Guitar-and-bass duo Gong Gong Gong (工工工) charges out from Beijing’s underground scene with a distinct vision and uncompromising sense of purpose. The group unites musical cultures, drawing on inspirations as wide-ranging as Bo Diddley, Cantonese opera, West African desert blues, drone, and electronic music. On their debut LP, 'Phantom Rhythm' (幽靈節奏), the locomotive chug of Tom Ng’s guitar combines with Joshua Frank’s thump- ing, harmonics-laden bass lines to conjure an aura of ghostly snare hits and timpani overtones. Over Frank’s enigmatic melodies, Ng sings in Cantonese, piecing together abstract tales of absurdity, doubt, desire, and lust. Synchronized to the point of near-telepathy, the band use their minimalistic tools and idiosyncratic playing style to challenge the notions of rock ‘n’ roll and strip the form down to its bare essentials: rhythm, melody, and grit. Formed in 2015, the band’s earliest shows were in Beijing underpass tunnels and DIY spaces - Ng and Frank both being outsiders who call the city their home. Born in Hong Kong, Ng defiantly sings in his native tongue, while Frank, originally from Montreal, has lived in Beijing on and off since childhood. 'Phantom Rythm' follows the release of Gong Gong Gong’s 'Siren' 7” and the band’s subsequent tour of the UK and Europe with Brooklyn’s Bodega. “Their work is spare and savage, with Ng’s Cantonese singing uncannily evoking a heavily accented British punk.” — The New Yorker. “Transnational blues with swarming psychedelic borders.” — Stereogum. “A totalizing soundscape that brings to mind a pure immersion in a foreign land... An exceedingly rare experience in any genre or medium.” — Interview Magazine.

2018年夏初，AR（刘夫阳）从校园中毕业。11 首歌，11 个故事，均来自AR本人在校园的亲身经历，借校园中的现象来反映社会的现状。不管读书或读人，AR希望能借《校园寓言故事》描绘出“学校/社会”的平行故事线，让听众在其中找到共鸣。

“硬地”如方寸之地，万物皆流而它独止。这个概念也透露出独立音乐（indie）的从容态度。 这次刘惜君和杨海崧的合作，是破界——一个是从09年《快乐女声》五强步入流行乐坛，拥有独立气质的流行歌手，音乐制作人；一个是国内独立音乐先锋，传奇乐队P.K.14的主脑、“兵马司”厂牌主理人。同时也是一场实验：《硬地之美》意在宣示独特美学，将不同气质的美融合，诠释出新。 杨海崧敏锐的诗人气质和对独立摇滚的热爱，为他担纲词曲的三首创作注入灵魂，而刘惜君的柔韧歌唱，无疑是对这些色彩暗郁，却内核光亮的独白的共鸣——她是这本摇滚诗集一位不同寻常的解读者。 《硬地之美》的录音班底也一定会让一些独立摇滚乐迷眼前一亮：见证P.K.14、脑浊、Subs等多支乐队成长的施旭东，低调另类摇滚乐队The Molds的李子超，一同用Bass和鼓输出节奏能量；杨海崧和兵马司旗下新锐鸟撞乐队的文予真担任吉他手；而同二人都有过合作、来自噪音迷幻乐队Alpine Decline的柴德林和牟建华，用合成器为作品构建出纵深的梦境空间。

black midi - Georgie Greep (vocals/guitar), Matt Kwasniewski-Kelvin (vocals/guitar), Cameron Picton (vocals/bass), and Morgan Simpson (drums) - have a dynamic energy, playing as a musical unit that’s constantly in a state of flux and development. 'Schlagenheim' was recorded with Speedy Wunderground producer Dan Carey, who the band praises for his quick, unfussy approach. black midi laid down eight of the record’s nine tracks in just five days. The process was one of refining and rebuilding tracks around the initial structures. Five hour jams would sometimes yield a riff that then became a few bars of a song. As anyone who’s been lucky enough to catch black midi live over recent months will testify, black midi’s songs are slippery creatures.

倒车入库成军于2013年的年底，因主唱里凤偶然在云林路边的烧烤摊被吉他手阿恺搭讪而组成。曲风偏向车库与油渍摇滚、后庞克、Lo-Fi 低传真，粗糙的吉他，单纯的低频，庞克的鼓击，初期的作品皆是在空仓库由手机录制，不修边幅、粗糙杂乱，这是倒车入库最初期的样貌。随着成员变革，编曲上变的更纯粹，调整吉他的调性加了更多空间感与毛边、贝斯增强颗粒感，人声的音色挂上了仿廉价扬声器的效果，风格逐渐成形定案 专辑发想来⾃自乐团对⽣生活⿊黑暗⾯面的描绘，⼀间存在于每个⼈心中潮湿且⿊暗的房间，是属于⾃我逃避的最佳角落，如此疲惫不堪却无所适从。这样的⼼心房诉说着悲伤、愤怒、希望破灭、终临 绝望，使⾃⼰消耗殆尽。从复古扬声器的回响中，敲击逐渐失去温度的⼈们，一同置身于内⼼潮湿暗房，点燃并且耗尽最后⼀丝火花，脱下了沉重的疲惫枷锁得到释放，即便成为寓⾔故事中的悲剧英雄也在所不惜。