式根源元素在此次的《Some Kind Of Ghost》、《Lullaby》等民谣作品中得以展现；《Hate The Taste》仅凭节奏就可以将人带回《Baby 81》时期；《Sell It》则是对上张专辑《Beat The Devil’s Tattoo》实验曲风的再扩大。
细心聆听你会发现，新专辑在整体节奏上更趋于平缓，慢歌所占的比重比前作更大，Robert Levon Been担任主唱的曲目也更多，这一切均源于Robert的父亲、同时也是乐队调音师Michael Been在2010年的离世。为了表达对其的敬意，乐队此次特意在专辑中翻唱了Michael原先乐队The Call的代表作《Let The Day Begin》，其意义不言自明。
此外，BRMC这次依然延续了每张专辑必有一首长篇曲目的传统，长达8分多钟的《Lose Yourself》以舒缓的节奏、伤感的气息为专辑收尾，Robert在其中唱道：“Close your eyes, and skip what you dream……Send your touch, but you can’t feel a thing.”这是献给其父的一曲挽歌，也是专辑中最让人动容的时刻。

'Blood Pressures' is the fourth studio album from post-punk duo The Kills. Following up 2008's 'Midnight Boom', Alison Mosshart and Jamie Hince produce music brimming with attitude and style, typified in single 'Satellite', which is packed full of Hince's fuzzy guitar lines and dual vocals, creating an intense, smoky atmosphere. Mosshart's vocal work is as distinct and intoxicating as ever, while musically the band have become more dynamic and fierce.

倒车入库成军于2013年的年底，因主唱里凤偶然在云林路边的烧烤摊被吉他手阿恺搭讪而组成。曲风偏向车库与油渍摇滚、后庞克、Lo-Fi 低传真，粗糙的吉他，单纯的低频，庞克的鼓击，初期的作品皆是在空仓库由手机录制，不修边幅、粗糙杂乱，这是倒车入库最初期的样貌。随着成员变革，编曲上变的更纯粹，调整吉他的调性加了更多空间感与毛边、贝斯增强颗粒感，人声的音色挂上了仿廉价扬声器的效果，风格逐渐成形定案
专辑发想来⾃自乐团对⽣生活⿊黑暗⾯面的描绘，⼀间存在于每个⼈心中潮湿且⿊暗的房间，是属于⾃我逃避的最佳角落，如此疲惫不堪却无所适从。这样的⼼心房诉说着悲伤、愤怒、希望破灭、终临 绝望，使⾃⼰消耗殆尽。从复古扬声器的回响中，敲击逐渐失去温度的⼈们，一同置身于内⼼潮湿暗房，点燃并且耗尽最后⼀丝火花，脱下了沉重的疲惫枷锁得到释放，即便成为寓⾔故事中的悲剧英雄也在所不惜。

