曾轶可首张数字专辑，个人第四张专辑《25岁的晴和雨》 25岁前，“晴”对我来说是明媚，“雨”对我来说是忧伤。而现在，晴和雨不再是单纯的晴和雨。晴：温暖、兴奋、张扬……也许还有失落。雨：灌溉、生长、隐忍……也许还有期待。25岁，我开始期待风雨过后的彩虹，时长也会在满溢的阳光下居安思危；25岁，在坚持做着自己喜欢的事情的同时，也走进了新的领域，看见了不一样的世界。关于曾轶可、关于成长，关于音乐、关于其他，浪漫的、忧伤的、美好的、苦闷的……我想说的都在这张《25岁的晴和雨》里。

Thee Oh Sees just released Drop last year, and on Mar 5th, they've announced their new one. Mutilator Defeated At Last is out May 18 via Castle Face. The band's lineup on the new album is John Dwyer, Tim Hellman, Nick Murray, Chris Woodhouse, and Brigid Dawson. Woodhouse recorded and mixed the record; it was mastered by John Golden.

ニュー・オーダー、10年振りのオリジナル・アルバム発売! MUTEレーベル移籍第1弾となる本作は、2005年に発売された『ウェイティング・フォー・ザ・サイレンズ・コール』以来、10年振り9枚目のオリジナル・アルバム。これまでの作品ではエレクトロ・サウンド、もしくはギター・サウンドどちらかに比重を置いていたが、本作ではその両方のサウンドがバランスを保ち、今までの作品の中で最も幅広い音楽性を持った作品となった。また『ゲット・レディー』(2001 年)以来となるジリアン・ギルバートがバンドに復帰を果たした。プロデュースは2曲を除く全てをニュー・オーダーが行い、トム・ローランズが「Singularity」と「Unlearn This Hatred」の2曲をプロデュースしている。またトム・ローランズは「Tutti Frutti」でバンドと共作をし、スチュアート・プライスは「Superheated」にアディショナル・プロダクションとして参加している。アートワークを手がけたのは、伝説のピーター・サヴィル。国内盤。 ボーナストラック収録

成立於 2012 年，來自新竹的後搖新銳 Triple Deer 將於 7/10 發行首張 EP《Triple Deer》，八月份他們將前進台北、高雄展開「眾聲喧囂」新曲巡迴，兩場演出特別邀請到了久未演出的後搖滾好手 Selfkill 一同共演，在層層堆疊的樂器音效中建構出巨大的音牆，以厚重的樂響質感包圍每一位聽眾。 《Triple Deer》是 Triple Deer 的第一張錄音室作品，一共收錄了三首圍繞著「自我」的全新創作，而這也是新作和團名同名的原因。Triple Deer 帶著滿滿的能量來製作這張 EP，請到台灣後搖界最具代表性的人物──昆蟲白（小白）擔任製作人，象徵世代傳承的意義。小白是台灣重要的後搖樂團「甜梅號」（現：微光群島）、銀巴士的一員，也是絲襪小姐以及法蘭黛吉他手，後來因肩膀受傷而離開銀巴士以及法蘭黛。 除了昆蟲白的加持，這次 Triple Deer 巡迴共演的 Selfkill 也是台灣後搖滾的代表樂團之一，許久未登台演出的他們，不知道將會和 Triple Deer 一起把聽眾帶進什麼樣的音樂新世界呢？也許每個人追求的事情會有所不同，但真正重要的事是不會變的，和 Triple Deer 一起出發，以溫柔而堅定的姿態，找到自己的模樣，找回生命裡的愛。

