2007 年，孙燕姿加盟新东家百代唱片后，推出了第 10 张个人专辑《逆光》，由李偲菘与李伟菘这对黄金搭档操刀，孙燕姿本人也参与制作，在音乐上既有对以往风格的延续，又不乏令人眼前一亮的新鲜元素。专辑同名主打歌《逆光》与另一抒情主打《我怀念的》皆以钢琴和弦乐衬托出燕姿刚柔并济的唱腔，是她一直以来最游刃有余的风格。此外，在《梦游》中加入古典室内乐的元素，在《爱情的花样》中挑战略带狂野气质的摇滚，而在《咕叽咕叽》中又添上一段俏皮的英文说唱，这都让人们看到了燕姿在音乐上的大胆尝试。

Ditching your aesthetic (hairy noise-rock troupe) in favor of its polar opposite (neatly groomed pop-dance trio) is a sure way to get some pre-release hype, but the transformation of Chromatics has been so effortless that it's still easy to be wowed by the results. Those who caught the swooning glide of the Chromatics' "Nite" single last year-- or their contributions to the After Dark compilation earlier in 2007-- won't be shocked by the similarly sleek Night Drive (aka IV). But listeners who are only familiar with the band's forays into shambling punk will certainly be surprised by Night Drive's assured songwriting (which would wow even if the band had been chasing this narcotic Eurodisco sound for years) and how it wrings ravishment out of electro moves that should be long-drained of their charms.
Credit some of this to Johnny Jewel-- Chromatics member, one half of Glass Candy, and the economical production whiz/secret weapon in the much-feted Italians Do It Better camp. I have no idea how duties on Night Drive were divvied up between Jewel, founding member Adam Miller, and vocalist Ruth Radalet. But you can certainly hear all of the IDIB trademarks: doleful disco-punk guitars (the menacing clang of "Healer"), starkly monochrome synth patches (especially gorgeous on the bumping goth club slow-jam "Let's Make This a Moment to Remember"), watery keyboard progressions (ditto), and exploitation flick arpeggios ("Tomorrow Is So Far Away"). Even as they've dumped the genre's sonic baggage, Chromatics have retained punk's taste for spare arrangements, but drawing on overripe Moroder-style dance music and early 1980s synth melancholia makes for some sumptuous spare arrangements.
Of course, sumptuous production is often not enough, especially if all you're doing is cloaking a dead heart in good taste. But while the languorous, mid-tempo Night Drive may sway like it's half-drugged, its heart is still beating, thank you very much. The record opens with a female voice (presumably Radalet) dialing her lover as the club rats scatter home from their nights out, and when she winsomely closes the call by telling him that she loves him, she proves that (however much she comes across like a cutie pie version of Nico) she's no ice queen. Even when she sounds half-tranquilized, it's Radalet that adds the very necessary soft touch to all those implacable sequencers. Throughout Night Drive, whether at a kittenish whisper or a husky, longing sigh, her cauterized range fits the band's vision of disco recast as heartsick pop. And even when wholly instrumental on "The Killing Spree"-- forget the title, the sinister descending keyboard fuzz does a perfect job evoking a murderous robot sci-fi flick on its own-- the band uses what could be sterile pastiche to pull your strings. Tastefully.
Night Drive's peak is the rightfully praised cover of Kate Bush's "Running Up That Hill", where the band shifts the focus of the (already minimal) arrangement onto three sour keyboard notes and a dapple of guitar. Radalet sounds like the school wallflower trying on the queen of frou frou art-pop, her unsteady hold on Bush's delivery cracking into a yearning coo at the chorus (about as demonstrative as she gets), making for the only moment on the record where the band really lets their emotional guard down. Haters and fans alike often call this neo-disco stuff "cold" and "dark," but I think that's just code for "not kitschy" (on the plus side) or maybe "not emotionally open enough" (on the minus side). But while Night Drive might not be warm, it does feel intimate, like a 3 a.m. ride home, where you're not alone but exhaustion and intake have made talking impossible, the city is silent, and the traffic patterns are as comforting and regimented as a drum machine click track. One of those moments, to paraphrase Ms. Bush, when you should be crying, but you'll be damned if you let it show.
-Jess Harvell, October 11, 2007

2006 年，蔡健雅把东西交融的音乐背景、对音符曲词的热爱、金曲奖“最佳女歌手”的桂冠和对国语乐坛广阔天空的希冀装入行李箱，离开新加坡远走他乡。2007 年，在她的华语音乐新乐土台湾，她推出了《Goodbye & Hello》。这张专辑一如既往地追寻着美好感情的丝丝线索，探求着人与人彼此慰籍的命题。动人的音符和真切的情感令它在 2008 年一举得到台湾第 19 届金曲奖 7 项提名，蔡健雅也再次摘得“最佳国语女歌手”桂冠。

<末日警钟 毁灭.新生 Minutes to Midnight>专辑主题跟以往联合公园所触及的创作主题比起来显得特别深沉、格外引人省思，但却也自我唤醒我们每一个人的危机意识。专辑标题<Minutes to Midnight>想要表达出的其实就是『世界末日钟(Doomsday Clock)』的概念！『世界末日钟（Doomsday Clock）』是源自于美国二次世界大战时期，当美国在日本长崎及广岛投下两颗原子弹之后，在1974年由一群芝加哥大学研究原子科学的科学家们(Board of Directors of the Bulletin of the Atomic Scientists at the University of Chicago)所一起创立的概念。科学家们以『世界末日钟(Doomsday Clock)』这个虚拟的定时器，来警惕人类将因过度使用核武，而导致自我灭亡。而「Midnight」午夜所代表的就是灭亡时刻。在二次世界大战之后，由于核武疯狂急速地发展，世界末日钟的时针一度被推进到距离代表世界末日的午夜不到15分钟的时间，甚至在1960年代美苏冷战、核武竞争时期，时针还曾被推进到只剩3分钟(11点57分)。目前在经过前前后后18次调整之后，在核武、天气异常、及环境污染的影响之下，世界距离毁灭的午夜时分也只剩五分钟的时间。主唱查斯特(Chester Bennington)表示：「创立这个末日钟的目的就是要提醒世人，虽然人类拥有巨大力量，但当这股毁灭性力量反扑之时，我们都该仔细思考这股威力带来的严重影响，转眼之间世界末日已进入倒数计时。这个极具争议性的主题，在几年前我们是完全不会触及的，当年我们在制作『混合理论(Hybrid Theory)』专辑时，我是团里最年长的，但年纪也只有23岁，当时的我们不觉得这个议题十分重要，但现在的我们却认为它跟我们息息相关。这张专辑所比喻的「午夜」的概念，不单单只有指涉地球遭到人类破坏的这种巨观层面，同时也映像出联合公园自我的微观层面。「午夜」所代表的『终结』同样也呼应联合公园在音乐上面的改变，因为所有和联合公园一同成长的信徒们，将在这张最新专辑里发现联合公园的全新面貌，过去大家所熟悉的联合公园将毁灭消失，联合公园将以崭新姿态解构重生。