Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds – towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume – and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics (“Coolverine”), church organs as chariots of existential fire (“Brain Sweeties”), tremulous, foreboding bleeping – possibly from a dying android (“aka 47”). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, “Party In The Dark,” a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's “directionless and innocent, searching for another piece of mind”. This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal “Every Country's Sun,” its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.

Like master painters exploring a subject over a lifetime’s work, Kevin Martin and Dylan Carlson – The Bug and Earth, respectively – have each been mining and defining their genres for more than 20 years. They’re united by an interest in – really an obsession with – heaviness. They search for, examine and break the boundaries between beautiful and ugly, minimal and maximal, light and dark – but The Bug and Earth always make music that is heavy in the most thrilling of ways. Earth, and its founding member Carlson, first appeared in the early ’90s, and came to prominence with their Sub Pop release "Earth 2". An exercise in SLOW distorted droning minimalist riffage, their debut was the blueprint for what Dylan coined at the time "ambient metal,”– a style still being pushed forward on his latest Southern Lord release "Primitive And Deadly.” Kevin Martin's career spans the same timeframe. Techno Animal, Ice, God, Razor X, King Midas Sound, and of course the The Bug moniker. All of which explore(d) the fringes of experimental and heavy music. With his recently released "Angels & Devils" LP receiving high praise across the board, he once again put his sonic stamp on the here and now with his collaborators Liz Harris (of Grouper), copeland, Miss Red, Gonjasufi, Flowdan, Death Grips, Justin Broadrick (Godflesh/Jesu), and Warrior Queen. These two uncompromising outsiders met via the visual artist Simon Fowler (Angels & Devils.) Simon arranged for Dylan to come to a King Midas Sound gig, but Martin’s trademark use of a powerful strobe light meant that the epileptic Carlson couldn’t enter the room. Undeterred, Carlson featured King Midas Sound’s music in a podcast, and the pair eventually decided to collaborate around “Angels & Devils.” The anglophile Carlson had long admired Martin, and other British sonic experimenters like Spacemen 3 or Pentangle. In turn, Martin understood the genius in Carlson’s deconstruction of metal, and Earth’s boiling down of the genre to its core, elemental riffs. Martin saw that he and Dylan were both “wanderers,” and “misfits in the world we live in.” They were both huge fans of dub and the Velvet Underground, and they discussed how those influences could provide a combined template for something entirely new. When they finally began to record, it quickly became apparent that the music they made together needed room to stretch out and “drone,”– to be its own thing. Two tracks eventually emerged, "Boa"&"Cold," and were released as a standalone EP, with Dylan's signature guitar sound weaving seamlessly around some of Kevin's most destructively heady bass explorations. Martin had decided to exclude those songs from ‘Angels & Devils’, as he felt “They had developed a singular life of their own, outside of the identity of that album.” Ninja Tune asked The Bug and Dylan Carlson to perform live in LA around the label’s 25th anniversary, and Martin and Carlson took the opportunity to further the recording project in person. So The Bug vs Earth project holed up in Daddy Kev’s legendary LA studio, with DJ Nobody engineering, for two very long days. Those recording sessions have resulted in the masterpiece that is “Concrete Desert.” Inspired by J.G. Ballard’s urban dystopias, and the Californian dream capital’s sordid, fragmented underbelly, Martin says that the album is in some ways a Los Angeles-set companion piece to “London Zoo.” The record’s beautiful, chiming melodies are like shards of sonic light, glowing in currents of heavy bass darkness. There are pulsing soundscapes, ambient pinks and whites, and irresistible grooves. This is music that grips you entirely, and catches you in its lava-flow – an astonishing, primal album of vast depth. In making it, Martin decided to break from The Bug’s obsessive study of groove, tone and texture, and think more cinematically. The result is a wondrously visual album, akin to finding oneself wandering amongst the rocky red hills of the Californian deserts. In fact, he says, the album could be understood as reflecting a ‘mistrust of “Hollywoodisms,” and the shadow of Hollywood fantasy that looms large over life in LA, and the USA in general. “Dylan’s a master at amplifying the flavour of America,” he says, “but not the side we see in this Trump climate.” For Martin, the “American dream is like a nightmare under Trump” but Dylan captures the “best side of that dream, a utopian openess.”“I hear the writing of Cormac McCarthy in his music. His playing conjures deserts, and wide open spaces.’ In “Concrete Desert,” Earth’s sonic landscapes, its far horizons and vast spaces, are underpinned and propelled by Martin’s ear-worming rhythms and percussive genius. With live shows for The Bug and Dylan Carlson planned for April 2017, this is just the beginning of The Bug vs Earth project. The record might be one designed to ‘document alienation,’ but one listen is enough to show it, equally, to be a brilliant meeting of two kindred musical souls.

