見怪不怪 美不勝收 打破世俗標準的審美觀 包容大千世界的惡與善 亞洲流行天后 蔡依林 JOLIN最新專輯 UGLY BEAUTY 11首心靈探索自問自答 最誠實的私密音樂日記 2018.12.26 全球怪美發行 【怪美珍藏版】 [Pandora's Box] 雙層四方開特殊包裝盒+歌詞拉頁 最誠實的Jolin！ 「曾覺得沒有做到100分的自己什麼都不是」 最實驗的Jolin！ 試驗多種不同曲風，忠於音樂的直覺，將自己打掉重練11首新歌 繼2014年「呸」《PLAY》掀起全球話題熱度並創華語流行音樂經典模範後，亞洲流行天后Jolin蔡依林睽違樂壇四年的新專輯《UGLY BEAUTY》終於在12月壓軸登場！上一張專輯從自身觀點去探討社會上各種表面現象，這次新作品回歸內心層面，Jolin從不斷地自問自答、自我探索內心的過程中，發現到正視並擁抱自己的陰暗醜陋面，得到的反饋是美好的！ Jolin透過主題《UGLY BEAUTY》的「情緒」與「慾望」探討人類的「感」「觀」，打破世俗對於美與醜的二分法並重新定義！ 這兩年對心理學有興趣的Jolin，透過心理學大師榮格的書，開始挖掘內心世界及探索自己，Jolin表示：「以前是沒有做到一百分，我就會很自責，我覺得我是一個不值得一提的人。」而這個摸索過程卻意外發現到曾經那個總想要考一百分、證明自己｢我可以」的Jolin，一直忽視內在陰性的力量而忘記如何好好愛自己；透過這樣的挖掘過程，於是聯想到《UGLY BEAUTY》主題為新專輯催生，Jolin表示：｢對我來說面對自己UGLY的一面就是情緒的一環，當你開始面對它之後，獲得的反饋是很美好的、更多的愛與同理心，你會很了解你自己當初作這件事情的決定，就不太容易去批判自己及批判別人！」新專輯的誕生過程Jolin透過不斷的探討、認識自己，專輯製作過程歷經多次的｢打掉重練」，新專輯完整紀錄、呈現Jolin這段「認識自己」的旅程「感」「觀」，也將會是Jolin歌唱生涯中最｢誠實」的一張專輯！ 為什麼專輯取名為《UGLY BEAUTY》？ 所謂的UGLY BEAUTY，其實指的不單是外表的美與醜，更多是想表達內在心理層面的兩極：善與惡/好與壞/哭與笑/開心與難過/黑暗與光明/脆弱跟強壯/正確跟不正確....，而所謂的惡，指的則是那些常常我們自己嫌惡的情緒特質：嫉妒、憤怒、自卑、脆弱、慾求不滿等等，因為知道他們不符合理想的審美，所以收在內心陰暗的房間裡不去正視它，但因為長期故意忽視他們，他們總會以各式各樣不同的樣貌出來犯案，於是有自殘、莫名的沮喪、消極、攻擊性、生氣、自負、欺負、鄙視別人等等，Jolin想要表達的是:只有打開心房，去認識自己內在的陰暗面，能夠辨識出他們，當他們幻化成各式各樣不同的樣貌在日常生活出現時，你才能夠指認出來他們的原型，就會慢慢有能力不被這些負面力量所吞噬並學習跟他們相處、理解他們的樣貌及必要性。而關於同理心，就是明白這些所謂惡的樣式，下一次若是你在別人身上看到他們發作，你能理解並同理對方，也許就比較不容易受到傷害！ 最多創作的Jolin！ 全新自組音樂寫作營 參與新專輯創作 4年製作期橫跨歐亞 從台北到曼谷 遠征斯德哥爾摩 Jolin打破過去專輯製作的收歌方式，以全新的創作模式自組音樂寫作營，親自參與音樂人集體創作的方式，完成新專輯《UGLY BEAUTY》的歌曲。 Jolin親自「泡」錄音室參與創作的集思廣益，除了在台北還飛到曼谷，甚至遠征斯德哥爾摩，分別透過這幾個城市音樂寫作營的音樂人撞擊合作，動員近百位跨國音樂人，體驗到與不同地區的音樂人關在錄音室一周，一起腦力激盪的有趣過程，不但激發出Jolin自我潛能，更讓Jolin的創作力大爆發，新專輯一口氣參與了六首歌的創作作品。新專輯《UGLY BEAUTY》不僅將會聽到Jolin首次嘗試的創作模式，更將猶如大滿貫地聽到「創作力大爆發」及「最具Jolin 創作力」的一張專輯！ Jolin表示：｢自由的創作過程中，我探索出讓自己感動的聲音，而且跟不同的創作營合作，給我很大的推進力，一起做音樂討論、用不同的語言方式去表達你想要什麼，除了蠻過癮、蠻好玩之外，作品應該會讓大家聽了跟我一樣很有感覺！」 新專輯匯集來自世界各地音樂的創新作品，及主題《UGLY BEAUTY》多元化的探討內容，新專輯「實驗性」的成份、曲風不同以往，Jolin秉持「忠於音樂」的直覺，勢必將帶給華語流行樂壇更多的衝擊力、聽覺的新感官！勇於接受挑戰的Jolin表示：「我就是想試！」專輯製作過程中Jolin喜歡自問自答，也非常好奇、察覺女性力量及影響力，原本新專輯想探討｢什麼是女人」，投入的過程中發現自己才是最佳的｢實驗對象」，便開始一股腦地挖出內心世界的東西去探討，發現｢情緒」正是影響自己及他人的關鍵點，因此常自問自答｢自己是什麼樣的女人」；Jolin表示：｢一直覺得我在女性這個角色少了一點東西，雖然大家看我外表像公主樣子，但我一直自認內心是個男人！這樣的衝突點像是漩渦一樣，讓我不由自主地想要去研究。 」 從承認脆弱中得到力量　Jolin進化為Fighter 也是 Lover UGLY BEAUTY怪美珍藏版　時尚界頂級團隊聯手 當你有足夠的勇氣去探索黑暗 就會發現自身光明的無限力量 出道以來首張酷帥黑白封面　浴火重生自信登場 Jolin新專輯《UGLY BEAUTY》預購首日限量一萬張的［怪美精裝版］被搶購秒殺，預購主視覺的無辜眼神搭配「真理之口」的飾品首次讓她展現出「脆弱的力量」！ 「無論我們追求的程度有多高，只要我們想擺脫完美主義的束縛，心態就必須從『擔心大家怎麼想』轉為『我已經夠好了』。那轉變是從克服自卑和自我包容開始。為了接納自我、背景、信念，以及生活中的不完美，我們必須放自己一馬，欣賞自己的缺點和瑕疵。對自己和彼此更寬容，也用我們對我們愛的人的語氣和自己對話。」 而這一次新專輯，Jolin就想透過她的眼神和聽眾們對話；粉絲期待多時的［怪美珍藏版］終於曝光，這一次Jolin又大膽選擇了出道以來的首張黑白唱片封面，她選擇這張照片的理由是這一組暗黑系照片，帶給她很有力道又有自信的感覺，她就像是一位勇者無懼的Fighter，但她同時也是一位Lover，不管外面世界如何混亂是不是一堆爛泥，是不是骯髒的，她還是願意去當一位鬥士，她同時也是一位愛人，會帶領大家勇敢對抗這些負能量！ 珍藏版也特別邀請台北時尚雜誌界最受歡迎的攝影師江民仕以及香港最紅的造型團隊Tanglai & FORMZ聯手合作，打造最前衛的UGLY BEAUTY美學！ 江民仕為了創作出一個末日感的鬥士戰場，在片場搭景以夕陽西下，世界陷入一片黑暗前的沙漠環境， Jolin畫上看似無眉的煙燻妝，穿上英國前衛設計師Gareth Pugh的西裝外套搭配超短褲和長皮靴，高冷的站在火圈當中，象徵浴火之後的重生！ 專輯內頁也展示了歐美最新潮的時尚設計師話題作，包含首度讓英國伊莉莎白女王現身倫敦時裝週，並頒發第一屆「伊莉莎白二世英國設計獎」的得主，英國新銳設計師Richard Quinn同名品牌秀服以及本季以迷幻復古和80年代頹廢風再度成為焦點的 Marc Jacobs！ 金曲設計師顏伯駿，聽完了整張專輯UGLY BEAUTY的企畫概念之後，和企劃討論出了[Pandora's Box]的包裝概念，因為這一張專輯Jolin想探索的是人性的光明和陰暗面，其中一個企劃方向中提到「潘多拉的盒子」，這個希臘神話傳說，是關於人類世界的第一位女性誕生，非常接近Jolin新專輯想探討的陰性主義，潘朵拉因為好奇心打開了盒子，卻釋放出罪惡和災難等負面效應，這也是第一個關於人類原罪學探討的起源，但這個故事的寓意，卻在告訴人們擁抱希望的重要性，因為當時唯一被留在盒子內的就是「希望」，這也和Jolin新專輯《UGLY BEAUTY》中有探討的善與惡非常類似，不管經歷過多少的災難和考驗，黑暗和痛苦，但最後還是有希望和光明的存在！珍藏版的內頁設計像是打開一個紙盒的概念，一層一層的打開，從黑暗到光明，看到不同面相的Jolin，就像是每一個女人的內心裡都住著黑皇后和白皇后，她們彼此內心交戰，卻也可能是一體兩面，缺一不可！