The story begins with a man on high. He is an old man, a warrior, and the guardian to the gates of a city. Two miles below his mountainous perch, he observes a dojo, where a group of young men train night and day. Eventually, the old man expects a challenger to emerge. He hopes for the day of his destruction, for this is the cycle of life. Finally the doors fly open and three young men burst forth to challenge the old master. The first man is quick, but not strong enough. The second is quick, and strong, but not wise enough. The third stands tall, and overtakes the master. The Changing of the Guard has at long last been achieved. But then the old man wakes up. He looks down at the dojo and realizes he’s been daydreaming. The dojo below exists, but everyone in training is yet a child. By the time they grow old enough to challenge the old man, he has disappeared. This is, in essence, both a true story and a carefully constructed musical daydream, one that will further unfold in May of 2015, in a brazen release from young Los Angeles jazz giant, composer, and bandleader Kamasi Washington. The Epic is unlike anything jazz has seen, and not just because it emanates from the boundary-defying Brainfeeder, which isn’t so much a label in the traditional sense as it is an unfurling experiment conducted by the underground producer Flying Lotus who has featured Washington on his albums Cosmogramma and You’re Dead!. The Epic is a 172-minute, three-volume set that includes a 32-piece orchestra, a 20-person choir, and 17 songs overlaid with a compositional score written by Washington. Pulsing underneath is an otherworldly ten-piece band, each member of which is individually regarded as among the best young musicians on the planet – including bassist Thundercat and his brother, drummer Ronald Bruner Jr., bassist (yes, there are two) Miles Mosley, drummer Tony Austin (of course there are two), keyboard player Brandon Coleman, pianist Cameron Graves, and trombonist Ryan Porter. Patrice Quinn’s ethereal vocals round out the ensemble. The band are all from Los Angeles, mostly South Central, and its members – who call themselves variously “The Next Step” and the “The West Coast Get Down” – have been congregating since they were barely teenagers in a backyard shack in Inglewood. Washington, 32, has known Bruner since he was two. The rest met, at various stages, by the time they were in high school. The hours they have put into the music, playing together and practicing alone, total cumulatively in the tens of thousands. “Nothing compares to these guys,” says Barbara Sealy, the former West Coast director of the Thelonious Monk Institute of Jazz, who has championed Kamasi and his compatriots from the beginning. “I challenge any group to go out on stage with them and see if they can keep up with it… Kamasi is at the top of his game, and only getting better.” “These young guys,” the rapper Common says, “remind me of why I love music.” And the story The Epic tells, without words but rather through some combination of magic, mastery, and sheer force of imagination, is the story of Kamasi Washington and the Next Step and their collective mission: to remove jazz from the shelf of relics and make it new, unexpected, and dangerous again. They seek to both honour and alter tradition: as The Epic’s opening track announces, they are the “Changing of the Guard”. The sound can be felt like flames, sometimes waving in the coziness of a fireplace, in other moments sweeping everything around like a backdraft. But Kamasi is always in control of the burning. “He just plays the craziest shit, man. I mean, everything — the past, present, the future,” Flying Lotus says, whose family lineage includes one of Washington’s direct musical forebears, John Coltrane. “It’s hard to find unique voices in this music. Especially in jazz, more so lately, everybody is trying to do the same shit. I don’t want to hear ‘My Favorite Things’ anymore… What I am hearing is a leader among artists.”

The debut full-length release for the Malian band was co-produced by Yeah Yeah Yeahs’ Nick Zinner and Marc-Antoine Moreau.

Ghostpoet is pleased to announce his forthcoming album ‘Shedding Skin’. The first fruits of the album, the track ‘Off Peak Dreams’ has already been premiered on Zane Lowe’s Radio One show and sees Ghostpoet, London-based Obaro Ejimiwe moving on from the cathartic musings of 2013’s ‘Some Say I So I Say Light’ album. ‘Shedding Skin’ is the manifestation of a new challenge of fresh thinking and a brave confident stride into previously uncharted waters. Ten songs that embrace, unite and narrate observations that are designed to sit beside each other through bright peaks and dark shallows. Unlike his previous albums, ‘Shedding Skin’ was recorded with a traditional live set up with what has become his touring band; Joe Newman on guitar, bass player John Calvert and John Blease on drums. The self-produced album also features guest vocals from Nadine Shah, Etta Bond, Melanie De Biasio, Lucy Rose and Maxïmo Park’s Paul Smith, amounting in a collection that sets a new precedent as his very best work yet.