◎入列「摇滚名人殿堂」和英国「音乐名人堂」伟大前卫摇滚乐团Pink Floyd灵魂传奇最新大碟 ◎继《Amused to Death》之后睽违近25年推出回归摇滚的概念大碟，探讨下一代的孩童安危问题，也触及现今社会乱象、充斥暴力恐惧的氛围 ◎耗时七年之久的筹备录音，再度力邀曾与Paul McCartney、U2、Radiohead合作的天王製作人Nigel Godrich掌舵，同时招揽Atoms For Peace的Joey Waronker等独立乐团好手助阵 Roger Waters, the creative power and songwriting force behind Pink Floyd, presents Is This The Life We Really Want ?, his first rock al bum in 25 years. The album is produced and mixed by Nigel Godrich (Radiohead, Paul McCartney, Beck, U2, "From the Basement"), and includes 12 new Roger Waters musical compositions and studio performances. Roger Waters' last studio album, 1992's Amused To Death, was a prescient study of popular culture, exploring the power of television in the era of the First Gulf War. This long-awaited follow-up, Is This The Life We Really Want ?, is an unflinching commentary on the modern world and uncertain times, and a natural successor to such classic Pink Floyd albums as Animals and The Wall. Tracks on Is This The Life We Really Want ? include: "When We Were Young," "Déjà vu," "The Last Refugee," "Picture That," "Broken Bones," "The Life We Really Want," "A Bird In A Gale," "The Most Beautiful Girl in the World," "Smell the Roses," "Wait For Her," "Oceans Apart," and "Part of Me Died." The lyrics for Wait for Her were written by Roger Waters and inspired by an English translation by an unknown author of "Lesson from the Kama Sutra (Wait for Her)," by Mahmoud Darwish. The musicians on Is This The Life We Really Want? are: Roger Waters (vocals, acoustic, bass), Nigel Godrich (arrangement, sound collages, keyboards, guitar), Gus Seyffert (bass, guitar, keyboards), Jonathan Wilson (guitar, keyboards), Joey Waronker (drums), Roger Mannning (keyboards), Lee Pardini (keyboards) and Lucius (vocals) with Jessica Wolfe and Holly Proctor.

中国久负盛名的女子朋克乐队挂在盒子上今天发布了他们的单曲《Oracles（神谕）》。尬聊路线，只能说《新世纪福音战士》和挂在盒子上都有漂亮御姐——乐队这位御姐就是万年不变的主唱Gia殿下（aka王悦），她也是目前留队的唯一原始队员，同时也是此次挂盒复出的召集人。 《Oracles（神谕）》是挂在盒子上乐队的最新单曲，同时也是乐队即将发行的新专辑的同名主打单曲。作为前导单曲，挂在盒子上乐队向自我昭示“神谕”，正式宣布以全新的五人阵容回到公众视野。 这首单曲的制作人来头不小，他78年便从英国移居到摇滚乐冷硬的核心柏林，在那里从事音乐制作人工作长达40年，甚至还是New order的秘密成员！这个人就是著名摇滚乐制作人Mark Reeder老爷爷。按正常逻辑，这种传奇人物没点儿关系是联系不上的，没错，这次在中间牵线搭桥的是挂盒十余年的老朋友倪兵，一个惯于在北京与柏林之间跑单帮的人。挂盒乐队对这次Mark Reeder老爷爷的工作赞不绝口，主唱Gia表示老爷子缩混做得非常棒，也给了他们一些音乐上有益的建议，遗憾就是合作时间太短，只有这一首主打歌。 老乐迷应该知道，挂盒的原始四人阵容解体后，2007年乐队曾经宣布解散。2010年，王悦对外宣布重启挂在盒子上，从那时开始，乐队的成员一直不稳定。单曲《Oracles（神谕）》的创作也是在人员更迭中进行的，该曲诞生于2016年春天，当时乐队的合作鼓手是Da Bang乐队的李楠。这是一位对电子乐造诣颇深的摇滚乐鼓手，在这首单曲中，李楠创造了极富个人色彩的电鼓音色，为该曲增加了不同寻常的色彩；当时的吉他手徐京晨（前杭盖乐队）娓娓道来的吉他，犹如延续歌曲走向的线索；再加上主唱Gia独特的嗓音控制，据说，她对这首歌人声部分的把握来自于法国电子组合Air。Gia表示Air一直是她的心头好，这首《Oracles（神谕）》从他们那里借用了演唱的感受。风格上则完全是挂盒式的。 挂盒起始于朋克风格的摇滚乐，随着时代的推进融入多元化音乐元素，可以说，乐队十余年来一直没有停止过改变。Gia对音乐的态度是严肃的，因为严肃而不停变化，音乐既是对生活和艺术的理解，同时也是Gia生命的写照。对Gia来说，这次挂盒的签约摩登天空后的再次出发，起源于她与基督教的结缘，她相信是上帝将光带进了音乐。《Oracles（神谕）》的歌词是对这几年沉淀期的映射，神谕不止挂在天上，也通过音乐反应在Gia的内心。新版的挂盒，并不停留于固定的音乐模式，始终是在绝对自由的创作空间里寻求多种可能性，Gia在试图寻找属于她的旋律。 据悉，这张备受瞩目的专辑将于7月28日全网发行。对于挂盒来说，她们曾经创造过辉煌，但“旧事已过，一切都是新的”。 2003年挂盒作为中国第一支登上国际最大摇滚音乐节SXSW和纽约CMJ音乐的乐队，自出道以来早期活跃在日本亚太地区和欧美，全日本巡演全美巡演，虽然挂盒乐队已经存在了十几个年头，竟然还没有过中国巡演，签约摩登天空公司新唱片发行本次巡演是挂盒首次中国巡演。Gia想在这次巡演里找回曾经的自己，于是有了“寻找摇滚女孩”这个主题，本次巡演以中国摇滚圈未有的形式出现，要摇滚也要时尚的Gia Wang（鸡鸭王：主唱本人最喜欢的自嘲翻译）集结自己多年的时尚圈的好友共同打造一场青春，摇滚，朋克，女孩的巡演计划。中国时尚帝国第一品牌东田时尚&挂在盒子上联合打造摇滚女孩彩妆；京城时尚界最摇滚的女强人吴英男的品牌Rfactory的摇滚甜心太阳镜；上海站合作方最具环保精神的二手流通商铺荡铺；北京站合作方DH与地狱猫乐队主唱PR的品牌Bouquet Fever，北京站内容丰富将成为整场巡演的重头收官战除了挂盒的精彩表演还有时尚走秀和东田彩妆的体验站。 寻找摇滚女孩-Hang on the box挂在盒子上首次中国巡演现已开票 老歌新歌全部上阵，摇滚的梦想从拿起吉他拨片开始，摇滚女孩你在哪里？ 找到你，一起走下去，跟挂盒一起高喊No more nice girls!!!

