Lover is the upcoming seventh studio album and major-label debut by American singer-songwriter Taylor Swift. It was released on released on August 23, 2019. The album is Swift's first release under Republic Records and Taylor Swift Productions. The lead single "Me!" featuring Brendon Urie of Panic! at the Disco was released on April 26, 2019. The second single "You Need to Calm Down" was released on June 13, 2019. The title track was released as the third single on August 16, 2019. Aside from Urie, Lover also features a collaboration with the Dixie Chicks.

Fear Inoculum is the long awaited new album from TOOL, and the band’s first new album in 13 years. The album will be available digitally, and in a special Limited Edition physical package that includes a CD in a tri-fold Soft Pack Video Brochure featuring a 4” HD rechargeable screen with exclusive video footage, a USB charging cable, a 2 watt speaker and a 30 page insert book and MP3 download card. Tool members include drummer Danny Carey, guitarist Adam Jones, bassist Justin Chancellor and vocalist Maynard James Keenan. To date, Tool has released four studio albums, one EP, and one box set. Formed in 1990 in Los Angeles, California – Tool emerged with a heavy metal sound on their first studio album, Undertow in 1993. Later, Tool became a dominant act in the alternative metal movement with the release of its follow-up album Ænima in 1996. The band’s efforts to unify musical experimentation, visual arts, and a message of personal evolution continued with the release of Lateralus in 2001, and 10,000 Days in 2006 - gaining Tool critical acclaim, and commercial success around the world. Tool has won three Grammy Awards, performed worldwide tours, and produced albums topping the charts in several countries

夏洛特·埃瑪·艾奇遜，藝名酷娃恰莉，是一名英國歌手和詞曲作家，出生於英國劍橋。 恰莉於 2008 年發布了自己的第一支獨立單曲，並在倫敦的倉庫舞會首次表演。她於 2010 年與 Asylum Records 簽約，並發布了分別名爲 "Heartbreaks" 和 "Earthquakes" 混音帶。"

I Break Horses are a Swedish indie rock band made up of Maria Lindén and Fredrik Balck. The band took its name from a song of the same name by Bill Callahan.

Los Angeles-based guitarist, composer, and producer Blake Mills announces forthcoming album Mutable Set. Much of the material was co-written with acclaimed singer-songwriter Cass McCombs, and this is Mills' first album of solo music with lyrics since 2014's "Heigh Ho" and second release under New Deal Records / Verve Label Group.

i,i is Bon Iver s most expansive, joyful and generous album to date. If 'For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, crazy energy Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music and band, and themes, and creative space are bigger than ever.

◎两位嘻哈界才气纵横高手二度携手出辑 ◎英国卫报满分推崇：「坦率且十足耀眼的嘻哈之作」、NME不仅满分力捧，直接将此作誉为「2019年最佳饶舌专辑」 ◎好友Pusha T、Killer Mike、Anderson Paak、Yasiin Bey、Black Thought情义相挺 【关于Freddie Gibbs】 来自美国印第安纳州，本名Fredrick Jamel Tipton的Freddie Gibbs，早在2006年就已签入环球唱片旗下，录製好首张专辑后，却遭逢内部改组而不幸解约。4次提名葛莱美的饶舌大将Young Jeezy让Freddie进入自创品牌CTE World之中，陆续交出多张Mixtapes，却又再度成为无约艺人。Freddie乾脆自创ESGN厂牌，2013年终于如愿送上处女秀《ESGN》，后续分别于2015和2017年发行《Shadow Of A Doubt》、《You Only Live 2wice》两张作品，也在告示牌流行榜上寻获踪迹！ 【关于Madlib】 集DJ、混音师、製作人、多项乐器演奏家、饶舌歌手…等身分，来自加州本名Otis Jackson Jr.的Madlib，曾陆续操刀Erykah Badu、De La Soul、Mos Def、Snoop Dogg、Kanye West、Anderson Paak、Ghostface Killah等大明星/团队的作品。2000年代开始，算密集的于独立厂牌推出作品，其风格从嘻哈、饶舌到爵士、雷鬼、放克、迷幻、电子…等领域无所不包，也体验这位才子多元的音乐尝试与实验精神！ 【关于Bandana】 自2014年的《Piñata》之后，Freddie Gibbs和Madlib二度合作发表《Bandana》，精彩呈现80年代老学院嘻哈之声，不忘带入现代嘻哈衬入，撞击出无比正点的街头律动！英国卫报满分推崇：「坦率且十足耀眼的嘻哈之作」、NME不仅满分力捧，直接将此作誉为「2019年最佳饶舌专辑」，其馀传媒：滚石杂志(4/5)+AllMusic(4.5/5)+Exclaim!(9/10)+Pitchfork(8.1/10)…都一面倒的送上高度评价！直奔美国流行榜第21名+英国节奏蓝调榜NO.10席次。没有庞大的合作阵容，但是仍有好友Pusha T、Killer Mike、Anderson Paak、Yasiin Bey、Black Thought情义相挺！ (内无附原文歌词)

