It was on a mountainside in Cumbria that the first whispers of Cate Le Bon’s fifth studio album poked their buds above the earth. “There’s a strange romanticism to going a little bit crazy and playing the piano to yourself and singing into the night,” she says, recounting the year living solitarily in the Lake District which gave way to Reward. By day, ever the polymath, Le Bon painstakingly learnt to make solid wood tables, stools and chairs from scratch; by night she looked to a second-hand Meers — the first piano she had ever owned —for company, “windows closed to absolutely everyone”, and accidentally poured her heart out. The result is an album every bit as stylistically varied, surrealistically-inclined and tactile as those in the enduring outsider’s back catalogue, but one that is also intensely introspective and profound; her most personal to date. This sense of privacy maintained throughout is helped by the various landscapes within which Reward took shape: Stinson Beach, LA, and Brooklyn via Cardiff and The Lakes. Recording at Panoramic House [Stinson Beach, CA], a residential studio on a mountain overlooking the ocean, afforded Le Bon the ability to preserve the remoteness she had captured during the writing of Reward in Staveley, Lake District. Over this extended period a cast of trusted and loved musicians joined Le Bon, Khouja and fellow co-producer Josiah Steinbrick — Stella Mozgawa (of Warpaint) on drums and percussion; Stephen Black (aka Sweet Baboo) on bass and saxophone and longtime collaborators Huw Evans (aka H.Hawkline) and Josh Klinghoffer on guitars — and were added to the album, “one by one, one on one”. The fact that these collaborators have appeared variously on Le Bon’s previous outputs no doubt goes some way to aid the preservation of a signature sound despite a relatively drastic change in approach. Be it on her more minimalist, acoustic-leaning 2009 debut album Me Oh My or critically acclaimed, liquid-riffed 2013 LP Mug Museum as well as 2016s Crab Day, Cate Le Bon’s solo work — and indeed also her production work, such as that carried out on recent Deerhunter album Why Hasn’t Everything Already Disappeared? (4AD, January 2019) — has always resisted pigeonholing, walking the tightrope between krautrock aloofness and heartbreaking tenderness; deadpan served with a twinkle in the eye, a flick of the fringe and a lick of the Telecaster. The multifaceted nature of Le Bon’s art — its ability to take on multiple meanings and hold motivations which are not immediately obvious — is evident right down to the album’s very name. “People hear the word ‘reward’ and they think that it’s a positive word” says Le Bon, “and to me it’s quite a sinister word in that it depends on the relationship between the giver and the receiver. I feel like it’s really indicative of the times we’re living in where words are used as slogans, and everything is slowly losing its meaning.” The record, then, signals a scrambling to hold onto meaning; it is a warning against lazy comparisons and face values. It is a sentiment nicely summed up by the furniture-making musician as she advises: “Always keep your hand behind the chisel.”

