2016年10月 各界注目の中、衝撃のデビューを果たした春ねむり。 そのデビュー作「さよなら、ユースフォビア」から1年半。新世代のジェイポップを吹き荒らす、春ねむりファーストフルアルバム『春と修羅』の発売が決定! 昨年リリースしたミニアルバム「アトム・ハート・マザー」では、メロディレスながらメインストリームにも通用することを証明し、タワレコメンへ選出。 そして前作、後藤まりことの衝撃的な共作シングル「はろー@にゅーわーるど / とりこぼされた街から愛をこめて」によって新たなトゲを芽生えさせただけではなく、 東京女子流のリニューアル第1弾シングル「ラストロマンス」に作詞/作曲/編曲で参加するなど、ポエトリーラップ曲以外の楽曲制作でも新しい才能を開花! その中でのリリースとなる今作も、作詞/作曲は全トラック自身が担当した。彼女の持つ様々なバックグラウンドが詰め込まれ、全17トラックとボリューム感のある作品に仕上がった。 まさに、春ねむりが目覚めのシャウトを打ち鳴らす【名盤アルバム】が完成! 初回盤には、2017.10.26@武蔵公会堂にて開催された初ホールワンマンライブ「ぼくを最終兵器にしたのはきみさ」のライブ映像をダイジェスト収録したDVDが付属。 ライブでしか見せない千変万化の表情、表現が記録された見ごたえたっぷりのライブ映像を堪能できる。 メディア掲載レビューほか 2016年10月、各界注目の中、衝撃のデビューを果たした春ねむり。そのデビュー作『さよなら、ユースフォビア』から1年半。新世代のジェイポップを吹き荒らす、春ねむりファースト・フル・アルバムの発売が決定!彼女の持つ様々なバックグラウンドが詰め込まれ、全17トラックとボリューム感のある作品に仕上がった。まさに、春ねむりが目覚めのシャウトを打ち鳴らす【名盤アルバム】が完成! (C)RS

시간, 공간 그리고 소리에 대한 사랑의 기록. 박지하 두 번째 음반 [Philos] 1집 음반 [Communion, 2016] 이후 2년 만에 발표하는 박지하의 신보 [Philos, 2018]. [Philos]는 피리, 생황, 양금 등 박지하가 연주하는 여러 악기로 만든 소리와, 시간과 공간 안에서 발현되는 소리를 쌓아 만든 총 8트랙의 기록이다. 다른 연주자들과의 협업 없이 여러 시간 안의 박지하가 지속적인 작업을 통해 얻은 결과물이다. 음반에 등장하는 모든 소리의 도착과 시작을 이야기하는 첫 곡 'Arrival', 한여름 무더위 속 예고 없이 찾아온 빗소리가 내려준 선물 같은 곡 'Thunder Shower', 2015년 화엄음악제 무대로 한국을 찾았던 레바논의 예술가 디마 엘사예드 (Dima El Sayed)가 박지하의 소리에서 모티브를 얻어 직접 쓰고 낭독한 시를 담은 트랙 'Easy', 오랜 시간과 소리의 중첩으로 만들어진 타이틀곡 'Philos', 서울의 소리를 실시간으로 함께 담은 'Walker: In Seoul', 양금과 생황의 담백하고도 아름다운 선율이 돋보이는 'When I Think Of Her' 등 총 8트랙으로 이루어져 있다. [Credit] Produced by 박지하 Park Jiha All Composed by 박지하 Park Jiha Piri, Saenghwang, Yanggeum, Voice, Glockenspiel: 박지하 Park Jiha Poem & Read: Dima El Sayed (track 3) Recording: 백종성 Baek Jongsung, 유기은 Yoo Kieun, 혜진 Hyejin, 이수형 Lee Suhyoung at The Veax's Studio Mixing & Mastering: 백종성 Baek Jongsung at The Veax's Studio Photography: 김재우 Kim Jaewoo

