The sharp wit of veteran songwriter Stephin Merritt thrives in brevity across a collection of short songs that range from 12 seconds to an epic two-and-a-half minutes.

When Wire play live there are different three classes of pieces that are performed, new songs, old songs and “new old” songs. The latter often involves taking something that existed on a previous release and re-working it, very often evolving a stage highlight from it. There are also pieces that have never seen a major release but for some reason never fitted on an album. The best of these ideas were recorded in two sessions - one relating to Red Barked Tree but recorded in 2010 and another relating to Wire’s album Mind Hive released in 2020. Incidentally celebrating the decade Matt Simms has been with the band. The album divides in to two halves - the 2010 side and the 2020 side - hence the title. - 10:20

Wire exhibit little inclination to look back - rather they remain resolutely focused on producing music that is smart, vital and defiantly modern. Mind Hive is the group’s first newly recorded material since 2017’s 'Silver/Lead'. That album garnered rave reviews. Yet, if 'Silver/Lead' set the bar pretty high, Mind Hive seems to have no problem vaulting over it. Talking track by track ..... 'Be Like Them' is a super-angular composition, utilising a recently rediscovered Wire lyric from 1977. Colin Newman and Matthew Simms’ guitars constantly mesh and diverge, whilst the rhythm section ensures the song prowls forward with an unstoppable menace. 'Cactused' is the first of Mind Hive’s pop moments. The vocal is wide eyed and wired, with effects-heavy guitar work creating a bright web of noise, with the song’s stop/start moments providing a series of precise energy bursts. 'Primed And Ready' rides out on a tightly pulsing synth sequence punctuated by icy slivers of guitar. This is Wire at their most compressed yet propulsive. 'Off The Beach' is another prime pop song. With its breezy, optimistic melody, and blend of electric and acoustic guitars, the song initially sees the group seemingly celebrating the joys of everyday life but things are destined to turn a shade stranger. 'Unrepentant' explores the kind of bucolic soundscape early Pink Floyd would have been proud to call their own. Boasting one of the album’s finest texts, the song radiates out into a shimmering sonic heat haze. 'Shadows' pulls the classic Wire trick of placing a dark and cruel lyric in a musical setting of tender beauty. Never has the recounting of atrocity been so seductively pitched. 'Oklahoma' is the muscular and dramatic joker in the pack. Lewis’ dark vocal swims through a rich compound of guitar textures and synth tones, building into a masterclass of tension and release. 'Hung' is the album’s centrepiece. This 8-minute excursion matches a brief but evocative lyric with a dense, mesmeric guitar grind. Simms and Newman’s keyboards add a plaintive note, as the song moves through a series of sections, each with its own distinct atmosphere. 'Humming' is a beat-less autumnal drift, fashioned from delicate keyboard textures and rich soaring guitar tones. Newman delivers a state of the world lyric with a touching sense of innocence, whilst the piece ends with Lewis’ husky baritone listing locations and their difficult associations. An elegiac end to a supremely confident album. 'Mind Hive' arrives at a time when Wire are being cited as an influence by yet another generation of bands. A career spanning feature documentary called 'People in a Film' is due for release late 2020. Quite how a group that has been operating for such a long period is still able to produce such exciting and essential work is difficult to understand. And yet here we are.

Jayson Gerycz - Drums/percussion Jen Powers - Hammered Dulcimer Matthew J. Rolin - 12 string guitar with Dylan Baldi - Saxophone on “Velvet” credits released March 13, 2020 Recorded by Jayson Gerycz in Cleveland, OH Artwork by Devon Clapp

Paul Weller’s 15th solo album, On Sunset, is a soul album. At the same time it’s an electronic album, an orchestral album, an album packed with classic pop songs and heart-tugging ballads, and an album filled with touches of experimentalism. It’s also an album that sees Weller taking a rare glance into the rear-view mirror as he speeds into the 2020s.