我经常会想 / 在这片云层下面 / 我们究竟能够做些什么 爱人们要吻得多用力 / 才能让温暖停留在彼此体内 而天台上整日望天的少年 / 又用了多少时间 才学会在人群中把视线集中在自己的脚面 如果四周的大多事物 / 都是统一而有机的 为何他们在跳跃 / 却面目可憎 你吃下和排出的 / 有多少最后由垃圾变回了食物 你得到和舍弃的 / 又会让自己成为小丑还是英雄 哦说到英雄 / 我想起这个评价应该早已成了玩笑 本来我还想为这张专辑 / 吹一个大大的牛屄 既然这样 / 那还是说些实话吧 你将听到的一切 / 没什么与众不同 只是一群普通的年轻人 / 和一些普通的牢骚冲动罢了 如果你不喜欢 / 尽可以对此付之一笑 而那些爱我们的人 / 请听我说 不要害怕 尤其不必 / 为自己内心的胆怯而沮丧 你我本孕育于黑暗 而悲观主义的花朵 / 最终会在黑暗中绽放 最后 / 如果你与我一样 对这一切并怀质疑和感激 / 那么谨以此剂特效药 给你我所有的 / 雄心壮志和少年心气 白噪音（Byebye Noise）成立于2012年，最初由主唱桑々、吉他双子星浩克+王伟、贝司多多组成。作为北京新生代摇滚势力中最具明星潜质的乐队，他们从北京的地下音景出发，成军三年，异军突起，身影不仅遍及各大音乐节的舞台，更已在主流电视媒体崭露头角。无论是别具匠心的音乐编排，还是台上张狂、台下低调的行事姿态，都使白噪音与如今摇滚圈一众芜杂的乐队形成了鲜明对比。也因为这种“另类”，让白噪音迅速积聚人气的同时，获得了业内人士的广泛认可。 《无副作用荷尔蒙》是白噪音乐队与独立音乐厂牌“大家一起社”合作出版的第一张录音室作品。专辑收录十首白噪音经典歌曲，既是对过往的总结，也代表着乐队向乐坛发出的正式宣言。录音、混音由前“木马”乐队元老，著名录音师曹操担纲；母带处理则邀请“The Strokes（敲击）”乐队经典唱片《Room on Fire》御用工程师Steve Fallone亲自操刀，力求还原白噪音心中最纯粹、理想的听觉体验。 白噪音《无副作用荷尔蒙》专辑的首发仪式预定于2015年4月18日在北京MAO Livehouse举行。届时将会有众多嘉宾到场助阵，并有众多京城媒体、圈内大咖云集现场。

