《麦斯米兰：睡美人》来自欧洲的忧郁男声，Indie pop里最动容的声线，柔情钢琴的纯净伤感，略有哀愁的吟唱。Maximilian Hecker，一位来自德国的前乐队鼓手，是如何摆脱严谨僵硬的民族性，而将音乐做的如此伤感温柔？即使他不用晦涩的语言和复杂的配器来表达，那忧郁敏感又不乏神经质的唱腔和恰到好处的钢琴提琴伴奏已经足够，瞬间爆发的噪音和吉他失真已经足够。 他淡淡的唱着《Lady Sleep》，却用声音在无数个寂寞的深夜里一次又一次的谋杀了睡眠。他的音乐跟他的面孔一样纯净无暇，用最柔弱的嗓音表达着他感伤唯美的体验。古典韵味的钢琴、通透的假声、弥漫的稀薄情感、独特的曲式行进、偶尔肆虐的吉他失真和神经质的男声。那是美丽的黑洞，我们早已在里面。 当这个男人的声音远远的向你走来，如刚刚哭过的孩子，睫毛湿润，表情安静，影子忧伤疏离，我想背身睡去，却感觉到他就在身边，在黑暗里扭开一盏柔和的灯，靠着我自言自语。 01 Birch 02 Anaesthesia 03 Summer Days In Bloom 04 Daze Of Nothing 05 Everything Inside Me Is I11 06 Full Of Voices 07 Help Me 08 Snow 09 Dying 10 Yeah，Eventually She Goes 11 Lady Sleep Bonus Tracks 12 The Days Are Long And Filled With Pain（sung by Niina Susanna Rinne） 13 Sleepy Lad Bonus Video 14 Help Me-Video by Liisa Lounila

JAMES LAST（詹姆斯拉斯特）、曼陀凡尼、保罗莫里哀并称为世界上三大轻音乐团，JAMES LAST的在国人中最出名的应该是这张《天堂鸟》了！ 《天堂鸟》是詹姆斯拉斯特与另一位宝丽金旗下的著名排萧演奏家扎姆菲尔合作演绎的。在这张专集中詹姆斯拉斯特放弃了拿手的小号乐队，风格发生很大的变化，全力为扎姆菲尔做绿叶，为排萧技巧炉火纯青的扎姆菲尔锦上添花，令人耳目一新，因此颇受广大乐迷的拥戴。

比勒菲尔德一对贫穷而正直的夫妻的儿子，生于1942年，天生的无产阶级歌手。15岁时父亲去世。 是伟大的德国工人阶级哺育了他。 27岁是出版第一张唱片《听Hannes Wader唱》。32岁时与一起生活已有7年的恋人结婚，从此再也没有分开。 35岁那年，加入德国共产党，终生未悔的选择。 他永远是工人的歌手，底层的歌手。 曾将Ludwig Uhland的诗EsIst Ein Schnee Gefallen谱曲，成为广为流传的民谣。

Review by Blair Sanderson Antonio Vivaldi's Le Quattro Stagioni is one of the most beloved works in Baroque music, and even the most casual listener can recognize certain passages of "Spring" or "Winter" from frequent use in television commercials and films. Yet if these concertos have grown a little too familiar to experienced classical fans, Max Richter has disassembled them and fashioned a new composition from the deconstructed pieces. Using post-minimalist procedures to extract fertile fragments and reshape the materials into new music, Richter has created an album that speaks to a generation familiar with remixes, sampling, and sound collages, though his method transcends the manipulation of prerecorded music. Richter has actually rescored the Four Seasons and given the movements of Spring, Summer, Autumn, and Winter thorough makeovers that vary substantially from the originals. The new material is suggestive of a dream state, where drifting phrases and recombined textures blur into walls of sound, only to re-emerge with stark clarity and poignant immediacy. Violinist Daniel Hope is the brilliant soloist in these freshly elaborated pieces, and the Konzerthaus Kammerorchester Berlin is conducted with control and assurance by André de Ridder, so Richter's carefully calculated effects are handled with precision and subtlety. Deutsche Grammophon's stellar reproduction captures the music with great depth, breadth, and spaciousness, so everything that Richter and de Ridder intended to be heard comes across.