Tierra Helena Whack is an American rapper, singer, and songwriter. She originally performed as "Dizzle Dizz" as a teenager, but later on reverted to her birth name in 2017. Her debut studio album, Whack World, was released in May 2018 and received widespread critical acclaim

Lindsey Jordan’s voice rises and falls with electricity throughout Lush, her debut album as Snail Mail, spinning with bold excitement and new beginnings at every turn. Throughout Lush, Jordan’s clear and powerful voice, acute sense of pacing, and razor-sharp writing cut through the chaos and messiness of growing up: the passing trends, the awkward house parties, the sick-to-your-stomach crushes and the heart wrenching breakups. Jordan’s most masterful skill is in crafting tension, working with muted melodrama that builds and never quite breaks, stretching out over moody rockers and soft-burning hooks, making for visceral slow-releases that stick under the skin. Lush feels at times like an emotional rollercoaster, only fitting for Jordan’s explosive, dynamic personality. Growing up in Baltimore suburb Ellicot City, Jordan began her classical guitar training at age five, and a decade later wrote her first audacious songs as Snail Mail. Around that time, Jordan started frequenting local shows in Baltimore, where she formed close friendships within the local scene, the impetus for her to form a band. By the time she was sixteen, she had already released her debut EP, Habit, on local punk label Sister Polygon Records. In the time that’s elapsed since Habit, Jordan has graduated high school, toured the country, opened for the likes of Girlpool and Waxahatchee as well as selling out her own headline shows, and participated in a round-table discussion for the New York Times about women in punk -- giving her time to reflect and refine her songwriting process by using tempered pacings and alternate tunings to create a jawdropping debut both thoughtful and cathartic. Recorded with producer Jake Aron and engineer Johnny Schenke, with contributions from touring bandmates drummer Ray Brown and bassist Alex Bass as well, Lush sounds cinematic, yet still perfectly homemade.

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

夏日美好的星期日午后，来点乐芙莉圣代正是时候！ 为这个时代带来一些幽默感！《Lovely Sunday 乐芙莉圣代》是椅子乐团The Chairs的第二号作品。这支由咏靖、仲颖、伯元三人组成的年轻组合在2017年因为当兵缘故休团，期间结识了音乐制作人黄荣毅，几个大男孩对于音乐的理念一拍即合，激发出强烈的创作火花。一年多的沉淀，终于孵育出这张集复古、浪漫、搞怪、迷幻于一身的摇滚专辑。 本专辑由新生代制作人黄荣毅担任制作，邀请落日飞车鼓手罗尊龙、美国鼓手Cody Byassee及萨克斯風演奏家谢明谚一同助阵，并在录音师陈以霖、Zen以及混音师Andy Baker、黄文萱等金曲阵容的协助下完成制作。 数字发行时间：2018-06-29 实体发行时间：2018-08-01

For the past two years, Nils Frahm has been building a brand new studio in Berlin to make his 7th studio album titled All Melody. Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale. Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950s East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements; building a pipe organ and creating a mixing desk all from scratch with the help of his friends. This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfill his pursuit of presenting music to the world as close to his imagination as possible. His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers. His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody. Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils’ own capabilities. From a boy’s dream to resetting the parameters of music itself.

