Planet Mu are very excited to announce Jlin's long awaited second album “Black Origami”. A percussion-led tour de force, it's a creation that seals her reputation as a unique producer with an exceptional ability to make riveting rhythmic music. “Black Origami” is driven by a deep creative thirst which she describes as “this driving feeling that I wanted to do something different, something that challenged me to my core. Black Origami for me, comes from letting go creatively, creating with no boundaries. The simple definition of origami is the art of folding and constructing paper into a beautiful, yet complex design. Composing music for me is like origami, only I'm replacing paper with sound. I chose to title the album "Black Origami" because like "Dark Energy" I still create from the beauty of darkness and blackness. The willingness to go into the hardest places within myself to create for me means that I can touch the Infinity.” Spirituality and movement are both at the core of “Black Origami”, inspired largely by her ongoing collaborations with Indian dancer/movement artist Avril Stormy Unger whom she met and collaborated with at her debut performance for the Unsound festival – ”There is a fine line between me entertaining a person... more credits released May 19, 2017 I would like to thank William Basinski (Holy Child), Holly Herndon (1%), Fawkes (Calcination) and Dope Saint Jude (Never Created, Never Destroyed) for collaborating with me on this album. I would also like to give a special thanks to Native Instruments & Planet Mu for their continued support and trust. William has been a support system that came out of nowhere, and I'm so appreciative of having him in my life. Holly my constant homie, thank you always, you've been down with me from the beginning. Thank you to my parents especially Mum for always having my back and not being biased when I'm creating, I love you. Special thanks to the children of Nyakinyua. I am because we are. I owe every ancestor who came before me everything, I have no excuses. All tracks composed by Jerrilynn Patton. Published by Copyright control. Holy Child published by Copyright control/Musex International (BMI). 1% published by Copyright control/Holly Herndon Music (SESAC). Vocals on Calcination performed by Fawkes. Vocals on Never Created, Never Destroyed performed by Dope Saint Jude. Mastered by Beau Thomas at Teneightseven mastering. Artwork 'Siam' by Robert J. Lang and Kevin Box. Photo by Bill Stengel. Sleeve by Joe Shakespeare and Fabian Harb. ℗2017 Planet Mu Records Ltd. ©2017 Planet Mu Records Ltd.

18岁时凭借处女作《Sprained Ankle》获得《纽约时报》、NPR音乐台、Pitchfork、RollingStone.com、Noisey、The AV Club 等媒体一片赞誉的唱作人 Julien Baker，历经人们近两年的漫长期盼，终于带着新作《Turn Out The Lights》以及不变的灼灼真情回归。 在与 Death Cab for Cutie、Belle & Sebastian、Ben Folds 等人同台的同时，Baker 的成长亦有目共睹。录制于美国孟菲斯传奇录音室 Ardent Studios 的《Turn Out The Lights》，由 Baker 本人创作、制作，混音则请到 Craig Silvey（The National、Arcade Fire、Florence & the Machine）操刀。这是 Baker 在音乐与视野上的一次拓展，但在向世界抱持更开明态度的同时，她却未曾失却走入每个人心中角落的魔力。她继续用一种挥之不去的自白方式，思考自己与身边人的生活经历，道出我们共同的内心挣扎：尽管世界与人心充满灰色，我们还是要将其拥入怀中。

The album is incredibly broad in range, refusing to be defined by one idea. From the uncompromising Yuk Foo to the infectious Beautifully Unconventional and Don’t Delete The Kisses, a dizzyingly romantic track which shows their progression and maturity as songwriters. Visions Of A Life is not an album of clichés. It is packed with surprises for those who think they know Wolf Alice. A darker, bolder, more diverse release from the biggest breakthrough independent band of recent years.

Since emerging onto the scene in 2014, Moses Sumney has ridden a wave of word-of-mouth praise, hushed recordings, and dynamic live performances. It's an organic, patient ascent all too rare in today's musical climate. In a voice both mellifluous and haunting, Sumney makes future music that transmogrifies classic tropes, like moon-colony choir reinterpretations of old jazz gems. His vocals narrate a personal journey through universal loneliness atop otherworldly compositional backdrops. Following the self-release of his debut cassette EP, Mid-City Island, and 2015's 7", Seeds/Pleas, Sumney has performed around the world alongside forebears like David Byrne, Karen O, Sufjan Stevens, Solange, James Blake and more. With his 2016 Lamentations EP, The California and Ghana-raised troubadour widened the spectrum of his heretofore "bedroom" music, incorporating songs that feature more elaborate production and evocative songwriting. Now his inspired ascent continues. His proper debut album, Aromanticism is a concept album about lovelessness as a sonic dreamscape. It seeks to interrogate the social constructions around romance. The debut will include the devastating, billowing synths of "Doomed,” which in a way serves as the album’s thesis statement, as well as new versions of standouts "Lonely World" and "Plastic.” It’s a deliberate, jaw-dropping statement that can leave you both enlightened and empty.

