Music for the permanent exhibition at the In Flanders Fields Museum, Ypres, Belgium. In late 2011 tindersticks were commissioned by the In Flanders Fields World War One museum in Ypres, Belgium to provide the soundscape for the new permanent exhibition being planned to commemorate the centenary of the Great War and beyond. Ypres was the epicenter of the Western Front in The Great War and was virtually destroyed by the conflict. It has since been rebuilt to its original plans, finished only relatively recently. The museum is housed in the rebuilt cloth hall that stands in the centre of the town and was once the hub of the towns industry. Hundreds of thousands died in Ypres and the surrounding area. Allied cemeteries and graves are everywhere. It is overwhelming. Though in keeping with the perspective of the new museum a need to bring the essence of the experience to a personal level felt crucial. To somehow loosen it away from the images we have all become accustomed to. A deep connection and inspiration for the work was found in the quiet, dignified German memorial garden of Vladslo and Kathe Kollwitz’ famous ‘Grieving parents’ statue that resides there. The work is an evolving soundtrack to the vistors journey through the exhibition. Its aim was to become the sound of the air within the museum, never to be over bearing. This journey is punctuated by private comtemplative spaces where the score was allowed to become more poetic. Given that buildings are known to be highly individual, the spaces within them resonating differently, it was felt that the building itself resonated to the key of F. The starting point for the music became a musical cluster of E flat, F and F sharp. Stuart Staples and Dan McKinna worked closely together to compose the work. Recording the score, with its ever variable bar lengths and being void of vibrato was a tense day, presided over by long time collaborator, orchestra leader: Lucy Wilkins. The orchestral recordings were made at the Church in Crouch End, London and were then taken back to Le Chien Chanceux studio in France to prepare for the installation. A beautiful bank holiday weekend in May 2012 was spent meticulously building the soundscape for every individual space, for each step through the museum. This music was never created to be a stereo image as the various components were mixed together in the individual spaces of the exhibition. A second wave of studio work yielded this version. The music in the museum itself loops seamlessly all day, everyday. It is music without a beginning , middle or end.

In January 2016 Tindersticks will release their new album The Waiting Room, a milestone not just numerically, but musically and creatively. Their first studio album since 2012 s critically acclaimed The Something Rain is the most ambitious, diverse and elaborate album you ll have heard from Tindersticks in recent years. 2 decades into their musical voyage these masters of restraint and poetic human emotion, are a band now confidently making the best songs of their career. The Waiting Room' breathes gravity and features guest appearances by Jehnny Beth of Savages and a particularly poignant duet with long time friend of Stuart Staples and Canadian legend, Lhasa De Sela. CD Gatefold w/16pg booklet

美式本格Indie Rock传人Kurt Vile薯叔，到底是用了甚么魔法让2015葛莱美最佳新进艺人提名的澳洲姐接Courtney Barnett还有Dirtry Three、Warpaint、Mick Harvey一同曼妙高歌？ 或许一切都是某种契合的缘分，近两三年，屡屡掳获各方媒体乐评一致赞扬，视年终榜如自家客厅来去自如的澳籍独立民谣摇滚歌手Courtney Barnett和来自美国费城Kurt Vile出乎外界意料地在2017年3月间传出两人已开始默默共同进行谱写制作一张合作专辑。 不过事情可能都要回溯到2015年当Kurt Vile撰写首支单曲〈Over Everything〉时便已经开始幻想Barnett会合他一起唱这首歌，果然十几个月过后，Vile的计划成真，两人携手在录音间前后花了八天的时间完成整张专辑录音，除了单曲请来曾为King Gizzard and the Lizard Wizard执导过的Danny Cohen负责拍摄外，两人不仅在影像中相互扮演对方的演唱角色外，两人还各翻唱对方或其友人的老歌，此外Barnett的一首〈Outta the Woodwork〉还请来澳洲后摇名团Dirty Three两名大老吉他手Mick Turner和鼓手Jim White、摇滚浪子Mick Harvey和Warpaint乐团的Stella Mozgawa等友人特别客串，等同当今澳洲独立音乐场景精锐尽出，使得这张专辑在预售前便已造成各方注目。 事实上，这对有着共同喜好、习性的歌手有着很多共同之处，Vile擅长以写实主义手法唱出美式乡村民谣的歌曲，Barnett则在他2016年的首张专辑《Sometimes I Sit and Think, And Sometimes I Just Sit》展现了她描绘日常生活的荒谬诙谐著称，同时两人均是当今独立摇滚界最好的说故事者，冷面笑匠及真挚的歌手。此番两人临时共组的可爱副计划，纵使整张专辑有一半的歌曲算是重新诠释的翻唱歌曲，但恰如一篇乐评说的好，在每首听似悠缓曲调背后所散发的，永远是他们两人笔下所勾勒出的荒谬与现实，再佐以一种诗意的的迷人魅力共冶于一炉。（Ricardo） KURT VILE: We ran into each other on the road in various continents and talked about the recordings. I guess it wasn’t till i had another tour booked for the following summer in Australia that we thought we should record as much as we can, no major goal to make it a full length but it came together that way because the vibe was so strong. I love working with Courtney, the collaboration was laid back with less pressure. COURTNEY BARNETT: Now we nished the album, we dreamt up an amazing band which we’ve called THE SEA LICE (inspired by a Stella Mozgawa beach-side-story) and me n Kurt will be standing there out front with our guitars singing songs together. Songs from this album we did, a handful of our own songs from previous albums, maybe some old folk songs n what not. Harmonies and guitarmonies galore. Very collaborative. Lotta Sea Lice is the result of 8 days in the studio spread over almost 15 months when Courtney and Kurt’s respective touring schedules allowed for them to be in the same place at the same time.

《金桔希子》是落日飛車沈寂五年後的新作品，在成員的更迭後，重新探索新的曲風，從以往六零年代的車庫搖滾晃入了七零年代的成人抒情，但仍然不改飛車輕鬆愜意，浪漫中又帶著戲謔的情境氛圍。

卡薩諾瓦，又名半熟王子，是落日飛車繼金桔希子後的全新錄音室作品。 透過九首歌曲來述說故事的主人翁卡薩諾瓦的熟成冒險旅程。 卡薩諾瓦的自我意識在追尋愛情的過程中萌芽，有如一朵美麗的玫瑰，在東方遙遠寧靜的夜裡蘇醒，溫泉里的玉子孵化成了半熟的王子。 這張作品企圖心旺盛， 詞曲除了延續以往的英文創作更挑戰了法文與拉丁文； 而在編曲上則大膽的挑戰數位調變技術， 搭配飛車既往復古懷舊的音樂氛圍，期待能為亞洲新迷幻注入當代視野。