我們擁有太多方式表達 卻忘了怎麼說話 究竟是你我都開不了口 還是這個世界讓我們都失去言語 蔡健雅Tanya 2015全新專輯 【失語者】 11.13 正式發行 集結美、英、中、日、法、義、德幕後團隊合力打造 十首精心提煉的風格之作 一張實驗破格的極致音樂 蔡健雅Tanya華人世界最重要的女性全方位音樂人，鮮明的創作風格與獨特嗓音，唱作俱佳又具製作實力，讓她於更迭汰換的樂壇屹立不搖，樹立無可取代的地位。每次出輯必創佳績，不僅囊括海內外各大音樂獎項，更在台灣金曲獎上創下紀錄，獲得三屆金曲獎最佳國語女歌手殊榮。繼2013專輯《天使與魔鬼的對話》後，2014年隨即發行一本結合甜點烘焙與生活自白的文字作品集《Tanya的做作派》，展現多面創作能量。同時受邀擔任「中國好歌曲」實境秀音樂導師，Tanya期望能發揮自身影響力，所以竭盡所能提攜後起新秀。歌唱多年一直希望盡己之責回饋社會的她，也於同年舉辦Project WAO (WOMEN AS ONE)女生團結音樂節元年演唱會，身為Project WAO發起人之一，與張惠妹、那英、林憶蓮等人共同演出，促成了華語流行樂壇極為重要的女性音樂盛事，並引領眾人關心女性權益。 這些年來接續一連串豐富不凡的人生際遇，讓Tanya對生命有更多的體悟與感觸，儘管音樂歷程上享有了輝煌成就與榮耀，她依舊像一塊永遠吸不滿的海綿一般，時時刻刻精進自我技藝，嘗試多元豐富的生活經驗。2015全新專輯《失語者》將是她最嘔心瀝血的作品，無論環節上之細膩，聽覺上之驚艷，音樂上之成長，都坦白真誠地顯現在這次新作裡。 「製作專輯時，突然有種想冒險的念頭，極欲離開始終覺得安全的範圍，就像拿一根針不停地往身上扎，刺激自己拿出有別以往的驚人之作。」 睽違兩年全新作品【失語者】，突破過往熟悉的都會療傷氛圍，Tanya以前所未見的音樂風格與敘事方式，大刀闊斧展現專輯新氣象。不再侷限於情愛世界悲歡情緒，由內層往外圍擴散，Tanya試圖探討當前環境對新世代生活的衝擊與翻轉。當生活智能越高端，被電子科技制約的我們，生活卻愈見封閉密鎖，情感不再交流，世界開始失溫。Tanya說：「這張專輯沒有天使了，只剩魔鬼，大家都不知不覺走進冷漠的世界，失去人與人之間的接觸與溝通。」因此Tanya決定運用實驗電子的音樂形式，來隱喻環境疏離隔絕的景象，像是時下生活的縮影。為了盡顯Tanya對社會的觀察與剖析，首次將專輯全交由知名作詞人小寒掌舵側寫。一直以來Tanya認為小寒是最懂得她的旋律裡想要說怎樣的故事的創作人，專輯收錄的10首新品濃縮了人類現況的各類狀態，小寒精確地傳達出Tanya心中的現實世界，默契絕佳的兩人聯手打造《失語者》這張概念完整鮮明的作品。 蔡健雅x小寒 全曲詞創作 德、英、美、日、中製作團隊 全球頂尖音樂人跨界共造全新專輯《失語者》 製作專輯時Tanya每次都會問自己：「我還想說什麼？」持續尋找新鮮靈感的她，首度嘗試冷調電音樂風，在演唱與製作層面帶來了極大的轉變，為了體現人們在崩離酷冷世界裡被冰封的溫度與暖意，Tanya也刻意琢磨唱歌口氣，以中低音唱腔表達內心本質的獨白，更深層更貼近專輯的內涵。這次Tanya首度參與全編曲製作，『寫歌時不知道會是這樣的過程，一直不停地跳躍思考，製作、編曲過程其實是很驚恐，不斷的自我懷疑，也已經不知道什麼才是更好的。』Tanya這麼形容這次讓她極度崩潰的錄製過程。「這張專輯就像黑洞，太多未知的可能性，但卻更讓人想要試著從中找回自己。」幾度喪失自信萌生放棄念頭的她，在頑強好勝心與不服輸個性驅使下，Tanya成功征戰製作瓶頸與難關，自我淬煉，終於端出一張精彩可期顛覆自我的全新作品。 力求突破的Tanya構思整張專輯時，期望向上攀升擴大音樂的格局與視野，改變以往單槍匹馬獨立製作的模式，首次邀請大陸知名音樂人安棟共同操盤製作。當隨性派遇上學院派，力求完美嚴謹的兩人，數度為了製作細節各持己見，雙方不厭其煩持續『砍掉重練』，在精益求精不斷琢磨下，最終堪稱完美地遞交出一張『對得起自己』的絕佳專輯。從詞曲創作、製作編曲，廣邀全球各地德、英、美、日、中等國際樂壇優秀音樂人齊心合作，奮力激盪出既前衛又有前瞻性的音樂風格。凡事親力親為的Tanya更前往英國，與曾任 Lana Del Ray、Blur、Tiësto、Florence + the Machine的母帶後期製作工程師John Davis合作。Tanya企圖透過電器迷耀的音樂器象，象徵現時人們生活的電子世代，專輯多元精彩，展現前所未見的創作底蘊。 首波破格主打《異類的同類》前衛實驗電子音樂 遠赴法國拍攝 營造謎離冷冽異國氣息 單曲《異類的同類》由德國Michael Pfirrmann與製作人安棟編曲，神秘詭譎的迷幻電音和著Tanya獨特的沉緩低音唱腔，以滂礡之姿開啟此張新作的全新格局。 為了打造全新專輯的不凡氣勢，特地邀請知名廣告/電影導演陳宏一執掌，Tanya與視覺團隊遠赴法國巴黎取景。曾以『左岸咖啡』系列廣告成功打造法式風情的陳宏一，為了精確掌握『異類的同類』透露出城市人們的孤寂脆弱、放縱抽離的集體情緒，特意選擇Tanya視為第二個家的城市--巴黎拍攝影像，透過其獨特視覺語言與敘事風格，以詭譎手法拍出抽迷幻抽離的『午夜巴黎』，在最熟悉的地方也可能是極為陌生的所在，赤裸面對內心底層的暗黑與慾念。讓Tanya隻身遊走於夜晚時分的巴黎街頭，在最寂寥漆黑的異地映照內心炙熱狂暴的渴望。快速抽動的剪接，炫目堆疊的畫面，讓此支MV成功營造虛實交錯慾念糾結的情境，完整呈現了『異類的同類』所講述的中心概念。