◎两位嘻哈界才气纵横高手二度携手出辑 ◎英国卫报满分推崇：「坦率且十足耀眼的嘻哈之作」、NME不仅满分力捧，直接将此作誉为「2019年最佳饶舌专辑」 ◎好友Pusha T、Killer Mike、Anderson Paak、Yasiin Bey、Black Thought情义相挺 【关于Freddie Gibbs】 来自美国印第安纳州，本名Fredrick Jamel Tipton的Freddie Gibbs，早在2006年就已签入环球唱片旗下，录製好首张专辑后，却遭逢内部改组而不幸解约。4次提名葛莱美的饶舌大将Young Jeezy让Freddie进入自创品牌CTE World之中，陆续交出多张Mixtapes，却又再度成为无约艺人。Freddie乾脆自创ESGN厂牌，2013年终于如愿送上处女秀《ESGN》，后续分别于2015和2017年发行《Shadow Of A Doubt》、《You Only Live 2wice》两张作品，也在告示牌流行榜上寻获踪迹！ 【关于Madlib】 集DJ、混音师、製作人、多项乐器演奏家、饶舌歌手…等身分，来自加州本名Otis Jackson Jr.的Madlib，曾陆续操刀Erykah Badu、De La Soul、Mos Def、Snoop Dogg、Kanye West、Anderson Paak、Ghostface Killah等大明星/团队的作品。2000年代开始，算密集的于独立厂牌推出作品，其风格从嘻哈、饶舌到爵士、雷鬼、放克、迷幻、电子…等领域无所不包，也体验这位才子多元的音乐尝试与实验精神！ 【关于Bandana】 自2014年的《Piñata》之后，Freddie Gibbs和Madlib二度合作发表《Bandana》，精彩呈现80年代老学院嘻哈之声，不忘带入现代嘻哈衬入，撞击出无比正点的街头律动！英国卫报满分推崇：「坦率且十足耀眼的嘻哈之作」、NME不仅满分力捧，直接将此作誉为「2019年最佳饶舌专辑」，其馀传媒：滚石杂志(4/5)+AllMusic(4.5/5)+Exclaim!(9/10)+Pitchfork(8.1/10)…都一面倒的送上高度评价！直奔美国流行榜第21名+英国节奏蓝调榜NO.10席次。没有庞大的合作阵容，但是仍有好友Pusha T、Killer Mike、Anderson Paak、Yasiin Bey、Black Thought情义相挺！ (内无附原文歌词)

If you'd claimed just a few years ago that Shura would make an album exploring "all that love is', few would have been as surprised as Aleksandra Denton herself (nicknamed Shura at a young age). Ever since the 2014 viral hit 'Touch' - and it's stunning video in which Shura, crucially, ended up alone - an impassioned global fanbase have awaited another record of heartbreak anthems. And when Shura started work on 'forevher', she did so at her most tired and homesick, setting up shop in Minneapolis at the close of a two- year tour cycle for her debut album, 'Nothing's Real'. Here, "religion (u can lay your hands on me)' - along with the seeds of the Minneapolis sound - eventually became a lynchpin for the rest of the album. Just as importantly, it was in Minneapolis that Shura began talking to her current girlfriend online. 'forevher,' then, is a record born from a budding romance, covering everything from the initial pull of desire, to the giddy joy of nally being together, to recognising the moment when the connection develops from lust into something scarily meaningful. Here is a classic London-to-NYC love story, but one told through the lter of dating apps and Skype chats. And whilst how to live - and love - as a queer woman has always been integral to Shura, it's remarkable to hear these stories twisted through such a gorgeous amalgam of in uences: Joni Mitchell and Minnie Riperton, Bon Iver and Frank Ocean, Prince and Ariel Pink. Through these inspirations, Shura's own modern, outlier perspective found a newer, more daring approach to sound and song. The luxurious groove of "side effects' shakes off the shackles of past love, chie y saying goodbye "to that more anxious iteration of me. I don't miss her.' "religion (u can lay your hands on me),' meanwhile, is an unabashedly queer sex-jam - free of guilt, long-term future, and faith itself. As the album progresses, so too does the relationship deepen, with the risks and rewards getting greater and greater. 'forevher' is an album that feels the fear and does it anyway: "princess leia' considers the fact real love means having so much more to lose. Elsewhere, "BKLYNLDN' looks at romantic longing through the lens of texts, anxiety-inducing silences, and what presence and absence really means in today's relationships. The record closes on the epic "skyline,' which builds to an explosive crescendo before levelling out to peace in a way that evokes some of the lusher, linear moments on Frank Ocean's 'Blonde'. For Shura, this soundtracks not only her nal relocation to New York but also a much deeper journey as an artist and young woman. 'forevher' feels the same as it's creator: a little sharper, a little wiser.