死海，位于以色列和约旦的交界处，是世界上海拔最低的咸水湖，据说人可以直接躺在湖面上，而不会沉下去，这样的景象或多或少会让我想到耶稣在水面上行走的故事。但是我要说的这个故事，是关于中国的死海。虽然这个地名在任何官方出版的中国地图上都找不到，也几乎没有什么人听说过在中国有这么一个地方。不过这个地方一直停留在王源的记忆里，在她头脑里最深的某个角落，这个名字总是一再地出现，很多年也未曾中断。 大约从10岁开始，王源就随着父亲开始一次一次的搬家。即使在我和她交往的那几年里，她也很少提起那些过去的往事，但是我大概也能猜得到，那些叫不上名字的学校，南方城市的某个下雨的清晨，大雪封山的北方的冬天，以及火车里看见的一闪而过的丘陵，所有这些记忆混杂在一起，童年和少年的经历被互相穿插，被挑选，在一个少女的头脑里起起伏伏，被放大或者被遗忘。所以当王源第一次向我说起死海这个地方时，我难免会觉得，那不过是由于她记忆交错而带来的幻觉。 不是的，绝对，不是幻觉，王源说。她说话时看着我的眼睛，那种出乎寻常地真诚态度让我几乎相信了她。 王源的父亲，王为军，在43岁那年终于停止了搬家，他被调到地质研究所的宿舍小区，负责保卫工作。那年王源16岁，和我一样大。王为军，王源，还有王源的后妈钟阿姨住在4号楼。大家都说钟阿姨是个有背景的女人，所以王为军才可以得到这个工作。要不然，大家都这么说，要不然以王为军的资历，以及他那种温吞吞的性格，怎么可能做到保卫科长。 王为军爱喝酒，我曾经见过他在中午的时候一个人就着半盘剩菜喝光了一瓶白酒。后来我跟王源提起过这事，她只是笑笑，什么也没说。 16岁的王源和我成了高中同学，后来顺理成章地成了我的女朋友。接着就是争吵，和好，分手，再和好，再争吵，这样的情节越来越频繁，最后变得毫无新意，直到我们彻底分手。之后我听说她去了南方，嫁给了一个广东人。再见到她的时候，是在王为军的葬礼上。 不知道为什么，在葬礼上我总是想和王源说说王为军喝酒的事情，尤其是在他和钟阿姨离婚之后，女儿不在身边的这段日子里，我偶尔听到的一些关于酒精是如何让王为军失控的事情。但是王源似乎完全不想听这些。所以她总是沉默。但是除了喝酒之外，我还能对王源说些什么关于她爸爸的回忆呢？等到王为军去世，我才发觉虽然我和他女儿谈了好几年的恋爱，但是对他却是记忆模糊，大概唯一能记得的就是他某天中午坐在明亮的餐桌前，左手举着酒杯右手拿着筷子，一副笑眯眯的样子。 来，陪我喝点，他对我说。 分手之后我有几次梦到过王源，梦见她在我耳朵边，用低低地声音向我倾诉，说她有多么不快乐。那些梦就像是黑色墙壁上的一个洞，穿过去仍然是黑暗，看不见尽头，也不知道该怎样回头。 我也不知道该怎样向王源说起这些梦。 葬礼之后王源请我去她家吃饭，算是答谢我为葬礼帮忙，她这么说。另外，她说，我有个故事要告诉你。 那是个关于死海的故事，我一直记得很清楚，她说。我能看出来她已经喝的有点多了，眼神已经变得朦胧，说话时的手势也明显地多了起来。 那年我12岁，那是我们第四次或者第五次搬家，她说，要从秦岭穿过去，到四川的一个什么地方。那时候的秦岭还没有修什么隧道，所以火车走的很慢，沿着山势上上下下，而且经常走走停停，让别的什么车先过。不过因为是地质局工作的原因，我和爸爸可以有卧铺，所以这样的火车其实也不算是太幸苦。我喜欢睡在上铺，躲在最上面的角落里，别的人看不见你。我记得那天半夜的时候我突然就醒过来了，火车停着，窗户外面有几盏昏黄昏黄的路灯，应该是在一个什么车站，很小的站台。而且一定是很晚了，周围都是打鼾的声音，还有那种典型的火车才有的味道。然后我就听见有一个人唱歌的声音，那声音是突然出现的，而且应该就在车厢里面。声音非常非常地低沉，真的是低沉到我没法形容。是一个老人的声音，唱的什么我听不清，但是那个旋律，那个音调，就像是在祈祷，就像是因为生活的不幸而向某种事物祈祷。那个时候我就呆呆地听着，一动也不敢动，就好像空气中的任何变化都会打断这个唱歌的声音，就是那种敏感和脆弱的感觉。 她停下来，端起酒杯喝了一口，然后举着酒杯盯着里面剩下的小半杯酒，看了好一会儿。然后她说，你知道吗？这瓶酒是我爸特意留着的，说是要等我结婚后和他女婿一起喝。虽然我的婚也结了，却也始终没赶上机会喝，没想到，她停下来看了我一眼，不过，你也算是半个女婿吧。 我没说话，我想在这种时候我最好还是不说话，我在等她接着说她的故事。 那个老人唱歌的声音一直没停，慢慢地我的脑子就空了，感觉就是一片空白，我忘了我在什么地方，也不知道过了多长时间，反正就是一片空白，就好像脑子完完全全停止了，自我彻底地消失了。直到车轮动了一下才把我惊醒，真的是被惊醒的。那一瞬间我还是根本想不起来我是在什么地方。但是有一种特别奇妙的感觉，就好像是我的一生已经过完了，现在是一个完完全全新的现实世界，头脑异常地清醒。那个唱歌的声音已经没有了，周围还是一片打鼾的声音，还是同样的火车的味道。然后我看了看窗户外面，路灯慢慢地闪过。在站台的最后我看见这个车站的名字，叫死海。 然后呢？我问。 没有然后了，王源说，她的神态正在变得正常，酒精正在消解，眼神恢复到一如既往的清澈。只不过那天夜里我突然就明白了一个道理，她接着说，就是不管你经过多少个车站，换过多少个城市，住过多少个房间，最终能在你心里留下来的，恐怕也不过是那么一段最模糊和最脆弱的声音。 这恐怕是你的幻觉吧，这是我当时能说出的唯一一句话。