Right from their inception in 1976, back in the first stirrings of punk, Wire went about making music in a subversive, conceptual way, setting themselves apart from both their peers and their influences. "I had this idea that I wanted to avoid things that had a particular kind of tradition," explains singer and guitarist Colin Newman. "I thought the three-chord trick was too simplistic and that the one-chord trick would be better. Or the two chord trick where the second chord is definitely not the right chord." Bass guitarist and vocalist Graham Lewis identifies another trait that has run throughout the group's lifetime. "People said, we were mysterious, arch and dark. But the only way of doing that successfully, is by also having a sense of humour. You have to have that balance. With Wire there's a peculiarity, a contrariness and that can be funny." This questing approach has served them well in guarding against repetition and cliché. In context, Wire's last album, 2013's aptly titled Change Becomes Us was another case of 'Expect the unexpected' as it found them extensively reworking a rich cache of material abandoned amid a temporary break-up in the early 80s. Their 13th studio album - simply titled Wire comprises material that was written with the album in mind, but toured extensively first, as well as songs that Newman introduced to the group in the studio just prior to recording. The idea was to get the most spontaneous reaction possible from the musicians, and far from the rough and ready results one might expect from such a tack, Wire is full of swooning pop melodies with a 60s tinge and an irresistible, near motorik rhythmic momentum. One can recognise certain melodic inflections, guitar and bass motifs, and drum rhythms from Wire's idiosyncratic vocabulary but it has a remarkable freshness. The basic tracks were recorded at Rockfield Studios with overdubs added at Brighton Electric. The 11 tracks selected for release were the ones that came together most naturally. From the outset Wire was an alliance between four very different characters and continues today with the addition, in 2012, of It Hugs Back guitarist Matthew Simms, who is around thirty years younger than the other group members. "With Matt there was a really new dynamic that had appeared in the group s sound and that was something we wanted to capture, utilise and be creative with," says Lewis. Wire is the first album where Simms has been involved in formulating the material from the ground up, but when the group's particular chemistry starts working he is now very much part of the process. Lewis provides most of the lyrics for the album, their subject matter encompassing love songs, cryptic narratives and coded messages. One time, Newman asked Lewis to send over some unfinished, unformatted text so he wouldn't be bound by what to use for the chorus. This material spawned two songs written on the same day, 'Split Your Ends' and the droll 'In Manchester'. The latter has the disorientating and rather absurd situation of having "In Manchester" as a soaring chorus, when the song is not about Manchester beyond a single line in the lyric. As the album progresses, some of the sunlit pop tunes become more shadowy and it ultimately plunges into the musical black hole of 'Harpooned', eight churning minutes of the group's darkest, most abrasive music to date, and a favourite in live performances since 2013. "The point where our personal narratives meet is all about change - moving on and keeping it interesting for ourselves," says Newman. "We're in it for the long haul and this is a one-way trip." Live dates outside the UK will be announced soon.

Warner Bros. Records/ Parlophone are proud to announce the signing of one of the most important and influential artists of his generation or any other,Paul Weller. SaturnsPatternisWeller'sfirst album release through bothParlophone Recordsin the U.K. (May 11th) and onWarner Bros. Recordsin the U.S. (May 12th). The new album was recorded inWeller'sown Black Barn Studio andproduced by Jan "Stan" Kybert (Oasis, Bjork, Massive Attack, etc.).Wellerand Kybert have worked together extensively in the past on albums such asSonik Kicks(2012),As Is Now(2005),Studio 150(2004)andIllumination (2002).Saturns Patternwill be available in a variety of formats: Standard CD, Deluxe CD/DVD set, vinyl album, and Limited Edition Deluxe Box Set with CD/DVD/vinyl album.The digital formats will be available in standard and deluxe editions with the deluxe edition featuring previously unreleased bonus tracks. iTunes versions are exclusively mastered.

