BADHEAD厂牌以及中国摇滚乐的重要收获。马木尔创建的五支乐队之一，IZ的分支乐队，也是其中唯一一支演奏吉他的乐队。专辑包含了十二首曲子。“细菌”是效果器的史诗，是前卫摇滚乐波澜壮阔的进军，充满深渊般的力量，很难相信这仅仅是两个人的乐队。马木尔是一位拥有自带低沉共鸣效果嗓音的独特歌手，其人声极具感染力。

Even in the increasingly crowded field of electronic music, Kelly Lee Owens’ debut album arrives as a wonderful surprise. An album that bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, 'Kelly Lee Owens' brims with exploratory wonder, establishing a personal aesthetic that is as beguiling as it is thrillingly familiar.

Quantum Natives (QNR013)

Rapsody has seen a pretty meteoric rise to success over the past couple years ever since she first appeared on Kendrick Lamar's To Pimp A Butterfly cut “Complexion” back in 2015. Since then, the female North Carolina rapper has made quite the name for herself following the success of her Crown EP last year and landing herself a deal with Roc Nation last Summer. While having remained relatively quiet for the most part of 2017, with exception to a couple #JamRocFriday releases this Summer, Rapsody is ready to change all that here today as she comes through with the release of her new album Laila’s Wisdom after weeks of anticipation and promotion.

WRITTEN AND RECORDED August 31st to Dec. 6th, 2016 in the same room where Geneviève died, using mostly her instruments, her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper, looking out the same window. Why share this much? Why open up like this? Why tell you, stranger, about these personal moments, the devastation and the hanging love? Our little family bubble was so sacred for so long. We carefully held it behind a curtain of privacy when we’d go out and do our art and music selves, too special to share, especially in our hyper-shared imbalanced times. Then we had a baby and this barrier felt even more important. (I still don’t want to tell you our daughter’s name.) Then in May 2015 they told us Geneviève had a surprise bad cancer, advanced pancreatic, and the ground opened up. What matters now? we thought. Then on July 9th 2016 she died at home and I belonged to nobody anymore. My internal moments felt like public property. The idea that I could have a self or personal preferences or songs eroded down into an absurd old idea leftover from a more self-indulgent time before I was a hospital-driver, a caregiver, a child-raiser, a griever. I am open now, and these songs poured out quickly in the fall, watching the days grey over and watching the neighbors across the alley tear down and rebuild their house. I make these songs and put them out into the world just to multiply my voice saying that I love her. I want it known. "Death Is Real" could be the name of this album. These cold mechanics of sickness and loss are real and inescapable, and can bring an alienating, detached sharpness. But it is not the thing I want to remember. A crow did look at me. There is an echo of Geneviève that still rings, a reminder of the love and infinity beneath all of this obliteration. That’s why. - Phil Elverum Dec. 11th, 2016 Anacortes ////////////////////////////////////// Available in physical form, very nicely made, from P.W. Elverum & Sun box 1561 Anacortes, WA USA 98221 catalog no. ELV040 credits releases March 24, 2017

Take Me Apart is the upcoming debut studio album by Ethiopian-American singer and songwriter Kelela, scheduled for release on October 6, 2017 through Warp Records.

2014’s Too Bright showcased Mike Hadreas stepping out saucily onto a bigger stage, expressing, with the production help of Portishead’s Adrian Utley, emotions arranged all along the slippery continuum from rage to irony to love. Here in 13 new ferocious and sophisticated tracks, Mike Hadreas and his collaborators blow through church music, makeout music, an array of the gothier radio popular formats, rhythm and blues, art pop, krautrock, queer soul, the RCA Studio B sound, and then also collect some of the sounds that only exist inside Freddy Krueger. Tremolo on the electric keys. Nightclubbing. Daywalking. Kate Bushing, Peter Greenawaying, Springsteening, Syreetaing. No Shape was produced by Blake Mills, the man behind Alabama Shakes’ Grammy Award winning album. He added precision and expansion. Some things are pretty and some are blasted beyond recongition. Records like this, records that make you feel like you’re 15 and just seeing the truth for the first time, are excessively rare. They’re here to remind you that you’re divine.