At first listen, The Practice of Love, Jenny Hval’s seventh full-length album, unspools with an almost deceptive ease. Across eight tracks, filled with arpeggiated synth washes and the kind of lilting beats that might have drifted, loose and unmoored, from some forgotten mid-’90s trance single, The Practice of Love feels, first and foremost, compellingly humane. Given the horror and viscera of her previous album, 2016’s Blood Bitch, The Practice of Love is almost subversive in its gentleness—a deep dive into what it means to grow older, to question one’s relationship to the earth and one’s self, and to hold a magnifying glass over the notion of what intimacy can mean. As Hval describes it, the album charts its own particular geography, a landscape in which multiple voices engage and disperse, and the question of connectedness—or lack thereof—hangs suspended in the architecture of every song. It is an album about “seeing things from above—almost like looking straight down into the ground, all of these vibrant forest landscapes, the type of nature where you might find a porn magazine at a certain place in the woods and everyone would know where it was, but even that would just become rotting paper, eventually melting into the ground.” Prompted by an urge to find a different kind of language to express what she was feeling, the songs on Love unfurl like an interior dialogue involving several voices. Friends and collaborators Vivian Wang, Laura Jean Englert, and Felicia Atkinson surface on various tracks, via contributed vocals or through bits of recorded conversation, which further posits the record itself as a kind of ongoing discourse. “The last thing I wrote, which was my new book (forthcoming), had quite an angry voice,” says Hval, “The voice of an angry teenager, furious at the hierarchies. Perhaps this album rediscovers that same voice 20 years later. Not so angry anymore, but still feeling apart from the mainstream, trying to find their place and their community. With that voice, I wanted to push my writing practice further, writing something that was multilayered, a community of voices, stories about both myself and others simultaneously, or about someone’s place in the world and within art history at the same time. I wanted to develop this new multi-tracked writing voice and take it to a positive, beautiful pop song place... A place which also sounds like a huge pile of earth that I’m about to bury my coffin in.” Opening track “Lions” sets the tone for the record, both thematically and aesthetically, offering both a directive and a question: “Look at these trees / Look at this grass / Look at those clouds / Look at them now / Study this and ask yourself: Where is God?” The idea of placing ourselves in context to the earth and to others bubbles up throughout the record. On “Accident” two friends video chat on the topic of childlessness, considering their own ambivalence about motherhood and the curiosity of having been born at all. “She is an accident,” Hval sings, “She is made for other things / Born for cubist yearnings / Born to Write. Born to Burn / She is an accident / Flesh in dissent.” What does it mean to be in the world? What does it mean to participate in the culture of what it means to be human? To parent (or not)? To live and die? To practice love and care? What must we do to feel validated as living beings? Such questions are baked into the DNA of Love, wrapped up in layers of gauzy synthesizers and syncopated beats. Even when circling issues of mortality, there is a kind of humane delight at play. “Put two fingers in the earth,” Hval intones on “Ashes to Ashes”— “I am digging my own grave / in the honeypot / ashes to ashes / dust to dust.” Balanced against these ruminations on love, care and being, Hval employs sounds that are both sentimental and more than a little nostalgic. “I kept coming back to trashy, mainstream trance music from the ’90s,” she says, “It’s a sound that was kind of hiding in the back of my mind for a long time. I don’t mean trashy in a bad sense, but in a beautiful one. The synth sounds are the things I imagined being played at the raves I was too young and too scared to attend, they were the sounds I associated with the people who were always driving around the two streets in the town where I grew up, the guys with the big stereo in the car that was always just pumping away. I liked the idea of playing with trance music in the true transcendental sense, those washy synths have lightness and clarity to them. I think I’m always looking for what sounds can bring me to write, and these synths made me write very open, honest lyrics.” Though The Practice of Love was, in some sense, inspired by Valie Export’s 1985 film of the same name, for Hval the concept of love as a practice—as an ongoing, sustained, multivalent activity—provided a way to broaden and expand her own writing practice. Lyrically, the 8 tracks present here, particularly the title track, hew more closely to poetic forms than anything Hval has made before. (As evidenced by the record’s liner notes, which assume the form of a poetry chapbook.) Rather than shrink from the subject or try to overly obfuscate in some way, Love considers the notion of intimacy from all sides, whether it be positing the notion of art in conversation with other artists (“Six Red Cannas”) or playing with clichés around what it means to be a woman who makes art (“High Alice”), Hval’s songs attempt to make sense of what love and care actually mean—love as a practice, a vocation that one must continually work at. “This sounds like something that should be stitched on a pillow, but intimacy really is a lifelong journey,” she explains, “And I am someone who is interested in what ideas or practices of love and intimacy can be. These practices have for me been deeply tied to the practice of otherness, of expressing myself differently from what I’ve seen as the norm. Maybe that's why I've mostly avoided love as a topic of my work. The theme of love in art has been the domain of the mainstream for me. Love is one of those major subjects, like death and the ocean, and I’m a minor character. But in the last few years I have wanted to take a closer look at otherness, this fragile performance, to explore how it expresses love, intimacy, and kindness. I've wanted to explore how otherness deals with the big, broad themes. I've wanted to ask big questions, like: What is our job as a member of the human race? Do we have to accept this job, and if we don’t, does the pressure to be normal ever stop?” It’s a crazy ambition, perhaps, to think that something as simple as a pop song can manage, over the course of two or three minutes, to chisel away at some extant human truth. Still, it’s hard to listen to the songs on The Practice of Love and not feel as if you are listening in on a private conversation, an examination that is, for lack of a better word, truly intimate. Tucked between the beats and washy synths, the record spills over with slippery truths about what it is to be a human being trying to move through the world and the ways—both expected and unexpected—we relate to each other. “Outside again, the chaos / and I wonder what is lost,” Hval sings on “Ordinary,” the album’s closing track, “We don’t always get to choose / when we are close / and when we are not.”