Composed of eight international artists recruited from all over the globe, London-based cooperative Superorganism made waves with 2017’s woozily addictive hit “Something for Your M.I.N.D”. For their debut the octet lift city sounds and place them centre stage—expect revving engines, arcade clatters and fizzing soda cans. It’s a hybrid of laidback dream-pop (“Reflections on the Screen”) and sunshine-soaked psychedelic jams (“Everybody Wants to Be Famous”) that radiates pure joy. These weird and wonderful anthems are ready to transport you to summer, whatever the weather.

released April 6, 2018 Written by: Cosmo Sheldrake Except Mind Of Rocks written by Cosmo Sheldrake and Kassia Zermon (aka Bunty). Produced by: Cosmo Sheldrake Additional production by: Matthew Herbert Engineered by: Cosmo Sheldrake and Giles Barrett Mixed by: Matthew Herbert Recorded at: Soup Studios Mastered by: Mandy Parnell at Black Saloon Studios license

7 is our 7th full-length record. At its release, we will have been a band for over 13 years. We have now written and released a total of 77 songs together. Last year, we released an album of b-sides and rarities. It felt like a good step for us. It helped us clean the creative closet, put the past to bed, and start anew. Throughout the process of recording 7, our goal was rebirth and rejuvenation. We wanted to rethink old methods and shed some self-imposed limitations. In the past, we often limited our writing to parts that we could perform live. On 7, we decided to follow whatever came naturally. As a result, there are some songs with no guitar, and some without keyboard. There are songs with layers and production that we could never recreate live, and that is exciting to us. Basically, we let our creative moods, instead of instrumentation, dictate the album’s feel. In the past, the economics of recording have dictated that we write for a year, go to the studio, and record the entire record as quickly as possible. We have always hated this because by the time the recording happens, a certain excitement about older songs has often been lost. This time, we built a "home" studio, and began all of the songs there. Whenever we had a group of 3-4 songs that we were excited about, we would go to a “proper” recording studio and finish recording them there. This way, the amount of time between the original idea and the finished song was pretty short (of the album’s 11 songs, 8 were finished at Carriage House in Stamford, CT and 2 at Palmetto Studio in Los Angeles). 7 didn’t have a producer in the traditional sense. We much preferred this, as it felt like the ideas drove the creativity, not any one person’s process. James Barone, who became our live drummer in 2016, played on the entire record. His tastes and the trust we have in him really helped us keep rhythm at the center of a lot of these songs. We also worked with Sonic Boom (Peter Kember). Peter became a great force on this record, in the shedding of conventions and in helping to keep the songs alive, fresh and protected from the destructive forces of recording studio over-production/over-perfection. The societal insanity of 2016-17 was also deeply influential, as it must be for most artists these days. Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see “L’Inconnue,” “Drunk in LA,” “Woo,” “Girl Of The Year,” “Last Ride”). In a more general sense, we are interested by the human mind's (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny (see “Dark Spring,” “Pay No Mind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”). The title, 7, itself is simply a number that represents our seventh record. We hoped its simplicity would encourage people to look inside. No title using words that we could find felt like an appropriate summation of the album. The number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart or “semi-first.” Most early religions also had a fascination with 7 as being the highest level of spirituality, as in "Seventh Heaven.” At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that. Much Love, Beach House releases May 11, 2018