一个凝结思绪，一个消融心防。不去高峰深谷，只奏息翕之波，潺湲流淌中又有百转千回。深厚的文化底蘊和自然的民間色彩，让人犹如脱离于嘈杂的凡尘，回归久违了的心灵安静。与听者时时相并相失，各持自在。让闻者忘返蚀骨销魂。使之沉沦弦节之侧，流连羽商之间。

On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year's aptly named Turn Into compilation showcased a fuzz-loving artist in flux—chronicling her mission to master bedroom recording—then the rising Oakland star's latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever—writing, recording, playing, and producing every sound beyond a few backing vocals—but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. And while Duterte's early stuff found her bucking against life's lows, Everybody Works is about turning that angst into fuel for forging ahead. "Last time I was angry at the world," she says. "This is a note to myself: everybody's trying their best on their own set of problems and goals. We're all working for something." Everybody Works was made in three furious, caffeinated weeks in October. She came home from the road, moved into a new apartment, set up her bedroom studio (with room for a bed this time) and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like "Lipstick Stains" all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like "1 Billion Dogs" and in the melodic distortions of "Take It," we also get the sublimely spacious synth-pop beauty of "Remain," and the luxe, proggy funk of "One More Time, Please." Duterte's production approach was inspired by the complexity of Tame Impala, the simplicity of Yo La Tengo, and the messiness of Pixies. "Also, I was listening to a lot of Carly Rae Jepsen to be quite honest," she says. "Her E•MO•TION album actually inspired a lot of the sounds on Everybody Works." There's story in the sounds—even in the fact that Duterte's voice is more present than before. As for the lyrics, our host leaves the meaning to us. So if we can interpret, there's a bit about the aspirational and fleeting nature of love in the opener, and the oddity of turning your art into job on the titular track. There's even one tune, "The Bus Song," that seems to be written as a dialog between two kids, although it plays like vintage Broken Social Scene and likely has more to do with yearning for things out of reach. While there's no obvious politics here, Duterte says witnessing the challenges facing women, people of color, and the queer community lit a fire. And when you reach the end of Everybody Works, "For Light," you'll find a mantra suitable for anyone trying, as Duterte says, "to find your peace even if it's not perfect." As her trusty trumpet blows, she sings: "I'll be right on time, open blinds for light, won't forget to climb."