We took our time to craft it with love and we're very proud of how it came together. This album was mixed quietly so it sounds warmer and more natural. Be sure to turn the volume up!

莱昂纳德·科恩去世后的首张专辑，也是他的第15张录音室专辑，将于11月22日在全球发行。新专辑叫做《感谢伴我共舞》（Thanks for the Dance)，共9首歌，总时长29分17秒。--- LeonardCohen中文站

Simbi Ajikawo, crowned Little Simz, let's her work do the talking - and her prolific releases and boundary-breaking achievements clearly tell a story of a pioneering Hip Hop artist who leads the way on her own terms. Giving lauded, energetic performances, critically acclaimed albums, sold-out headline shows around the world, and international tours with the likes of Gorillaz, Anderson.Paak and Ab-Soul, this visionary 24 year old woman from North London is living out her childhood dreams to heights of excellence - and inspiring her generation to do the same.

A ‘one-reeler’ also entitled ANIMA will be available to watch exclusively via Netflix from 8am BST on June 27. The one-reeler, made by Paul Thomas Anderson, is set to three tracks from Thom’s new album. ANIMA was written by Thom Yorke and produced by Nigel Godrich. The album features 9 tracks, with an extra track exclusively on vinyl. ANIMA will be available on CD, black double vinyl, limited edition orange double vinyl, and a deluxe 180g heavyweight orange double vinyl which includes a 40-page book of lyrics, and drawings done in pencil by Stanley Donwood and Dr Tchock.

Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

Sharon Van Etten’s Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage. "I wrote this record while going to school, pregnant, after taking the OA audition,” says Van Etten. "I met Katherine Dieckmann while I was in school and writing for her film. She’s a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City, she said ‘you're going to be fine. Your kids are going to be fucking fine. If you have the right partner, you’ll figure it out together.'” Van Etten goes on, “I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show Tig. She goes on, “The album title makes me giggle. It occurred to me one night when I, on auto-pilot, clicked 'remind me tomorrow' on the update window that pops up all the time on my computer. I hadn't updated in months! And it's the simplest of tasks!” The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. “I was feeling overwhelmed. I couldn't let go of my recordings - I needed to step back and work with a producer.” She continues, “I tracked two songs as a trial run with John [Jupiter 4 and Memorial Day]. I gave him Suicide, Portishead, and Nick Cave's Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It’s going to be challenging for people in a good way." The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium. The demo version of “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty”, it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Van Etten shows the chain reaction, of moving to a city bright-eyed and hearing the elders complain about the city changing, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis, who sang on a demo version when the song was in its infancy. Since her last album, Van Etten has had a young son, and family life is joyful. Preparing and finishing these songs, she found herself expressing deep doubts about the world around him, and a complicated need to present a bright future for him. “There is a tear welling up in the back of my eye as I’m singing these love songs,” she says, “I am trying to be positive. There is strength to them. It’s— I wouldn’t say it’s a mask, but it’s what the parents have to do to make their kid feel safe.” Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She’s continuing to act, to write scores and soundtrack contributions, and she’s returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

A huge return from Sam Shepherd as Floating Points with Crush, his first album in four years and his first with Ninja Tune. It twists whatever you think you know about him on its head again. Available as a limited Indie Shop Exclusive Edition - 140g black vinyl housed in an glossy sleeve with exclusive alternate cover art. Artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’. Download code included. A tempestuous blast of electronic experimentalism with some of Shepherd’s heaviest, most propulsive tracks yet, nodding to the UK bass scene he emerged from in the late 2000s, such as the dystopian low-end bounce of previously shared striking lead single ‘LesAlpx’ but also some of his most expressive songs with his signature melancholia. It’s the sound of the many sides of Floating Points finally fusing together: the carefree selector, the considered composer and the passionate label curator. Standard LP: 140g black vinyl housed in a glossy sleeve with artwork printed inside and out, 4 page A4 booklet featuring a score of album track ‘Birth’. Download code included. CD: CD in card digipack with fold-out booklet featuring a score of album track ‘Birth’. Artwork by Hamill Industries.

Nick Cave & the Bad Seeds return with the new double album Ghosteen. The album was recorded in 2018 and early 2019 at Woodshed in Malibu, Nightbird in Los Angeles, Retreat in Brighton and Candybomber in Berlin. It was mixed by Nick Cave, Warren Ellis, Lance Powell and Andrew Dominik at Conway in Los Angeles. Ghosteen is the seventeenth studio album from Nick Cave and The Bad Seeds, following 2016’s Skeleton Tree, and will be released via Ghosteen Ltd. Nick Cave - vocals, piano, synthesizer, backing vocal Warren Ellis - synthesizer, loops, flute, violin, piano, backing vocals Thomas Wydler - drums Martyn Casey - bass Jim Sclavunos - vibraphone, percussion George Vjestica - guitar Speaking on the red hand files website, Nick answered a request from a fan with the surprise announcement; Dear Joe, You can expect a new album next week. It is called Ghosteen. It is a double album. Part 1 comprises of eight songs. The Spinning Song Bright Horses Waiting For You Night Raid Sun Forest Galleon Ship Ghosteen Speaks Leviathan Part 2 consists of two long songs, linked by a spoken word piece. Ghosteen Fireflies Hollywood The songs on the first album are the children. The songs on the second album are their parents. Ghosteen is a migrating spirit. Love, Nick

A huge return in these parts from one of our most favourite voices. The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen. + Available whilst stocks last on a limited crystal clear vinyl edition. Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance. “In every way —from the making of it, to the words, to how I feel moving forward— this record is about owning up to your darkest side,” Olsen said. “Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realizing that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.”