苏打绿于2009年启动“韦瓦第计划”，造访台东、伦敦、北京、柏林4个国际城市，在当地录制贴合四季风格的四张专辑。这项华语乐坛史无前例的“跨国音乐计划”，历经6年时间，走过温暖的《春 日光》、摇滚的《夏/狂热》、诗意的《秋：故事》之后，终于来到令众人期待已久的最后一部曲——《冬 未了》，苏打绿在柏林这座充满庄严古典气息的城市，为这场天马行空的音乐之旅画上最完美的句点。 今年7月，在鼓手小威的个人摄影展发表会上，苏打绿”冬专辑”歌曲《Everyone》的一段VCR独家大首播，让观众抢先感受了“冬”之味道。这首由小威填词谱曲的苏打绿第一支全英文创作歌曲，是小威几年前偷偷写给青峰的。在苏打绿的每一次演出中，小威以鼓手的独特视角，观察青峰背影中所蕴含的种种情绪：歌者的快乐、勇敢，有时不被理解的迷惘、忧伤……从而写出这首满含关怀与爱意的“情歌”。小威表示，‘歌曲传达从个体发展到群体，出发点都是”爱”，也希望藉此把爱传给Everyone。’青峰则笑说：‘这是整张专辑最好唱的歌。’由此可见其他未曝光曲目之“神秘莫测”！歌曲已于9/14在Hit Fm全球大首播。 值得一提的是，《Everyone》同时也是苏打绿2015《再遇见》世界巡演中唯一曝光的冬专辑曲目。有别于苏打绿以往编曲风格，这首歌以厚重磅礴的弦乐作为歌曲整体架构，辅以电吉他、鼓、贝斯等苏打绿传统元素，以焕然一新的听觉体验征服全场。

Laura Marling has announced her follow-up to 2013's Once I Was an Eagle. The new LP is titled Short Movie, and will be released on March 23 via Virgin EMI; that's the artwork, above. In addition to announcing the LP, Marling has unveiled its title track in the form of an animated music video directed by Art & Graft.

专辑类型：Experimental / Ambient 专辑厂牌：EG 专辑介绍： 1973年Brian Eno 离开Roxy Music后开始将他的环境音乐理念付诸实行，这是量产系列作品的第一张，用一台VCS3合成器与数位sequencer搭配Robert Fripp 的即兴吉他演奏，合成器浑沌的持续背景长音概念来自Eno大学时期接触的La Monte Young音乐，旋律结构则是受到Philip Glass的啟发。成果虽很阳春，但Fripp一流的电吉他为专辑加了许多分。而这些背景长音的概念未来将由简入繁，演化至更複杂的音景拼贴，并在Another Green World(EG,1975)专辑中发展至最高峰。 --- from

'Asunder, Sweet and Other Distress' is the forthcoming fifth studio album by Canadian post-rock band Godspeed You! Black Emperor, to be released on 31 March 2015. The album marks the group's first single LP-length release since their debut, F♯ A♯ ∞. The album was recorded with Electrical Audio engineer Greg Norman in studios in North Carolina and Montreal. The album was announced on 24 February 2015; the group also shared an excerpt of "Peasantry or 'Light! Inside of Light!'" on SoundCloud. On March 24, 2015, Constellation Records streamed the album on their SoundCloud.

