The Brisbane trio immerses itself in cavernous, eerie post-punk to soundtrack the uncanny horror of young adulthood.

Things Take Time, Take Time” is an assured leap forward for Barnett; a breakthrough really. This is Barnett at her most relaxed, creative and joyful. An exquisite look at the intimate, private world created by Barnett and her producer Stella Mozgawa (Warpaint, Sharon Van Etten, Kurt Vile).

arcels return for summer 2021 with an ambitious third studio album, Day/Night, a double record that spans impossibly catchy disco-soul, prog, pastoral folk, Laurel Canyon-era classic songwriting and cinematic strings. Made over the course of 2020, when the world was at a standstill, it’s the sound of a band growing up; five guys who’ve known each other since childhood and are finding their way together, in spite of all the major obstacles the last 18 months have thrown at them, when they were unable to return home to Australia and see their loved ones. Day/Night is huge in scope and sound, and its hopeful messages of perseverance through difficult times are a balm for these uncertain times.

Two of the most influential songwriters of the past decade, Sharon Van Etten and Angel Olsen are unafraid of diving headfirst into the red. Think of those climactic howls in “Seventeen” or “Your Love Is Killing Me”; consider the dreamy crescendos of “Shut Up Kiss Me” and “Lark.” While plenty of artists seek inspiration from heroes of emotional abandon like Bruce Springsteen (whom they have each covered excellently), Van Etten and Olsen understand the true power belongs to the listener—when you’ve brought the magic into your own world, and you’re throwing your head back, singing along at the top of your lungs. Their first collaborative single, “Like I Used To,” lives up to its potential, plays to their strengths, and still manages to pack a surprise. The verse melody sits squarely in Olsen’s comfort zone—a little bit classic country, a little bit girl-group balladry. And the chorus, which arrives on an ascending wave of glockenspiel, like a golden staircase appearing through the fog, is pure Van Etten: a long string of ribbon she unfurls in the wind, equally ragged and triumphant. The whole thing feels momentous, predestined to be a crowd-pleasing set closer, and the lyrics add to its casual grandeur. “Lighting one up like I used to,” they sing together, “Falling in love like I used to.” Even when the words eschew the directness of previous career peaks (or when they’re straight-up quoting Michael Jordan), the duo makes sure you know they mean it. Produced by John Congleton, the song feels meticulously arranged for them to find the spotlight at any given moment and steal the show, an effect mirrored by Kimberly Stuckwisch’s expertly styled music video. If the good old days are behind us, as they suggest every time the chorus rolls around, the memories have never felt so sweet.

Over the course of two EPs, two singles and a stripped-back live album, Puma Blue has established himself as one of the UK’s most vital new talents, quietly amassing over 50 million streams in the process and selling out shows from London to LA and Paris to Tokyo. Now he’s set to build upon his growing underground acclaim by releasing his long awaited debut album ‘In Praise of Shadows'. ‘In Praise of Shadows’ is a delirious dreamland of soulful vocals, D’Angelo-ish guitars and muted electronic beats. Its fourteen tracks are a contemplation on “the balance of light and dark, the painful things you have to heal from or accept, that bring you through to a better place” says the 25-year-old Puma Blue, real name Jacob Allen “It’s about finding light in darkness - and realising that it’s what got me here today.” Puma Blue’s nocturnal, soul-searching sound was born from a decade in which the 25-year-old was plagued with insomnia, “for literally a decade, I just couldn’t sleep,” says the cult-acclaimed London songwriter/producer. That certainly helps to explain the hazy, late-night “voicemail ballads” of the early EP releases that propelled him to prominence, 2017’s ‘Swum Baby’ and 2018’s ‘Blood Loss’ earning him a reputation as affecting chronicler of unrequited love and inner turmoil. It’s an intimacy still present across ‘In Praise With Shadows’ but there’s also a new maturity and lucidity to the way in which Allen deals with his demons and celebrates beauty across his debut album, influenced no doubt by his journey over the last two years in which a blossoming romance has finally helped him to sleep whilst a burgeoning career forced the previously bedroom-bound songwriter out into the open, driving him to find new perspectives on loss, love and everything in-between.

Just Piano explores the therapeutic qualities of music and FKJ's passion for creating songs that connect deeply on an emotional level for listeners through his favorite instrument to play, the piano. Listen to “Just Piano” and an exclusive bonus track on Calm now:

許一次未知的出走 走一回世界的巡遊 窺視未知、正視已知、對話天地蒼穹 世界偌大 仍有跡可循 共感而生的絕美價值 睽違三年 蔡健雅用一把木吉他 創出最繁複的極簡 造出極大膽的縝密 用音樂紀錄世界巨變時刻 借自身近觀人類休戚與共 首次包辦全專木吉他編曲、譜曲、自彈自唱及錄音工程 金獎配樂大師Ricky Ho助陣 編寫電影級曠世配樂 “A painting is music you can see, and music is a painting you can hear.”-Miles Davis 用音樂共生 與藝術同在 跨越領域 超越距離 各創各的璀璨生花 音樂與藝術的應和 意象概念碰撞創作 當給予世界一個濕吻後，蔡健雅體悟到了人們都應誠心接納世界給予的一切，無論好壞；也因為發生了未知的驟變，人們才發現，站在世界面前人們有多麽渺小，而我們只能回到自己的空間，開始習慣自言自語、檢視過去、審視利弊，在僅有的空間開啟與世界的對話。當改變成為了一種必然，蔡健雅也身處其中，她開始拿起木吉他，藉由音符試想放肆出走，遊歷所有想要企及的一隅，也因為如此，蔡健雅發現在籌備專輯的過程當中不自覺藉由這樣的方式療癒自己。當我們能掌握的太少，瞬息萬變的又不可控，唯一不被左右的只剩自己的初心。蔡健雅深諳能向世界發出訊息的就是她的音樂，整張專輯包辦了全專譜曲創作，並邀請到老搭檔，同時也是金曲保證的葛大為、小寒、周耀輝加上蔡健雅自己為整張專輯歌曲填詞，為了讓創作人更能了解歌曲的背後意涵，她親自跟每位作詞人溝通專輯主體跟創作理念，才得到了整張專輯如此完整契合的詞曲搭配。 值得一提的是，這是蔡健雅首次包攬了整張專輯的譜曲、編曲、木吉他彈奏及在自宅錄音室完成所有錄音，而她這次選擇捨棄便利的電腦人工技術，回歸到音樂本質上的音色體現，將樂器本應有的原樣如實呈現，也因為如此，專輯內除了他人作詞的作品無法與demo共用外，絕大部分歌曲歌詞、編曲、曲調皆是當初蔡健雅創作的demo原始保留，甚至人聲都是保留至最後成品中，更顯蔡健雅音樂創作地位的不可取代性。除此之外，蔡健雅更與金獎配樂大師Ricky Ho合作，對於這位曾經憑藉「賽德克・巴萊」獲得金馬獎最佳原創電影音樂及金曲獎最佳專輯製作人獎的大師，蔡健雅與他在音樂上有著相當巧妙的美感默契，也因為他的加入，讓整張專輯的畫面感與藝術性昇華到不同以往的殿堂級高度。 《DEPART》這張專輯對於蔡健雅來說，更像是往內出走，喚醒內心重回初衷的自我探索，也讓所有聽者能夠藉由載體穿越到重返初始的蔡健雅。 蔡健雅 全新專輯 《DEPART》 7/23 開始預購 8/13正式發行