Happily colliding with the new craze for a back to basics aesthetic, the Kills rough-edged, blues-rooted sound got an abnormally unanimous thumbs-up from the UK’s press in particular. Said NME: “Anyone with a love of The Velvet Underground, Patti Smith and ill-rock in general will find plenty to gorge on here. In a world over-run with careerists, The Kills’ desire to be outsiders means there’s a glow to their dischord that you’d do well to bathe in.” Mojo hailed it as “a testament to the unstoppability and violence of human desire,” while quality nationals like The Times and The Observer heaped further praises thereon.
Always into updating The Velvet Underground’s idea of a rock band encompassing all areas of Art and Life – the total experience – they toured incessantly, including a memorable support slot with Primal Scream, for 18 months making the most of the freedom that their micro-operation afforded.
In early 2004, the hangover wore off, and they soon set themselves a target of completing their second album by the end of June. To that end, they withdrew from the distractions of London, repairing for a month to sleepy Benton Harbour, Michigan.
“It’s a total ghost town,” says Alison, “about an hour and a half from Chicago. There’s nothing there at all. These kids there have bought a huge abandoned building on Main Street, and done it out with an amazing recording studio.”
Jamie: “We took all this stuff with us – mini-discs of us talking, guitar riffs, thousands of little tiny bits of paper, typewriters, paint and art books and journals from the past year. To start with, we weren’t thinking about songs, we were just talking about all the things that inspired us over the last months. We spent the first few days just looking at those, talking, getting into the right psyche with it. It was the perfect place to get away from it all. You’d walk and not see any glass for ten minutes. Everything was boarded up, like a dead world, then we’d go back into our HQ of art and music and ideas.”
Alison: “We wrote the whole record in two and a half weeks, then we took a train to Chicago, then got a plane the same day to New York. Two days later, we started recording at Sear Sound in Midtown, two weeks, day and night. It’s this brilliant, weird place run by an old couple, who started out in the ’50s making soundtracks for porn movies. We gave ourselves no time to sit back and think what we were doing.” As Jamie elaborates, “People have got so obsessed with the whistles and the bells that they’ve forgotten what they’re calling for. It’s about setting mics up and getting a good natural sound and that’s what we tried to work with”.
“The day after we finished recording, we mixed it for a few days. Then we had a two-day break, then we mastered. Then we didn’t listen to it at all for two weeks, went out and became more human again, spoke to people, saw New York, and then we came home. In all we had three months away. We went from no songs to a finished record in 47 days.”
Called ‘No Wow’, it is if anything a more minimal record even than their debut. “Last time,” recalls Jamie, “everyone said about the album that it was just skin and bone, that there was no fat on it. With this one, we wanted to get rid of the skin and bone and get right to the heart. Every song is just a little pumping heart.” The title itself is derived from a “heart racing, goose flesh, tears in our eyes conversation about what we were going to do with this band”, the duo had on the day Alison relocated to London four years ago. Discussing New York in the late 60’s, Pop Art, the Beat poets, the emergence of both punk and disco, in contrast to today’s desperate concerns about “being down to earth”, they reached the same conclusion. There was just “no wow” anymore….
Early on, he’d intended to make the record radically different by writing and playing all his parts on a Moog keyboard, which didn’t get repaired in time for Benton Harbour. He did, however, buy a cheap old pre-programmable drum machine, which you can hear ticking and thumping away on forthcoming single, ‘The Good Ones’ and several others, aiming as he was “for the low end of Giorgio Moroder”.
Where the ’60s pop art explosion fired them last time out, ‘No Wow’ is, for its creators, a tracing of the lineage between CBGB’s and Studio 54, exploring the turbulent years in New York when punk turned into disco. Hence, the drum machine. Sound-wise, guitar reverb was kept to a minimum. Jamie: “We wanted everything right there in the speakers, dry and bare.” A lot of time was spent experimenting with guitar sounds and tunings. The axe weirdness of ‘Sweet Cloud’ comes not from a common-or-garden FX pedal, but a Capo clip, with cigarettes wedged under the strings to tune them down.
Lyrical inspiration came from all over the place. ‘The Good Ones’, the first single from the album, tells a familiar tale. Adapted from a Kills diary entry, the song catalogues the craving for and consequent desperate pursuit of that elusive good time. One song is about a day they spent on HMS Intrepid. Others were put together almost like collages of words that they’d cut out from magazines and letters – part of the whole Benton Harbour blitz. ‘Back Of The Shell’ was inspired by a visit to Myers Supermarket out there.
Jamie: “It’s like the midwest Wallmart, really trashy. We went there on a break from the studio to buy food and wine. Nothing happens there at the weekend, so Myers is the only place the young people can go. They all turn up dressed to nines, hair done up, wearing jewelry and incredible clothes, and most of them really overweight. It was so screwed up. So we just wrote a story about that, like a couple coming in, fucking in the back of the gas station, and 15 years later, they’re looking at each other, like, ‘Jesus, that was one teenage fuck in a gas station and I’ve been living in a world of TV dinners ever since’!”
Single contender Love Is A Deserter was a late inclusion on the album. “We finished the record in New York but I didn’t feel we were finished”, says Jamie. “It came out of a thing I’d written in my journal about love and passion. People talking about love being the most important thing in the world but it’s kind of overrated. I was looking at these homeless guys and I wondered what keeps them from throwing themselves off a bridge. It’s not love, because love’s just deserted them. Love is this coward that runs away but passion will stay with you”.
Once the album was done, the duo moved to a house in North London which will act as their HQ, with a recording/rehearsal studio, space to do art and ample room to throw parties. Their vibe is ultra-positive, their relationship as complicated and mysterious as ever, their shared vision undimmed.
Jamie: “We still feel exactly the same. There’s no way of saying it that makes what we’re doing sound as important as it is for us. We want to create our own scene. – maybe not to be immediately appreciated and blown up, but to accumulate, so that people can look back and see we did a lot, and made a difference.”

For the first time in 40 years, here it is in dangerously powerful MONO, exactly as it was intended: the stupefying debut album by Texas' heroic psychedelic point-men, the 13th Floor Elevators, on Sundazed's uncannily accurate high-definition vinyl! The unearthly banshee howl of Roky Erickson, the blistering guitar of Stacy Sutherland and the demented electric jug of Tommy Hall haven't sounded this scary since their glory days in the third eye of the lysergic hurricane!

Carl Barât & The Jackals have announced their debut album Let It Reign.
The first album from The Libertines' co-frontman's new band is released on February 16, 2015 via Cooking Vinyl Records.
The album was recorded in LA and London and was produced by Joby J Ford.

Black Monk Time is the debut studio album by Germany-based American rock band The Monks. It was released in May 1965 through Polydor Records and was the only album released during the band's original incarnation. The album's subversive content was radical for its time and today is considered an important landmark in the development of punk rock.

The White Stripes是近年来大为成功的新晋乐队之一，在去年的格莱美奖评选中他们共获得了4项提名，这是他们的第6张专辑，据说也是乐队历史上最夸张的一张唱片。The White Stripes最大的特色就是音乐植根于乡村音乐，却与车库摇滚完美结合，被誉为最具现代气质、创作理念最先进的的摇滚乐队之一。

2008 digitally remastered two CD set from the infamous underground rockers prepared and mastered by founder member, Wayne Kramer. Featured tracks include the original, uncensored version of 'Kick Out The Jams' recorded in 1968, the original 'A Square', the single version of 'Looking At You' and a previously unreleased version of 'Sister Anne' featuring Lemmy, recorded at the 100 Club, London in 2003. Liner notes provided by founder members Michael Davis and Dennis Thompson. 25 tracks in all. Landmark

Jack sings with a sometimes soaring, sometimes abrasive abandon that shows he really means the lyrics he's singing. Combine that with his fierce, dirty, reverb-soaked guitar playing and Meg's powerfully minimal start/stop drumming, and you've got a rock band that is primal, melodic, punk and sophisticated all at once. 17 tracks of blissful noise.