2014年，在我上一張專輯發行的一年後，女兒也來到了這個世界，出現在我的生命中。 「生命中」其實是一個比較遠觀且浪漫的說法，對於每天要面對的現實來說，應該稱它為「生活中」。而生活一點也不浪漫，生活是碎片的集合：是夫妻吵架；是嬰兒哭鬧；是大便沾到手；是吐奶在沙發上；是惡鄰的腳步聲；是找不到的車位，是被上司打槍；是苦追垃圾車；是員警上門；是排隊領藥……生活是制約是妥協，是等待是忍耐，是期望和失望。 於是，原本仙人般的「創作者日常」現在變成了不可分割也不可逆的「家常」，家庭生活的瑣碎把我的創作時間切割得更細碎，這樣的我還該不該想著自我實現？我用了幾年的時間才習慣這件事，找到新的創作節奏。 而我還是想從生活中找出浪漫，我們也只能從生活中找出浪漫。經過幾年的混沌，在接受新生活新身份的過程中，每每當我看著女兒自得其樂地玩著，都更加確定了：簡單的快樂是生活中最浪漫的事。快樂在飽鏘；在夕陽；在撒嬌；在奇想；在說故事；在焚香操PAD；在探索一個新玩具；在一起唱歌跳舞；在毫無目的做些什麼；在每次多巴胺和催產素的分泌，也在我每次下筆有所進展時，儘管只有幾個字……快樂躲在生活中細微之處。 於是曾想著逃到顏社錄音室當作庇護所的我，最後還是待在家中房間裡自己做音樂，自己錄音、混音、後製，自己發想、編排、設計……一如我最一開始玩饒舌的樣子：自己摸索，自己承擔，限制很多，樂在其中。而時間、器材、資源的限制，或許反而是讓人不顧一切的助力？漸漸地，在這樣的環境下完成一張專輯成了我給自己這個階段的功課。所以一切都在家常的狀態，做的也是我的家常口味，沒有精美的擺盤和高端的服務，只有家的溫度和玩的初心；沒有時髦的聲響和抓耳的唱腔，我只想在按鍵和旋鈕間尋找聲音的質地與紋理、用平實的饒舌給這個人生階段留下紀錄。這過程中當然不乏小孩的打擾，而最後它也變成了專輯的一部份，對我來說甚至是最珍貴的部分。 就這樣……在一間雅房裡，一顆大腦，一台筆電，一台錄音介面，一台取樣機加上幾個音樂小玩具，用幾百個夜晚和無數個片刻，我拼湊出了這張專輯，這是我的《家常音樂》。