Fleet Foxes will release Crack-Up, its long-awaited and highly anticipated third album, June 16 on Nonesuch Records. Crack-Up comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band's 2008 self-titled debut. All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist). "A rich, ideas-driven record which pulls off a pretty unlikely feat: infusing Fleet Foxes' music with the same sense of transcendence and beauty that they managed the first time, now delivered with an added sense of expansive musical ambition. Confirms that rarest of achievements: a group somehow hanging on to the essence of who they are, while pushing their art into thrillingly unforseen places." Q Magazine "At a time when indie-rock seems to be growing more culturally marginal by the day, Crack-Up is a defiant artistic statement, an album that dares to feel important." The New York Times "Likely to be the most remarkable album you will hear this year...the return of one of the most original bands of this century." The Times "Astonishing. Crack-Up may be the most anticipated release of the year; a welcome return. Ambitious, mature, meticulous." Uncut

《我怎么学的这么坏》从创作到录制再到发行，大约两年时间。这张专辑可以说是一张很私人的专辑，我们对它爱如珍宝，引以为傲。我常常想，总在说些自己的小情小感，好像这个世界会在乎似的，但转念又想，难道这个世界不应该在乎吗？ 我自认为，《我怎么学的这么坏》是一张对音乐，对艺术缺乏耐心的专辑。我对此十分庆幸，就像《学校》这首歌里写的“把我的作文擦掉擦掉，把我的青春写进课本”，我深知脏手指乐队，和我们所喜爱的其他摇滚乐队一样，其意义不在于音乐，艺术，摇滚乐应该高于这些。我庆幸的是这张专辑没有陷入完美主义的泥藻，它是纯粹的天分的体现。 by 管啸天

Bristol's finest post-punk polemics Idles have been promising to do great things for some time now, and with their debut album Brutalism, they absolutely fulfill that promise, a furious promise at that. Politically charged, refreshingly confrontational, and infectiously volatile, Idles are a band like no other. Bringing the unsettling reality of the world we live in into their frantic assault on the senses, they are a band that until now could only be truly understood by witnessing in a live environment. But with Brutalism, it surely feels like they have captured the intensity of that live sound. Bottled up here are the abrasive, memorable lyrics of Joseph Talbot delivered with all of the spite and wry humor he puts across on the stage. Dedicated in part to the loss of his mother, who adorns the record's cover, and partly to a perceived decimation of society, from the NHS to public services across Britain, Brutalism is a deadly serious indictment on popular culture.

All American Made is the second studio album by American country musician Margo Price

On Hurray for the Riff Raff's new album 'The Navigator' (March 10/ATO Records), Alynda Segarra tells an interwoven, cinematic story of a wandering soul at a crossroads of identity and ancestral weight. It finds a street kid named Navita traversing a perpetually burning city in search of herself. 'The Navigator' is a thrilling call to arms that could not come at a more crucial time. It also finds Hurray for the Riff Raff at its own musical intersection, delving deep into the worlds of Latin rhythms, searing rock, and incisive ballads.

Japanese Breakfast's 'Soft Sounds From Another Planet' is less of a concept album about space exploration so much as it is a mood board come to life. Over the course of 12 tracks, Michelle Zauner explores a sonic landscape of her own design, one that's big enough to contain her influences. There are songs on this album that recall the pathos of Roy Orbison’s ballads, while others could soundtrack a cinematic drive down one of Blade Runner's endless skyways. Zauner's voice is capacious; one moment she's serenading the past, the next she's robotically narrating a love story over sleek monochrome, her lyrics more pointed and personal than ever before. While 'Psychopomp' was a genre-spanning introduction to Japanese Breakfast, this visionary sophomore album launches the project to new heights.