The Asheville songwriter’s newly reissued debut divulges her restless thoughts through folksy garage-pop that’s both vulnerable and fierce.

A cosmic offering of iridescent electro-soul. The debut from Beijing’s rising singer / songwriter / producer, Fishdoll, to be released as CD and cassette on Paxico Records. "If Gold Panda and Little Dragon's Yukimi Nagano had an illegitimate love-child, it would probably sound something like Fishdoll" - Indie Current Paxico Records presents Noonsense, the debut album from singer/songwriter/producer, Beijing-based enchantress by the name of Fishdoll. Noonsense embodies the liminal state wrought by technology, the sensation of warm static lulling you to sleep. It's drifting off with the flicker of a screen following you into the unconscious, the inception of a digital stillness. Among scapes of hymnal tides and bubbling sea foam, Fishdoll's voice is a channel through which guided meditation flows. Breezily forthright and expressly feathery, it delivers glowing incantations layered to the brim with intricacies and harmonic euphoria, awash with feminine spirit and divine light. As pretensions melt away and your memories are transposed into surreal tableaux, these beautiful, buzzing fantasies will... more credits released January 19, 2018 All tracks written and produced by Fishdoll. Additional production on “Panaluya” features Lionmilk on synths and Panagiotis Kostopoulos on samples. “Bubbling Bop” features Drew Hart on bass. Painting by Daisy Peng. Photo by Mengwen Cao. Layout by Chris Hund. Executive produced by Fishdoll and Chris Hund. Ⓟ & © Paxico Records 2018.

If you’re the kind of person who would read a review of the second EXEK record on Paste Magazine dot com, then you’re probably also the kind of person who already knows that Melbourne, Australia is absolutely teeming with great bands right now. If you’re neither, know this: These days, it feels like every cool band that comes along comes from Melbourne. Many of these bands use electric guitars and bass and drums to create bright, upbeat pop-rock music, packed with catchy melodies and driving rhythms (even if their lyrics aren’t necessarily cheery). A smaller number of Melbourne bands are using guitars and bass and drums to do something entirely different. EXEK belongs to this second group. EXEK is a post-punk band in the truest sense of the term, lurching through the shadows and knocking shit over and sneering at innocent passers-by. Where many of their Melbourne mates draw obvious inspiration from the charming jangle-pop that came out of nearby New Zealand in the 1980s, EXEK bypasses that scene and draws a straight line back to fellow Melbourners The Birthday Party. EXEK started as a studio project for frontman Albert Wolski and then evolved into a quintet, including synthesizer and saxophone. The band’s debut, Biased Advice, came out in 2016, collecting the band’s past recorded material and presenting it in one spot. The follow-up, Ahead of Two Thoughts, expands on the embryonic feel of the debut. Opening track “U Mop” is a slithering jumble of parts: rubbery bass line, prickly guitars, a six-note sax riff, and Wolski’s dead-eyed rantings. “I’m sick of every bit of your shit,” he sings within the album’s first 16 seconds. Aaand…we’re off! Well, not quite. One of EXEK’s specialties is the slow burn, and some songs on Ahead of Two Thoughts take their time finding their particular path. “Punishment,” for example, clanks and clambers for 90 seconds before locking into a killer motorik groove that energizes all involved. And the tension that drives “Weight Loss (Henry’s Dream)” exists primarily in the interplay between its crescendoing guitar squalls and its unhurried, dubby rhythm section. EXEK has the good sense to never cut that tension, and instead leave the listener wanting more. Elsewhere, “Fluent in English” is the album’s guitar-heaviest track—the only place on Ahead of Two Thoughts where the buzz of six strings takes centerstage from the burble of four. “To Medicine” engages in some skittering Swell Maps-style noisemaking. And the penultimate track, “Elevator Etiquette,” somehow amalgamates searing guitars, eccentric drums, gleaming synths and unsettling echo into a seven-and-a-half-minute mishmash of mutant dance music. It is ambitious and strange and irresistible. You can say the same for EXEK.