Aldous Harding’s third album, Designer is released on 26th April and finds the New Zealander hitting her creative stride. After the sleeper success of Party (internationally lauded and crowned Rough Trade Shop’s Album of 2017), Harding came off a 200-date tour last summer and went straight into the studio with a collection of songs written on the road. Reuniting with John Parish, producer of Party, Harding spent 15 days recording and 10 days mixing at Rockfield Studios, Monmouth and Bristol’s J&J Studio and Playpen. From the bold strokes of opening track ‘Fixture Picture’, there is an overriding sense of an artist confident in their work, with contributions from Huw Evans (H. Hawkline), Stephen Black (Sweet Baboo), drummer Gwion Llewelyn and violinist Clare Mactaggart broadening and complimenting Harding’s rich and timeless songwriting. Much critical hay is made of Aldous Harding’s artistic inscrutability, from the metaphorical mishmush of her lyrics and the theatrical voices she uses to sing them, to the exaggerated ruffs and tall hats she wears while wiggling un-sexily in her music videos. It’s all too much! What could she possibly mean by it all? On third LP Designer, the New Zealand artist answers her critics and gives the people what want while remaining true to her offbeat artistic choices, declaring her intention to “live with melody and have an honest time” on the record’s sprightly opening track “Fixture Picture.” On Designer, Harding’s tilted folk-pop is dressed up with sophisticated instrumentation, and slinky grooves that are a million miles away from by the keening vibratos and banged-out piano chords she favored on 2017’s gothic table-for-one Party. Dialing down the high drama gives Harding room to be a little more playful yet there’s the inescapable feeling that record’s carnival atmosphere is more for our benefit than hers—“It’s the greatest show on earth you shall receive,” she sings on mid-album banger “Zoo Eyes,” in as big a pop chorus as she’s ever done. Designer still leaves plenty of room for vulnerability and it’s in these quieter moments where Harding’s depth as an artist is most apparent. “I don’t know how to behave,” she admits on “Pilot,” the record’s devastating closer. Featuring only Harding’s gorgeous voice over a simple series of piano chords, it’s a song that ranks among Harding’s finest in its restrained power and sincere examination of a search for grace that never ends even when the party does.

Springing from a decades deep body of work, defined by a rigorously singular and adventurous approach to sound, cellist, composer, and improvisor, Okkyung Lee, returns with Yeo-Neun, her first outing with Shelter Press, and arguably her most groundbreaking and unexpected album to date. A vital, present force in the contemporary global landscape of experimental music, Okkyung Lee is widely regarded for her solo and collaborative improvisations and compositions, weaving a continuously evolving network of sonority and event, notable for its profound depth of instrumental sensitivity, exacting intellect, and visceral emotiveness. Yeo-Neun, recorded by Yeo-Neun Quartet - an experimental chamber music ensemble founded in 2106 and led by Lee on cello, featuring harpist Maeve Gilchrist, pianist Jacob Sacks, and bassist Eivynd Opsvik - represents the culmination of one of longest and most intimate arcs in her remarkable career. A radical departure from much of the experimental language for which she has become widely known, it is equally a fearless return. Yeo-Neun loosely translates to the gesture of an opening in Korean, presenting window into the poetic multiplicity that rests at the album’s core. Balanced at the outer reaches of Lee’s radically forward thinking creative process, its 10 discrete works are born of the ambient displacement of musician’s life; intimate melodic constructions and deconstructions that traces their roots across the last 30 years, from her early days spent away from home studying the cello in Seoul and Boston, to her subsequent move to New York and the nomadism of a near endless routine of tours. At its foundation, lay glimpses of a once melancholic teen, traces of the sentimentality and sensitivity (감성 / Gahmsung) that underpins the Korean popular music of Lee’s youth, and an artist for whom the notions of time, place, and home have become increasingly complex. Elegantly binding modern classical composition and freely improvised music with the emotive drama of Korean traditional music and popular ballads, the expanse of Yeo-Neun pushes toward the palpably unknown, as radical for what it is and does, as it for its approachability. In Lee’s hands, carried by a body of composition that rests beyond the prescriptive boundaries of culture, genre, geography, and time, a vision of the experimental avant-garde emerges as a music of experience, humanity, and life. Meandering melodies, from the deceptively simple to the tonally and structurally complex, slowly evolve and fall from view, the harp, piano, and bass forming an airy, liminal non-place, through which Lee’s cello and unplaceable memories freely drift. Remarkably honest, unflinchingly beautiful, and creatively challenging, Shelter Press is proud to present Yeo-Neun, an album that takes one the most important voices in contemporary experimental music, Okkyung Lee, far afield into an unknown future, bound to her past. Mastered and cut by Rashad Becker, housed in reversed-board printed inner and outer sleeve with artwork by American photographer Ron Jude.