Hot Thoughts is the bravest, most sonically inventive work of Spoon’s career. With all due respect to earlier efforts that have made the quintet both critically acclaimed and a commercial contender, preconceptions about this band are about to be obliterated. That’s not to say Hot Thoughts doesn’t have a requisite supply of infectious earworms but there’s a lyrical bent that’s as carnal as it’s crafty, and a newfound sense of sonic exploration that results in the genresmasher Spoon have flirted with in the past but not fully consummated. Co-produced by Spoon and Dave Fridmann and reunited with Matador Records (third time’s the charm), let's acknowledge that Britt Daniel’s spot in the pantheon of rock’s genius songwriters was well established a ways back, but with the crackling, incandescent, multi-dimensional backdrop conjured on ‘Hot Thoughts’, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body and face a weapon of theatre, Harding dances with steeled fervor, baring her teeth like a Bunraku puppet's gnashing grin. Her debut release with 4AD, Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse) introduces a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside. Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a variety of roles: chanteuse, folk singer and balladeer - all executed with her twisted touch of humour, hubris and quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning; every note, word and arrangement posed with intellect and inventiveness. Created in Parish’s hometown of Bristol, Party saw Harding depart her New Zealand base in the antipodes for an intensive two-week immersion in the studio. Articulating her ambitions for Party to Parish was a galvanizing process for Harding, met with stunning results. The pair developed a near non-verbal shorthand, audibly evident in a raft of musical contributions from Parish. Alongside such special guests as Perfume Genius’ Mike Hadreas (having worked with Parish and toured with Aldous, it only took asking once), there is an exhilarating sense of risk throughout the record as Harding’s muscular wingspan extends. Teased out with inflections of experimental instrumentation and arrangements; Party is always anchored by Aldous’s intimidating command of her own songs. First single ‘Horizon’ is a lover’s call to arms, powerful for its brutal simplicity and rawness of feeling, love and loathing colliding to devastating effect. “Aldous Harding repeats the line as a mantra, as a truth, as a reality. It's as if the gift of life is right here, with all its beauty and its limitations”, said NPR. ‘Imagining My Man’ commands an air of delicacy as Aldous explores the curiosity of a lover’s idiosyncrasies; steering listeners into a state of intense intimacy laced with hyperactive shots, dirgey saxophone and Harding’s aching voice. The track is one of two that Mike Hadreas lends his inimitably sultry vocals to, the other being the intimate Party closer ‘Swell Does The Skull’. ‘Blend’ sensitively ushers the mood of Harding’s flourishment throughout Party. Its opening lines a nod to the mood of Harding’s last record; sameness is quickly quashed with an electronic drumbeat and the announcement of Aldous Harding as an artist of stirring ambition and trajectory. The album’s eponymous single ‘Party’ harks to Aldous’ earlier work; delicately pulling at the threads of a seemingly late-night love affair. Again, it’s not long until the rug is pulled out, with a searing chorus - Harding’s electrifying vocal accompanied by a choir of women and waves of percussive bass clarinet - piercing the balloon of expectations around Harding's new record with effortless vigour.

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others. On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

On Antisocialites, Alvvays dive back into the deep-end of reckless romance and altered dates. Ice cream truck jangle collides with prismatic noise pop while Molly Rankin's wit is refracted through crystalline surf counterpoint. Through thoughtful consideration in basement and abroad, the Toronto-based group has renewed its Scot-pop vows with a powerful new collection of manic emotional collage.

More Life. More time with family and friends. More Life. I've still got vibrations to send. More Life. They say that we could live forever At night I pray it's true I've done so much in my short time and still there's more to do But if someone should come collecting Sooner than we're all expecting At least the life you lived was one for you ― Drake

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Richard Dawson will release new album Peasant via Weird World / Domino on 2nd June 2017. Coinciding with the announcement, Dawson has shared a video for the album’s first single ‘Ogre’, directed by Matt Stokes. “A crack team of physicists, leather-workers, synchronised swimmers, sausage-sellers, professional wrestlers and computer games-designers assembled in a remote cleft of the Tyne Valley to portray a community fraying at the edges, eaten from the inside by some fearful sickness, searching for answers in the all the wrong places,” says Dawson of the new video. “Matt Stokes is a fabulous video artist. I've loved his work ever since seeing 'The Gainsborough Packet' almost ten years ago now. I'm very happy that we were able to work together to present to you the first song from the album Peasant. It is only one panel of a larger mural. I hope you will enjoy and find something to take from it.” No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop - the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important - or earlier in the journey, with The Glass Trunk’s visceral song cycle or The Magic Bridge’s sombre revels, devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work. Peasant is that album. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse’s dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson’s work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance. Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, Peasant’s eleven tracks sustain a momentum worthy of the lyrics’ urgent subject matter. Dawson describes the themes of these songs as “Families struggling, families being broken up by circumstance, and - how do you keep it together? In the face of all of these horrors that life, or some system of life, is throwing at you?” The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich - “any time from about 450AD to 780AD, after the withdrawal of the Roman Empire”- only makes their contemporary relevance more enduring and vital. Dawson’s objective was to create “A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn’t take responsibility – blame going in all the wrong directions”. But encountering Peasant’s captivating sequence of occupational archetypes (‘Herald’, ‘Ogre’, ‘Weaver’, Scientist’), listeners might find themselves wondering if these multitudes could somehow be contained with one person - surely we all have a ‘Shapeshifter’ and a ‘Prostitute’ within us?

The Nashville Sound is the follow up to 2015's critically acclaimed Something More Than Free, which won two Grammy Awards (Best Americana Album & Best American Roots Song, 24 Frames) and two Americana Music Association Awards (Album of the Year & Song of the Year, 24 Frames). Without exaggeration, Jason Isbell has become one of the most respected and celebrated songwriters of his generation. He possesses an incredible penchant for identifying and articulation some of the deepest, yet simplest, human emotions, and turning them into beautiful poetry though song. Isbell sings of the everyday human condition with thoughtful, heartfelt, and sometimes brutal honesty, and the new album is no exception.