6501乐队由新疆老牌乐队傀儡主创法茹克2015年组建。近日，这支全新乐队的首张专辑《剧终》发行。 6501是乌鲁木齐的身份证号的前四位数字。 6501这张专辑zui终命名为《剧终》，包含了十首歌，曲风多变，法茹克通过6501展示了与傀儡不同的音乐方向，法茹克依旧不乏简单的洗脑式旋律动机，而相比傀儡，6501显得更为内敛，有4首纯音乐作品，有的作品也只有一两句反复重复的歌词，大片的留白，既耐心寻思，又拓展了音乐的多重空间，在黑暗的帷幕后面是杀机潜伏的律动。 6501这张唱片也是摩登天空BADHEAD厂牌出版的第五十张唱片。BADHEAD厂牌主理人张晓舟特意邀请乌鲁木齐摄影家田林拍摄创作《人民剧场》系列，用在这张专辑的封套和内页。乌鲁木齐人民剧场，是几代乌鲁木齐人的集体记忆，田林的照片和6501的音乐，通过摩登天空设计品牌MVM的平面设计而完-美契合。 “想更自由、更彻底不为人民服务！”——对于“6501”乐队的音乐使命，法茹克的回答也是掷地有声、铿锵有力。这句话似乎也是法茹克有意在挣脱和反转已成军20年的“傀儡”这个乐队名称暗含的那些意义。这也预示着“6501”的音乐将更自由自主，为我们展示和强调他全新的思想信念表达、音乐动机和意识概念。从傀儡到6501，这张强劲而饱满的唱片为新疆摇滚乐坛树立了一个新的标杆。 6501的的作品，类型很丰富，没有一丝重复、单调的感觉。慢速的曲子例如《一首诗》 、《冰川》意境迷幻、画面感极强；中速的《永不消逝的电波》、《两套》、《阴影》等有非常完-美的律动，贝斯吉他和鼓的交错配合简单又好听到爆；快歌气势凌厉、凶狠，是现场最受欢迎的，比如《洪水猛兽》、《我们的生活比蜜甜》，和最后的返场“加面”《我不接受》。 6501的表现不像是一个成立只有半年的新乐队，而完全是一支成熟乐队的高水准！冷静内敛、直截了当又恰到好处，毫不拖泥带水，这就是6501。

小时候有玩过一种叫「琉璃嗝夯」的乐器，玻璃制品，唢呐的样子，喇叭口是由极其薄的玻璃闭封住的。「琉璃嗝夯」的发声原理很简单，用嘴对着瓶口轻轻地吹、吸、吹、吸，喇叭口极薄的玻璃面就会一凸一凹， 一凸一凹，发出嗝、夯、嗝、夯的声响。那时侯，我们一点也不小瞧它，对其进行了深入的研习，发明出用手、腋、膕窝等部位演奏的技巧，这就是我愿称其为乐器的原因。 我的创作跟所有我的听都有关，包括那些我并不喜欢的，被动与不经意间听到的。以至于，我无法保证那些我不喜欢的，对我的影响不甚。有段时间，我认为这世上根本没有百分之百的原创。回响这个词，我中意了很久，因为它很接近无法言说的“ 现实的样子” 。跟朋友说起这张《回响》歌集，我还会说两个字：“ 清楚” 。这些最远迄今2 4 0 0 年的禅诗、偈诵， 先是触动了自己，时常在早课后吟诵，日久成了歌，这非百分之一百的原创，於我，却绝无仅有。如同「琉璃嗝夯」的嗝与夯，来路去处不见，彼此难究，回响，却声声历历。 「界」以正命， 却常作烦恼、是非滋生之所。七贤嵇中散，越过琴笛鼓铃，了知“ 声无哀乐” 。大师吴清源，越过黑白敌我，见“ 棋盘如天宇浩荡，落子如星辰位列” 。世上并没有那么多笨蛋，却有数不尽无法将结论落实下去者。何歌手这些拙编陋唱，意不在声，耽搁闻者宝贵生命的同时，愿我们，闻性有响。哪怕如起晨的闹铃也好，因为醒来，就不是睡着。