On House of Sugar, his third full-length for Domino and ninth overall, (Sandy) Alex G inhabits a diverse range of musical and emotional points-of-view (often simultaneously), in turn illuminating the tension that hides in the shadow of desire. Giannascoli began writing these songs in the fall of 2017, having just finished a tour for House of Sugar’s acclaimed predecessor, Rocket, and moved into a new apartment in Philadelphia. Whereas with earlier efforts, such as 2011’s self-released Winner or the landmark 2014 release DSU, he’d write numerous songs fairly quickly, with House of Sugar Giannascoli worked at a steadier pace, concentrating on fewer songs and laboring over each one more than before. Throughout the process Giannascoli worked closely with Jacob Portrait, who mixed both Rocket and its predecessor, 2015’s Beach Music, and here helped to balance each of House of Sugar’s dense, multi-faceted tracks. As the product of extended focus and planning, House of Sugar emerges as Giannascoli’s most meticulous, cohesive album yet: a statement of artistic purpose, showing off his ear for both persistent earworms and shifting textures.

Purple Mountains is the new nom-de-rock of David Berman from the Silver Jews. Purple Mountains is also the name of what will be known as one of his greatest albums – full of double-jointed wit and wisdom, up to the neck in his special recipe of hand-crafted country-rock joys and sorrows that sing legendary in cracked and broken hearts. The songs are produced impeccably by Woods’ Jarvis Taveniere and Jeremy Earle, buffed up like a hardwood floor ready to be well-trod upon for an evening of romance and dance. Berman’s songwriter’s bone’s never been laid more bare, either – if redemption doesn’t come on the lyric sheet, the act of putting these songs into singing, dancing form allows them their nest end – to provide infotainment for others, embodying moments of life and truth via music that elevates with disarming warmth and a reassuring commonality, even as David himself stands outside the communal campfires.

多白金格莱美唱作才女，朱诺奖及全美音乐奖得主Carly Rae Jepsen释出两首单曲“Now That I Found You” 以及 “No Drug Like Me”，两首歌均由Carly参与创作，其中“Now That I Found You”由制作/混音三人组Captain Cuts“（Halsey，Chainsmokers）制作，“No Drug Like Me”由格莱美提名制作人John Hill（Imagine Dragons，Demi Lovato）以及Jordan Palmer挎刀制作。随着两首新单的释出，Carly Rae Jepsen的新作也将于今年问世。 一首钻石金曲“Call Me Maybe”让乐迷认识并喜爱上了Carly Rae Jepsen，狂揽47个地区iTunes榜首并全球销量超过2000万首，这样傲人的成绩也为Carly赢得了格莱美“年度单曲”及“最佳流行独唱歌手表演”提名认证。随后，Carly Rae Jepsen在全球声名鹤起。2015年，Carly Rae Jepsen的流行专辑《E*MO*TION》收获了包括《TIME》，《Entertainment Weekly》，《Pitchfork》等在内众多媒体的一致嘉赞并列入“2015年度流行专辑”，专辑中包括了耳熟能详的白金单曲“I Really Like You”。之后的一年，作为粉丝礼物的《E*MO*TION Side B》专辑同样登上iTunes Top 10，取得了不俗的成绩。 Carly Rae Jepsen，曾在2014年的百老汇舞台剧《罗杰斯与汉默斯坦的灰姑娘》(Rodgers & Hammerstein’s Cinderella)中担任主角，后来又在福克斯电视台(FOX)四次获得艾美奖的音乐剧《油脂:现场秀》(GREASE: LIVE)中饰演具有代表性的粉红女郎人物Frenchy。而近两年，Carly还涉猎影视动画，在动画片《LEAP!》中担任配音。动画中的插曲《Cut To The Feeling》被评论家们誉为“2017年热门歌曲”并纷纷出现在《Rolling Stone》、《Pitchfork》、《Billboard》、《Noisey》等杂志的“年终最佳”榜单上。如今，在“Now That I Found You” 以及 “No Drug Like Me”释出前的去年底，Carly已发行了她自己非常喜欢的单曲《Party For One》。