Kurt Samuel Vile is an American singer, songwriter, multi-instrumentalist, and record producer. He is known for his solo work and as the former lead guitarist of rock band The War on Drugs.

“卡特夫妇”Beyonce & Jay-z6月16日 突发新专辑《Everything Is Love / 全都是爱》

Iridescence is the fourth studio album by American band Brockhampton, released on September 21, 2018 through RCA and Question Everything, as the first installment of the The Best Years of Our Lives trilogy. It was produced by the group themselves. It is their first release under RCA, following a trilogy of singles throughout 2018, as well as their first album since Ameer Vann departed the group following sexual misconduct allegations.

Deafheaven was formed in 2010 by vocalist George Clarke and guitarist Kerry McCoy. They released of their debut studio album Roads To Judah in 2011 and followed it with scrappy, rabid live shows. It maybe wasn’t obvious in those days, but Deafheaven have always had a knack for desolate and literate romanticism. This became clear with the release of Sunbather in 2013. "Dream House," the majestic opener from the San Francisco group’s Jack Shirley-produced breakthrough album, focused on growing up poor and wanting more. The album, which found the group a larger listenership, was the sound of two friends finding the right collaborator (in drummer Daniel Tracy) and realizing their potential by creating music that somehow embodied the transitory magic of sunspots drifting across a hardwood floor. Featuring gorgeous pink cover art by Touché Amoré ’s Nick Steinhardt, Sunbather was also the first time Deafheaven knew how to control all aspects of their project. Following the recording of the record, they added guitarist Shiv Mehra and bassist Stephen Clark—each subsequent live set felt like a religious experience for the bigger (and bigger) shows that followed. A year later, in 2014, the band released From the Kettle Onto the Coil, the precursor to their forthcoming third album, and first for ANTI-, 2015’s New Bermuda. Produced again by Jack Shirley and featuring that expanded lineup of Mehra and Clark, New Bermuda was again art directed by Nick Steinhardt, but instead of pink, the band used a dark oil painting by Allison Shulnik for its cover that depicted what looked like a melting face. The image matched the band’s further deconstructing of metal, which offered a bleaker but no-less-triumphant tapestry. New Bermuda was heavier, sturdier, and more grounded in the dirt than Sunbather. McCoy mentioned the death metal of Dissection, Morbid Angel, and Behemoth, along with Cliff Burton-era Metallica as influences, but as a testament to his and Mehra’s brilliant playing, you can still hear remnants of “There Is A Light That Never Goes Out” in the songs. New Bermuda is a kinetic, cathartic collection that mixes beauty and depression, shining lights and suicide. For many, it was the group’s most fully realized offering to date. Deafheaven’s new fourth album, Ordinary Corrupt Human Love, is another revelation. Working with old friends again, the Shirley-produced and Steinhardt-art directed collection gets its title from Graham Greene’s novel The End of the Affair, referencing a moment when someone is looking for love, in all of its imperfection and simple beauty. This sentiment is carried throughout the hazy, yearning romanticism of the record with song titles and words as sumptuous as the sounds around them. It’s a feeling of a loved one growing distant, medicating yourself with empty sex with strangers, and tears in a place faraway from home. Taking more literary cues, the lyrics to the expansive “Honeycomb” reference seminal Argentinian writer Julio Cortazar, author of the elaborately structured stream-of-conscious novel Hopscotch while another song, "Canary Yellow," includes the line “I have wondered about the language of flowers.” Theres an abundance on Ordinary Corrupt Human Love—layered psychedelic vocals, classic rock riffs, jazzy percussion, a song reminiscent of Slowdive—and it all makes sense within the Deafheaven universe. Piano, always an element of the band’s sound, has a more prominent place here. It drives “You Without End,” which opens with the forlorn spoken word of Nadia Kury, who reads a moment from a short story by Oakland author Tom McElravey depicting the poetry of small, basic moments: you light a joint, look at a mural, burn yourself, and gaze at a surprise flock of geese flying overhead. In addition, Chelsea Wolfe and her regular collaborator Ben Chisolm add vocals and production to the dusky piano piece, “Night People.” Still, it’s all clearly Deafheaven. These songs have forward momentum and upward lift, Clarke’s pained howls and snarls and growls. Defeat has inspired some of our best art. If you survive something terrible, you surface on the other side, walk toward the light, and come back to life. Everybody deals with hurt, everybody’s been the cause of their own implosions, and everybody has the capacity to overcome and love again. With Ordinary Corrupt Human Love, Deafheaven have found a way to externalize all of this, and in making their most complete record to date, they turn it into a balm, a warm blanket, and a cathartic exorcism.