“If you could imagine living in a time where you were barred from doing much, the only way one could unite masses without the government thinking a group of Africans was up to no good was to celebrate in dance and music via discos and music festivals… and shoo did we pull a crowd!” Professor Rhythm’s 1991 recording Professor 3 is a vivid reflection of urban South Africa as apartheid was ending. Thami Mdluli’s production project had young and old dancing to a sound that sought to unite Blacks within Southern Africa. The late 1970’s and 80’s had been trying times for people of color. Thammi says, “During these times, we as a country were experiencing apartheid segregation, very much similar to the segregation in the States. We couldn’t express ourselves how we really felt; it was a matter of being creative with your lyrics. It really wasn’t like today where you could say what you wanted to say provided it was radio-ready. In our times, we had to really watch what we put out there, as we were in fear of being jailed or not having our music played at all if we stepped onto the government’s toes. If you were a musician in these times, one had to be a master of words as politics was force-fed unto us. Our music gave hope to the hopeless.” Mdluli’s third instrumental album (which contains some background vocals, to be exact), portrays the moment when the dominant mbaqanga and American R&B-based bubblegum sounds being produced in Johannesburg and other urban centers were transforming into house and hip-hop-inspired kwaito. The pop of the 80’s and all that went with it—from the models of synths and drum machines to the lyrical style—gave way to a changing melodic emphasis and new, much slower tempi using a completely different rhythmic skeleton. Upbeat, chipper bubblegum, often with double-time breakdowns and upstroke syncopations, faded and the sounds began to more closely resemble those of contemporary Black America—where hip-hop was slowing down and the bass-lines and melodies were getting moodier, darker in general. At the same time house music had briefly reached mainstream acceptance in the States and that popularity continued to feed into awareness overseas. These two influences blended with the burgeoning house music scenes in Johannesburg and Pretoria as Professor Rhythm 3 was being produced in March 1991 (the same year apartheid ended). Mdluli explains, “We were Influenced by foreign bands and so people updated their sound.” According to Mdluli, the evolving sound was bolstered by widening availability of house and rap records from abroad while, most importantly, an increasing sense that apartheid might soon be finished was met with a new positivity vibe society. “1991, ’92, ’93… Mandela was released. People were upbeat, they were happy, the music was good.” Professor 3 came out on vinyl as the LP business was dying in South Africa and sold around 20,000 copies. It was mainly distributed on tape, which sold closer to 100,000. With the help of engineer Fab Rosso, the recording features backing vocalists from Mango Groove. This wasn’t Mdluli’s first success in music. He had been a known quantity in the industry for many years prior to making Professor Rhythm records, starting in the late 80’s. Early in his career he was part of the Hot Soul Singers, who recorded a handful of 7” singles and opened for the O’Jays during their tour of South Africa in 1981. On various shows where international names like Two Tons O’ Fun, Gene Chandler (“Duke of Earl”) and Clarence Carter, were performing in South Africa, Mdluli and his crew were the curtain raisers for the packed shows. The early career experience and burgeoning producing skills gleaned from his work with the Hot Soul Singers proved crucial. The group split and formed the new band called Sound Bust, working as a studio band for Ali Katt and Benjamin Ball’s disco-reggae album, Flash A Flashlight. Other group’s followed for Thami – including stints with the legendary CJB and Taboo, both of which provided the young musician with a real flair and taste for mbaqanga township pop music. By the mid-80’s, he was working behind-the-scenes on albums for CJB as well as the group Sox whose 1988 album Don’t Call Me sold more than 200,000 copies. In the late 80’s Mdluli moved from Eric Frisch Productions (where he had worked as a producer for a few years) to Tusk Records where he enjoyed a stunning rise in his career—a career which included a solo, township instrumental pop album of his own under the name Professor Rhythm. After making a half-dozen records as Professor Rhythm, Mdluli once again shifted his focus musically. By the mid-90’s he had veered off gospel music—and left playing in bands and started making his own solo recordings. His enormous success in the gospel realm in the years since is a remarkable story in its own right, but for now we are only dancing. releases June 1, 2018