"It felt like we were in a movie that had a totally implausible ending..." Slowdive's second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: "The beauty of their crystalline sound is almost hard to believe, every note in its perfect place." "It was just nice to realise that there was a decent amount of interest in it," says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive's stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears. Deftly swerving what co-vocalist/guitarist Rachel Goswell terms "a trip down memory lane", these eight new tracks are simultaneously expansive and the sonic pathfinders' most direct material to date. Birthed at the band's talismanic Oxfordshire haunt The Courtyard - "It felt like home," enthuses guitarist Christian Savill - their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles' famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive's wake). "It's poppier than I thought it was going to be," notes Halstead, who was the primary architect of 1995's previous full-length transmission Pygmalion. This time out the group dynamic was all-important. "When you're in a band and you do three records, there's a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record." Drummer and loop conductor Simon Scott enhanced the likes of 'Slomo' and 'Falling Ashes' with abstract textures conjured via his laptop's signal processing software. A fecund period of experimentation with "40-minute iPhone jams" allowed the unit to then amplify the core of their chemistry. "Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like 'Sugar For The Pill' and 'Star Roving', which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed." This open-channel approach to creativity is reflected by Slowdive's impressively wide field of influence, from indie-rock avatars to ambient voyagers - see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films. "When I moved to America in 2008 I was working in an organic grocery store," recalls Christian. "Kids started coming in and asking if it was true I had played in Slowdive. That's when I started thinking, 'OK, this is weird!'" Neil Halstead: "We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they're still interesting in a few years time. I don't know where we'd have gone if we had carried straight on. Now we've picked up a different momentum. It's intriguing to see where it goes next." The world has finally caught up with Slowdive. This movie could run and run...

国际巨星“Lana Del Rey” 2座 格莱美提名 2座 全英奖BRIT Awards 2座 EMA 最佳另类艺人 2016 ELLE年度女艺人 GQ奖项 年度女艺人 Q award “Best New Thing” Lana Del Rey，本名：Elizabeth Woolridge Grant，2005年正式从纽约出道，并且借着EP【Kill Kill】闯出名号之后，瞬间爆红的"Video Games"、电影《大亨小传》主题曲" Young and Beautiful"、"Summertime Sadness"，让正式成为了乐坛新星，并在接下来的【Lana Del Ray】、【Born to Die】、【Ultraviolence】、【Honeymoon】四张专辑中，缔造了超过三千万张销售纪录。她独特的“好莱坞悲核式”嗓音，受到50年代到60年代流行音乐的文化，其音乐流露出的“悲情浪漫”与“忧郁感”让Lana Del Rey在这个超时代的音乐疆域中“独树一帜”。发片至今，lana Del Rey已经横扫16座奖杯，入围54项提名，包括格莱美、公告牌、全英奖、Echo，MTV等多项音乐大奖。 2015年10月，Lana宣布她将筹划全新专辑的计划，区别于前两张专辑中的“加利福尼亚式之音”lana自述道要将“纽约式”味道增加到新作品中，用轻快，乐观的节奏“削弱”梦幻的感觉。自上一张空降公告牌专辑榜第二位的《Honeymoon》发行仅仅几个月之后，2016年初，Lana及其经纪人公开了她筹备第五张个人专辑的消息。期待着能够在新作中突破自我的框架与限制， 超过400个日子的淬炼， Lana交出了全新专辑【Lust For Life】。 【Lust For Life】除了Lana Del Rey本人担任制作之外，还请到了旧金山传奇制作人Rick Nowels(Madonna、Adele、Sia)、超级制作人 Max Martin（Taylor Swift、Maroon5、Britney Spears）、热单制造机Benny Blanco ( Justin Bieber、Katy Perry、Rihanna )等多组人马，共同注入时代之下的前卫声响。主打同名单曲"Lust For Life"，由格莱美奖新生代天王The Weeknd入阵献声，以两人绝对的合作默契，并结合R&B和Dream Pop为基底，唯美唱出了流行乐未来的雏形。空降公告牌摇滚榜亚军的"Love"，全球串流突破7000万人点听，与略带复古韵味的Baroque Pop风格，被滚石杂志盛赞“音乐上的赞美诗”。已故音乐传奇John Lennon之子Sean Ono Lennon，在"Tomorrow Never Came"中以前卫摇滚的声响，替如梦似幻的节奏，增添了更为超凡入圣的气息。

Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. While we could say a lot about Pure Comedy – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