Techno, Ambient, Breakbeat Skee Mask’s endless search and fascination for fresh music, weed and burgers channeled into his own vision of sound. Enjoy the ride through his second album, a detailed experimental universe of a young dedicated hustler.

You Won't Get What You Want is the fourth studio album by American rock band Daughters. It was released on October 26, 2018, through Ipecac Recordings. It is the band's first album since they broke up in late 2009.

The Los Angeles musician’s fifth studio album is the most joyous, daring realization of her experimental tendencies yet: a sprawling, 90-minute search for meaning in a dehumanizing age.

《黑豹》是由美国漫威影业公司出品的科幻动作电影，由瑞恩·库格勒执导，查德维克·博斯曼、迈克尔·B·乔丹、露皮塔·尼永奥、达娜·古瑞拉、马丁·弗瑞曼联合主演。 影片根据漫威漫画改编，故事背景承接于《美国队长3》，讲述了黑豹回到了瓦坎达担任国王，然而当过去的劲敌再次出现，他被卷入一场正邪大战的故事。 该片于2018年2月16日在美国上映，2018年3月9日在中国内地上映。

The sleeve tells you so much about the process. It's a picture of a lone figure. Suited up and immersed in interplanetary protective gear, he walks out across unmapped terrain. In the distance, a mountain range towers over the roughly gridded sand he's striding. This is very much a solo mission - giant steps into the unknown. Inside the helmet, there's all the uncertainty and madness that such a pursuit brings. That sleeve (designed, as ever, with Mark Farrow), comes wrapped around And Nothing Hurt - Spiritualized's eighth album, the follow up to 2012's Sweet Heart, Sweet Light. From the opening lullaby of A Perfect Miracle through to the fading Morse Code at the close of Sail on Through, it painstakingly wraps layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs. There are points - the thunderous climax of On the Sunshine; the spectral waltz of The Prize; the towering guitar solo on I'm Your Man - where the waves of blissful noise are almost overwhelming, where one can imagine the studio's speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man - Jason Pierce, AKA J.Spaceman - in an upstairs room in his east London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating And Nothing Hurt. "Making this record on my own sent me more mad than anything I've done before. We'd been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house." Whereas bedroom recording is commonplace for a generation of musicians who've grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band - as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch. "The biggest thing for me was to try to make it sound like a studio session. There are bits that I went to a studio to record - mainly drums and percussion. I mean, there's no way I'm going to get timpani up my stairs. When I came to terms with how I was going to make the record, I assumed it was going to sound like Lee Perry - all flying in from different angles; all extraordinary and not hi-tech in construction. But I was new to it all, I didn't have all the short cuts people use when they're making records - I just sat there for weeks… for months… moving every level up bit by bit just to try to get the sounds right." For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized's previous releases, whether it's the sonic blowback of On the Sunshine, the last dime in the jukebox love letter of Let's Dance or the swell of an imaginary orchestra that seems to lift Damaged towards the heavens as it plays out.

With additional contributions from Zuri Marley, Eva, Fai Khadra, Amandla Stenberg, Kelsey Lu, Andrew Aged, Aaron Maine, Diana Gordon, Tschan, Bea 1991, Onyx Collective, Ava Raiin, Adam Bainbridge, Marti & blessings from sister SOLO STAR This album was recorded in New York, Florence, Copenhagen, Los Angeles, Tokyo & Osaka. Cover Art by Ana Kras. Narrated by Janet Mock. Mixed by Devonte Hynes & Mikaelin "Blue" Bluespruce Produced by Blood Orange.