吉他：老福 人声：小六 萨克斯/合成器：虞晨 贝斯：肖义 鼓：李平 录音师：李平 录音地：义乌隔壁酒吧 封面插图原画：刘聪《翅膀》 封面书法：王大川

“Dear listeners. This is the first track from my new album, Dead Magic! Me, my band and Randall Dunn spent 9 days in Copenhagen recording this record. The great pipe organ you’re hearing is a 20th century instrument located in Marmor Kirken, "The Marble Church", Copenhagen. Here is a poem for you by the Swedish writer Walter Ljungquist (1900-1974): ”Take the fate of a human being, a thin pathetic line that contours and encircles an infinite and unknown silence. It is in this very silence, in an only imagined and unknown centre, that legends are born. Alas! That is why there are no legends in our time. Our time is a time deprived of silence and secrets; in their absence no legends can grow." Please enjoy the music. Yours sincerely, Anna von Hausswolff"

The second LP by Belarussian trio Molchat Doma, Этажи (pronounced Etazhi, meaning “Floors”), was first released in 2018 on Berlin-based Detriti Records. It became a viral hit, garnering over one million views on YouTube and becoming a legitimate phenomenon on Bandcamp. The band may fly under the radar in their native Belarus, but they’ve reached huge audiences across Europe and beyond. Six separate vinyl pressings of the album have sold out in quick succession, and Sacred Bones Records is now thrilled to bring the record back in print for good. Molchat Doma (translated as “Houses Are Silent”), founded in 2017 in Minsk, Belarus, stands at the intersection of post-punk, new-wave and synth-pop. Dark yet danceable, and with a heavy dose of goth ethos, their music is reminiscent of the masters that predate them, but make no mistake: Molchat Doma creates a sound and meaning that is immediately recognizable as all their own. The band is comprised of Egor Shkutko, who sings the Russian lyrics in his deep monotone, Roman Komogortsev on guitar, synths, and drum machine, and Pavel Kozlov on bass and synths.

音乐人柳爽首张录音室专辑《生长》，收录8首个人原创单曲。 生长成你舒服的样子，去过你觉得开心的生活，在今后更加漫长的时日里，我们四海相见。

BRUIT \ˈbrü-ē\ [French, literally, noise] is a post-rock/modern classical quartet from Toulouse, France. Elusive Sound proudly presents the full digital release of “MONOLITH” by the post-rock/modern classical quartet BRUIT ≤ on October 7, 2018. Based in Toulouse, France, BRUIT \ˈbrü-ē\ [French, literally, noise] create incredibly expansive and emotive instrumental music of a conceptual nature, seamlessly merging ambient electronica, modern classical and instrumental rock. BRUIT’s synthetic sci-fi inspired ambiance of sound effects, soaring synths and deep bass tones reminiscent of film noir inspired dystopian fantasies, is organically enhanced by the ever present etherealism of their classical instrumentation and arrangements in spellbinding emotion-filledmelodies that climax in roaring drone driven post-rock. Life may be elsewhere, at another rhythm, a different scale, and you have forgotten it. Your body hosts a microscopic and elusive world that dies and is reborn every second. It is swarming with particles that will be the cause of your life and your death. It will be your first vertigo, The bloom. Then you look to the sky and realise that this inner world floats in a universe in which the human mind cannot comprehend borders and where you are no more significant than a grain of sand. Energy of unimaginable power has been developing for billions of years and it is also responsible for your life and death. It will be your second vertigo and with it you will fall. So who are you? Between the infinitely small and the incredibly large. Is your little daily problem still meaningless? Sit down by the vestiges of the monolith erected by your ancestors and take the time to think. Ask new questions rather than repeating old answers. – BRUIT ≤ All music composed by Clément Libes, Théophile Antolinos, Damien Gouzou and Matthieu Mullet. Recorded, mixed and produced by Clément Libes at "La Tanière" Mastered by Alexis Bardinet at Globe Audio Mastering Art by: Sebastien Blanchot Artwork editing and logo by: Mehdi Thiriot Published by: Warner Chappel Released by: Elusive Sound On this recording BRUIT are: Clément Libes (bass, violin, synths) Damien Gouzou (drums, percussion) Théophile Antolinos (guitar) Luc Blanchot (cello)