格莱美提名流行创作歌手Kehlani第二张录音室专辑“It Was Good Until It Wasn't”正式发行！Tory Lanez助阵专辑主打“Can I”。 Kehlani发行的首张专辑”SweetSexySavage“于2017年发行，挺进Billboard TOP200专辑榜第三，并获黄金销量认证，被Pitchfork评为”2017年50张最佳专辑“之一和Rolling Stone”2017年20张最佳R&B专辑“。迄今Kehlani已获超37亿全球播放量。

Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

Composed and assembled over the course of several years, Jaime is a highly personal album release combining Brittany’s unmistakable voice with peerless, visionary and fearless songwriting. Brittany has constructed an assemblage of songs which bend the framework of what we know from her previous work with Alabama Shakes and endeavors with Thunderbitch and Bermuda Triangle, music which wholly sits in a new terrain of sound bolstered by an incredible band of musicians including Zac Cockrell of the Shakes, drummer Nate Smith and the one and only Robert Glasper.

Big Thief return with U.F.O.F., their highly anticipated third record and first in a new partnership with 4AD. It was recorded in rural western Washington at Bear Creek Studios with engineer Dom Monks, and producer Andrew Sarlo who was also behind their previous albums. + Available as an indie exclusive edition pressed on orange vinyl. One pressing only, don't miss out. The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience. Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era.

Richard Dawson, the black-humoured bard of Newcastle, returns to release his sixth solo album 2020, his first since the critically acclaimed, Peasant. Indie Edition is; + 5mm spined outer sleeve + 2 x heavyweight 12” RED coloured vinyl w/t labels + 2 x printed inner sleeve + Includes download card 2020 is an utterly contemporary state-of-the-nation study, that uncovers a tumultuous and bleak time. Here is an island country in a state of flux; a society on the edge of mental meltdown. On 2020, Dawson introduces us to grand themes through small lives. His are portraits of human beings struggling with recognisable (and dare we say it, relatable) concerns, conflicts and desires, each reminding us that tragedy and gallows humour are not mutually exclusive, and that the magical can sit next to the mundane. Lyrically it is by far Dawson’s hardest-hitting and unflinchingly honest album to date. It is his poetic masterwork. Within, we find disgruntled civil servants dreaming of better days, anxiety-addled joggers listlessly searching Zoopla for houses they cannot afford in their spare time, amateur footballers who think they’re Lionel Messi and beleaguered pub landlords battling rising floodwaters. Here is life, in all its strange and wonderful ways. 2020 is available to pre-order on Indies exclusive double red vinyl, standard LP and CD.

Sharon Van Etten’s Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage. "I wrote this record while going to school, pregnant, after taking the OA audition,” says Van Etten. "I met Katherine Dieckmann while I was in school and writing for her film. She’s a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City, she said ‘you're going to be fine. Your kids are going to be fucking fine. If you have the right partner, you’ll figure it out together.'” Van Etten goes on, “I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show Tig. She goes on, “The album title makes me giggle. It occurred to me one night when I, on auto-pilot, clicked 'remind me tomorrow' on the update window that pops up all the time on my computer. I hadn't updated in months! And it's the simplest of tasks!” The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. “I was feeling overwhelmed. I couldn't let go of my recordings - I needed to step back and work with a producer.” She continues, “I tracked two songs as a trial run with John [Jupiter 4 and Memorial Day]. I gave him Suicide, Portishead, and Nick Cave's Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It’s going to be challenging for people in a good way." The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound. For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium. The demo version of “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty”, it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Van Etten shows the chain reaction, of moving to a city bright-eyed and hearing the elders complain about the city changing, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis, who sang on a demo version when the song was in its infancy. Since her last album, Van Etten has had a young son, and family life is joyful. Preparing and finishing these songs, she found herself expressing deep doubts about the world around him, and a complicated need to present a bright future for him. “There is a tear welling up in the back of my eye as I’m singing these love songs,” she says, “I am trying to be positive. There is strength to them. It’s— I wouldn’t say it’s a mask, but it’s what the parents have to do to make their kid feel safe.” Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She’s continuing to act, to write scores and soundtrack contributions, and she’s returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.

Iconic british artist and legendary lyricist Kano returns with his 6th studio album and arguably his most important body of work to date. The 10-track album sets out with different approach to previous album, Made in The Manor, which was focused around Kano's personal life. Hoodies All Summer looks outward to the isolated inner city communities who express hope in times of frustration, anger and rage.

Igor (stylized in all caps) is the upcoming fifth studio album by American rapper Tyler, the Creator, scheduled to be released on May 17, 2019, by Columbia Records. Produced entirely by Tyler, the album follows the 2017 release of Flower Boy and features guest appearances from Santigold and ASAP Rocky.