★「Blue Wave」风格创始者，从Beyoncé至BBC Music全面力捧伦敦90后天才唱作人最新专辑。 ★蓝调、灵魂、爵士、迷幻、庞克、嘻哈；下意识、印象派、梦与秽物，爱情。融合、融合、再融合。 2013年，Archy Marshall将最精华的作品通通献给他众多化名之一的King Krule，发表专辑《6 Feet Beneath the Moon》，20岁屁孩从此震撼全球各类型音乐人，他宛如Morrissey的月之暗面，可以满嘴粗俗脏话、也能自上流艺术与文学中有所情感触动。自The Smiths、《猜火车》到现在，伦敦（或整个人类世界）依旧向下沉沦，市井的无奈，被他写得美丽如奥德赛诗句。他是我们期待已久的新英雄。 大量巡回与各方邀约合作大量消耗他的精力，虽然和画家哥哥合作、结合诗与艺术书的专辑《A New Place 2 Drown》评价很好，但Archy仍遇上撞墙期，没有满意的作品足用King Krule为名发表，和Frank Ocean的合作因成果不佳亦无疾而终。他把注意力转向人类日常，一些下意识产出，如排泄物、耳垢、口水、鼻水、毛发，被人们当作污垢的东西，还有他的异国爱欲，充塞在脑袋中搅和，成就这张超现实意象、印象派音乐、意识流破碎语句、多国语系的新专辑。 《The OOZ》中传统结构的歌曲不多，艺术性很强，想听他招牌「Blue Wave」风格可以从专辑最末的〈The OOZ〉、〈Midnight 01 (Deep Sea Diver)〉、〈La Lune〉开始，爵士风味更强，色彩更蓝更黑；再深沉一点，〈Slush Puppy〉、〈Lonely Blue〉可以踏触到他的忧郁及苦痛，进而到焦躁的〈Emergency Blimp〉、〈Half Man Half Shark〉，像是Sonic Youth与Fela Kuti终于合作了一样。 与其说灵感枯竭困扰着Archy，他承认经历了一段心意没有得到回复的恋情，写在《The OOZ》的好几首歌曲当中，所以整张专辑更像是Archy的爱情悲歌。首支单曲〈Czech One〉的MV中，外着飞机窗外的他，如果你有真正爱过，你会懂他的表情，虽然痛，但沉溺且享受，没有尽头般地分泌浪漫激素。

双子のマナ・カナに、ユウキとユナの男前な最強のリズム隊で編成された4人組、『NEO -ニュー・エキサイト・オンナバンド』、CHAIがついに、自身初となるFull Albumを完成させた!代表曲である「ぎゃらんぶー」「ボーイズ・セコ・メン」「sayonara complex」を含む、世界へCHAIの“NEOかわいい”を提案する最高にキュートな楽曲を収録。

The trails that Brooklyn’s Big Thief -- Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums) -- take us down on Capacity, are overgrown with the wilderness of pumping souls. After last year’s stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo. The album jumps right into lives marked up and nipped in surprisingly swift fashion. They are peopled and unpeopled, spooked and soothed, regenerating back into a state where they can once again be vulnerable. Lenker’s songs introduce us to a gallery of multifacted women and deal with the complicated matters of identity — at once dangerous and curious, though never unbelievable. Lenker shows us the gentle side of being ripped open. Tricked into love, done in and then witnessing the second act of pulling oneself back together to prepare for it to all happen again, but this time to a sturdier soul, one who is going to take the punches better than ever before and deal some jabs and roundhouses of their own. The album is thick with raw, un-doctored beauty: most of the songs on Capacity were played for the first time in the studio and were recorded the same day. “There is a darker darkness and a lighter light on this album,” Lenker explains. “The songs search for a deeper level of self-acceptance, to embrace the world within and without. I think Masterpiece began that process, as a reaction from inside the pain, whereas I feel Capacity examines the pain from the outside.”

Stephen Bruner, bka as Thundercat returns with his follow up to 2015s The Beyond / Where the Giants Roam . The latest album titled Drunk is released on Flying Lotus Brainfeeder label and features production from Flying Lotus himself. After attaining national attention following his Grammy award winning collaborations on Kendrick Lamar s To Pimp A Butterfly , Bruner delivers arguably his most ambitious work to date. Vocal features include Michael McDonald & Kenny Loggins, Kendrick Lamar, Wiz Khalifa and Pharrell. In addition to Kendrick Lamar, Thundercat has worked with a wide range of artists including Erykah Badu, Childish Gambino, Mac Miller, Ty Dolla $ign, Bilal, Suicidal Tendencies, Kamasi Washington, Terrace Martin and more making him one of the most in demand musicians of our time.

卡琳·德雷耶·安德松是瑞典電子團體刀子的主唱。原是另類搖滾樂團Honey Is Cool的主音和吉他手。2009年，她化名為Fever Ray發行了個人專輯。她以尖銳而深邃的唱腔，結合有特色的口音的扭曲音調以及對變調的應用著稱。她通常在照片中帶著面具和其他戲劇元素