超级市场第八张专辑正式发行 《德先生与赛先生》输赢未卜 1997年，超级市场乐队成立，成为中国第一支电子乐队，用情绪包裹数字冰冷的外壳，创造出物质与人性交战的世纪之声。二十年后，“超市体系”再次启动，以乐队的第八张专辑《德先生与赛先生》向时代发出新的追问。 二十年，超级市场如同一个清醒的旁观者，以极其低调的姿态保持与时代同轨。每一张专辑，都如同一面镜子，跟随时代起伏，映照稍纵即逝的情绪。如果说2014年后发行的两张专辑——《Blackeclipse墨蚀》和《有限无限》为我们呈现出超市电流的新流向，成为“超市体系”进入更纯粹的电音世界的标志，那么《德先生与赛先生》则是超级市场以高维度音乐向科技时代遁入的空虚感投射出的一次深刻审视。 不同于过去所有专辑，《德先生与赛先生》中，对人类情感的描绘不再为专辑主线，取而代之的是科技与氛围营造出的灰色精神空洞。《Siri》与《贝尔特》中，Techno如同一块灰色的阴影，笼罩于世界上空。冷峻循环的律动层层递进，现代科技如同病毒一般，源源不断传送至人的体内。“很抱歉，项目建议我最好不要谈论自己的存在形式。”，采样中Siri毫无感情的回答让听者不寒而栗。由感染走向病入膏肓的过程，在《病》与《激变》中化作Glitch的漩涡，田鹏痛苦模糊的人声在其间转动。《疾怨》黑色的节奏充满机械感，Trip－hop将人类情感抽空，留下沉重的肉体躯壳在痛苦里徒劳挣扎。而站在世界彼端的《旁观者》则低垂下眼眸，用钢琴为垂死之人演奏起深沉的哀悼曲。扭曲的数码音效在《三月》中堆叠，与《十月》开阔的吉他形成一个完整而充满生机的光环。直至《无语》和《自始至终》揭开虚幻光明下的真相，氛围仿佛宿命一般走回寒冷与黑暗。冰冷的节奏下，极具先锋实验性的电子噪音泛起无规则波浪，低频涌至耳畔，又渐渐消退，迷失在Minimal射频苍白的噪音里。 这是一张令人惊叹的专辑。超级市场用层次与结构将画面感与精神内核植入冷漠循环的数码音效，充满戏剧张力地揭开《德先生与赛先生》背后的深意，抛出意味深长的问号——科技如洪水猛兽般吞噬情感的时代，人类终将何去何从？

★水星音乐奖得主暌违五年第三张专辑 ★荒芜中执拗燃烧的浪漫 ★都会喧嚣间最亲密的孤寂 来自伦敦的青年乐队The xx，2009年首张专辑《xx》以初生之犊的姿态，拿下欧洲指标性水星音乐奖，随后几年间，他们纵横各大音乐祭与颁奖典礼，第二张专辑《Coexist》挤下The Script、Bob Dylan、Pet Shop Boys空降英国流行专辑榜冠军，此等天之骄子般的惊人声势，以及身处譁众取宠的当代音乐潮流中，The xx徘徊午夜的极间低迴旋律铺陈起的黑灰色阶，似乎显得格格不入，然而吸纳著Siouxsie and the Banshees、The Cure、New Order、Cocteau Twins以至Aaliyah音乐养分而来的浪漫声响，却敲醒了层层冰雪底层的炙热，写尽了这时代人们藏得最深的孤寂。 2014年乐队灵魂人物Jamie xx首张创作专辑《In Colour》，在The xx失去时空标记的未来场域，投入大量多元声响取洋的缤纷色泽，让人预见了The xx的可能性，亦塑造出暌违五年新专辑《I See You》首支单曲〈On Hold〉的蜕变，与Hall & Oates 1981年冠军曲〈I Can’t Go For That〉交会之际一脚踩进舞池，让好似被时间消磨了的遗憾，不再那麽难以承受，冬阳洒落的和煦蔓延至〈I Dare You〉与〈Say Something Loving〉，依旧浪漫得执拗。 开场曲〈Dangerous〉强悍bassline与管乐驱策下，扬起了The xx至今最果抉、激昂的一回；〈Lips〉取洋自葛莱美提名挪威人声乐队Trio Mediæval的脱俗吟唱乘著Tribal Beat悠缓跃动的宜人风景，以及〈Performance〉凄薄弦乐于一片荒芜中拉扯出的张力，格外令人惊豔；即便〈A Violent Noise〉和〈Brave For You〉回到那个被喧嚣遗忘的街角，遇到我们熟悉的The xx，冰冷得暴戾的梦，也相对辽阔轻盈，美得令人屏息。 末曲〈Test Me〉绝望的最后恳求，在一片极间冰凝的苍白电气中持续坠落，一段Alessi Brothers〈Do You Feel It?〉的琴音乍现，对映著取洋了同一首歌的〈Say Something Loving〉，麻木了心，模糊了时空，即使在阳光洒落的地方，The xx依旧以近乎任性的执著，耽溺于怀疑与悔恨的结，最亲密的疏离，最炙热的冷冽，让人倚著冰牆试图取暖，距离心一步的位置，目光犹疑试探，却怎麽也踩不进去的怅然。