王菲 第十张粤语大碟「敷衍」 1997粤语大碟最终回 10首王菲的感情迷津 10篇林夕的文火引渡 我几度梦过荒城里那日落秋山 梦醒叫了外卖西红柿炒饭 我走在每天必经的路 却发觉这只不过是条走惯了的迷途 我没能开心欢畅 也无法痛快感伤 于是生活变成 敷衍 敷衍 1997遗憾缺席 新艺宝最后一辑 亚洲乐坛唯一跨世纪天后 王菲 第十张粤语大碟「敷衍」 日本摄影大师 藤代冥砂 首度跨国掌镜 据说最暗处也有光明 照不穿我也映得出你 1996年，王菲正爱得天翻地覆，与心爱的人谱出生涯中实验与概念性最强的专辑《浮躁》；同时有孕在身的她，仍往新艺宝唱录了10粤语歌曲，作为合约的结束。与破格的《浮躁》不同，这10首歌是《Di-Dar》的延续：如梦似幻的Dream Pop、黯色幽微的Trip Hop，在甜美的歌声里，贯穿着浓厚的悲剧性。没想到，这张粤语专辑《敷衍》迟到了18年。1997年，为了对敌王菲新东家百代的《王菲》国语同名专辑，新艺宝将她最后这张碟一拆为四，分别发了两张EP《玩具》与《自便》，各收录五/三首新歌，并将另外两打散进精选辑。由于仓促拆成EP，曲序上以单曲作为思考，多年来乐迷们不断拼凑这张粤语专辑的原貌，如今谜团终于揭晓。重新出土的粤语经典《敷衍》，由浮躁音乐与香港环球唱片合作，封面及内页为日本摄影大师藤代冥砂提供当年拍摄的珍贵未曝光照片，曲序经过巧妙编排，加上林包办全数词作，头尾呼应。 十首曲序安排从黑暗到光明，前三曲〈敷衍〉〈暗涌〉〈心惊胆战〉绵密的湿黏感，再到〈守护天使〉〈守时〉甜蜜的漂浮味，援引出〈不得了〉〈玩具〉叫嚣的游戏，最终以〈我信〉〈自便〉散漫的颓废，挟带完美的收尾〈约定〉。 同时，唱片公司亦遵照九零年代「卡带」的设定，A面前五首与B面后五首，播放时间相近，皆约为21 分钟，总计近42分钟。 其中擅于英伦迷幻美学的Adrian Chan负责了五首歌的编曲，超越了《Di-Dar》时期的数量；同样箇中高手的C.Y. KONG则操刀两曲，难得向梦幻流行乐暂别，造起清爽小品。 原本被打散的〈不得了〉〈玩具〉，连著听，竟发现用了同一旋律；而在爱情中〈敷衍〉的命题，驰骋全辑，悲观与随便的信念，彷佛注定了结局。 暗涌的池水18年后依旧。 1. 敷衍 房子忽地歪斜了，嗡鸣声震。不祥的音效敲打，像坏掉的钟；Trip Hop趴在楼梯扶手，诡异爬行；不 带感情的王菲带了柄拖把，拖著咬字：「本想好好的伤感/想放任/但是没泪痕」。延续了《Di- Dar》时期的迷离，Adrian Chan的编曲已走出模仿的路，称职平贴林夕百无聊赖的世界，以及Beyond贝斯手黄家强的曲色。那般黏黏湿湿的不快，为整张专辑定了调：「我世界纵没理想/对你却有著妄 想」。为情人敷衍，也好过再次落空。 2. 暗涌 这儿是黑夜，悲剧里的道别，眉头是绵密的钢琴，睫毛是落雨的乌云。「我的命中命中/越美丽的东 西我越不可碰」。才第一段，林夕便交出了词涯代表作，与作曲陈辉阳的组合，三年后再谱陈奕迅 〈K歌之王〉，藏进王菲的〈我愿意〉与〈约定〉字眼。从小古典音乐背景的陈辉阳，以流动的钢琴 为意象，飞湍瀑流的速度，不时伴有浩荡弦乐与典雅吉他；副歌间如珠玉落盘的琴音，与结尾的狂澜一收，最是精彩。 3. 心惊胆战 你的表演是烟，等戏的人是雾。幽冥的空声铺底，铜钹轻响，小鼓连击，张亚东招待，一场冷汗湿透 的秀。过去在《Di-Dar》与《浮躁》里，他多以Dream Pop造梦，眼观同伙C.Y. Kong迷路於Trip Hop灯 区；这回张忍不住小露一手，迷魅的Trip Hop造戏，与辑中的〈敷衍〉前后呼应。王菲延续其漫不在 乎的唱法：「让我心、惊、胆、战/等不及你表演」。冷眼旁观，暗⾃自抽搐，尾声刻意掉拍，打了哆嗦，止於寒栗。 4. 守护天使 云端储存你的一切，永未被发现。习於Cocteau Twins的仙乐飘飘，袭於黄舒骏〈天使〉的欲动蠢蠢， 黄家强写的〈守护天使〉仍似在云间，恋爱的Dream Pop，模糊的景深。仿同〈冷战〉的两轨声部，真 假⾳音交会，只是林夕玩了前后叠音，比如行至「时刻靠在你路途」的「路」时，不候唱毕，便衔嵌 「路过了但你未必知道」；抑或「美好」与「耗损」（好与耗）的同⾳音相叠，宛如穿越多层云雾，甚 为巧妙。从〈心惊胆战〉等到〈守护天使〉，命题连贯，苦等兴叹。 5. 守时 我们约一点钟，边缘咖啡见。按曲序，〈守时〉以及〈守护天使〉前后链结，等著守著；而在林夕的巧笔下，〈守时〉又与〈约定〉成了双胞胎，不仅皆为陈小霞作品，还各职A/B面末曲：「情缘总不 会准时/若真的可以/能和你未一起便白头/未算迟」遥相对照「两鬓斑白/都可认得你」。我们邂 逅得太晚，何以弥补往年？翻唱自李明依〈爱的决定〉，陈小霞缱绻凄美的情歌，永远浪漫；王菲蜜 甜不腻的嗓⾳音，从未来迟。 6. 不得了 放大镜是订制的，见你哇哇的叫，我开怀大笑。C.Y. Kong揉合了羊毛衫轻爽的编曲，恬淡中带点俏皮，与其一块打造的〈玩具〉这回放进专辑连著听，可发现前者01:16秒时的慢奏吉他，像极了后者 2:09秒时的轻快吉他。林夕捕捉爱情中常被放大的小问题，其实庸人自扰；同年，他又写了《王菲》 国语专辑的〈小题大做〉，词意几近契合，曲末更提到了「一起来吃喝玩乐/不得了」，可视为延伸 聆听。（附注：〈玩具〉则唱道「一起渴睡一起醉」，颇有雷同） 7. 玩具 一起去买空虚寂寞，反斗城里供需急迫。同属羊毛衫风格，同为C.Y. Kong出手，一派写意轻巧，后段 还有〈梦游〉般飘飘然的合成器声响。「除了你那须根太嫩/那副漂亮容貌没破损/除了那套新衣未 会穿/你也算是完全/占据你是满⾜足不过的志愿」。林夕这番「物化」的比拟堪称一绝，「彼此也有 玩具」的说法隐喻性伴侣，同时也与〈敷衍〉成为前后文。一起渴睡一起醉，一起去空虚？这是问句，而肯定句写得更精辟：没法一起失去。 8. 我信 疯子从没觉得自己是疯子，反覆诘问，翻覆结巴。沿著〈敷衍〉的编曲，Adrian Chan踩著小碎拍，前奏仍诡谲，可却慢慢开展，玩兴好比降速后的〈玩具〉。王菲唱：「据说有信仰会上天堂」，也曾在旧作〈出路〉中无比困惑：「我信佛/这有没有帮助」。林夕运用歌词的重复性：「我信我信我信/ 请信任我的愚蠢」对比「我不信我不信我不信/找谁渡我的迷津」，加重听者的错乱，加深整体的迷 幻。 9. 自便 你是7-ELEVEN的白灯，而我是飞蚊。Adrian Chan依循著〈我信〉的小碎拍，淡而化之的吉他，呜咽 发懒的合成器，佐以王菲走在钢索上的高音，描出迷幻味。「这生命我只需要⼀一半/让你双手来吧」。林夕笔中敷衍人生的态度，连自己的未来、自由、运程与价值都抛弃了，叫人自便到取，切中专辑命题：我到底相信什麼？我有理想吗？我是玩具吗？我是感情货吗？ 10. 约定 旅馆前道别，凄绝的戏；假如没有死，和你约定。雨声是凝住的眼泪，钟声是肃穆的誓言，Adrian Chan先透过如此的场景设定，雨声与钟声，还有歌词里「结他的和弦」谱曲，伴著弦乐勾勒出轮廓。 林夕写回忆是多麼细腻，旅馆的门牌、笑著的神态、走半哩长街、灯照一脸黄、微温的便当、还有街 角流过的声线。「就算你壮阔胸膛/不敌天气/两鬓斑白/都可认得你」。陈小霞的凄美隽永，就算 忘掉天地，也不会忘记。

Stuff Like That There is the fourteenth full-length album by American indie rock band Yo La Tengo, released in August 2015 by record label Matador. On this album, the band revisits the original concept of their 1990 album Fakebook with a mix of cover songs, "covers" of Yo La Tengo songs and brand new originals.

In Colour is the debut studio album by British producer and The xx member Jamie xx. It is set to be released on June 1, 2015 on the Young Turks label. A deluxe version of the album, cut on coloured vinyl and featuring two exclusive instrumental tracks, will be made available for a limited time.