我把我的灵魂送给你 或是一首歌 带你潜进深海里 我把我的秘密借给你 一些孤独的 自言自语 听见一个『无人知晓』的田馥甄 找到一个『无人知晓』的你自己 画时间的圆 揭时间的谜 就让一切 如其所是 只有此时 只有此刻 只有现在 只有『田馥甄』 田馥甄 第5张全新个人专辑【无人知晓】 09.25 正式揭晓 时间积累而成的五专全新样貌 形塑无人知晓的田馥甄 金奖制作 陈建骐X鬼才词人 葛大为 连手制作统筹『无人知晓』制作新阵容 横跨流行与独立音乐 田馥甄第五张全新个人专辑【无人知晓】，以单曲型式在发片前陆续推出6首新歌：年初无预警释出葛大与「新生代最疗愈梦幻民谣男歌手」知更，共同打造充满文艺气息的断舍离情歌《悬日》；6月由蓝小邪填词林家谦谱曲的《皆可》揭开五专序幕；7月推出另类音乐风格代表火星电台词曲制作歌曲《一一》，宣布五专与二巡9月双喜临盆。7月底，单曲《先知》成为电影【怪胎】主题曲，以复古迷幻摇滚解密爱情的真知灼见；8月《或是一首歌》与新生代乐团deca joins惊艳合作，以开头六句歌词表达新专辑概念；9月《讽刺的情书》，由丁世光词曲创作刻画爱情的残酷真相。接连6首单曲音乐新风格，无人知晓的五专，正式揭晓。 荷兰女性摄影师Astrid Verhoef Photography 超现实黑白影像定格『无人知晓』沙漠之境 新专辑视觉与荷兰女性摄影师Astrid Verhoef国际合作。Astrid Verhoef拥有独特细致的理解力，以人与自然景观创造出新的视觉语言，作品曾在欧美等地展出，2019《Inscapes》系列作品，更获法国PX3 The Prix de la Photographie Paris银牌、Jean Lariviere大奖、法国国家美术协会银奖及美术摄影类别的ADAGP大奖。 视觉团队远赴美国西南部、地跨三州『无人之境』沙漠景观取景拍摄，以盆地地形，打破天际的棱线，酝酿「无人知晓」的谜样氛围，将主体抽离现实的摄影风格，是Astrid Verhoef将灵感凝聚而成的画面，也是对田馥甄新专辑【无人知晓】音乐作品最直接的呼应。 金曲奖最佳专辑装帧设计 刘悦德 操刀设计 解构视觉 抽离感知 从时间的流动 创造『无人知晓』的因缘聚合 由曾获『金曲奖最佳专辑装帧设计』刘悦德操刀，实体专辑大胆挑战无照片封面设计，以特殊色荧光橘做一力度开场，染制布面材质的精装书衣，再以触感传递时间温度；字体打凹、圆型与半圆，呈现精致三维效果，象征人生的「圆与不圆满」，透过光影与不同角度，找到无人知晓的设计密码。 内页设计上以抽象化的自然界（有机）图像，搭配几何（数学性）图形，融合荷兰摄影师Astrid Verhoef独立性强的专辑照片，并搭配翻页的错页、拼贴感，从时间的流动里，创造出属于每一个人独一无二、无人知晓的因缘聚合。 你既是谁 又不是谁 爱到无人知晓 可不可怜 田馥甄 心酸缠绕 揪心倾诉x专辑同名主打〔无人知晓〕终于等到『田馥甄』！专辑正式推出，以同名歌曲《无人知晓》揪出感情里最无人知晓的心酸悲催。 葛大说：「如果《悬日》的故事里没有坏人，那么《无人知晓》这首歌里的我们，就都是坏人了。」侥幸、逃避、压抑、无视，偏执的爱里的数宗罪名，我们一个也逃不掉。全世界最凄美的一场恋，便是幽微到无人知晓的爱情。 制作人陈建骐将感情里错综复杂的关系，从钢琴到层层堆栈的弦乐配器，一一吐露情感里无人知晓的心酸感，田馥甄以内敛情感诠释出表面冷眼看待，内心炙热纠结的矛盾感，成为一首专辑里最最可怜的歌曲。葛大更感性表示：很少写如此真实又惨烈的歌，或许是因为田馥甄总能适时提醒我们，我们都经历过的生命之重、爱情之痛。

hyukoh new album "사랑으로through love" will be released in January

这是对我们现阶段的人生来说最重要的四项“俗事”。 家庭，爱情，理想，金钱。 它们总是不约而同的出现又紧密地缠绕在一起，而我们总想用一些新的办法将他们解开，却逐渐发现这不过是带着新时代的困惑步入了新的困境中； 我们希望你可以更关注属于你自己的人生，在重新阅读它们的时候，找到更多自我认知和自我认同。 听，它们混合在一起的声音，像是一曲“人生四重奏”。 《人生四重奏》是右侧合流加入野生唱片后的首张作品。 乐队的四个年轻人使用他们独特的魔力，将无拘无束的演奏编织成背景，以隐喻的诗词铺垫线索，在高完成度的音乐中时而迸发出令人难以捉摸的奇思妙想。你似乎永远猜不到他们的音乐在下一秒会蹦出什么音符，就像变幻莫测的广东雨季，令人意外也令人着迷。

Re-imagining her much-praised 2017 release ‘Mogoya’ totally unplugged, in live sessions recorded over just two days, ‘Acoustic’ consolidates Sangaré’s position as Mali’s leading opinion-maker, established with her 250,000-selling 1989 debut Moussolou, which did much for the feminist cause in West Africa. The release of ‘Mogoya’ in 2017 signaled the return of Oumou Sangaré after 8 years. With that album, the woman who’d swapped selling water on the streets of Bamako for global stardom reconnected with her audience. Balancing the traditional music of Wassoulou and a forwards-facing curiosity, Malian instruments were augmented by electric guitar, bass and synths, with Tony Allen on drums. Oumou was painted by Congolese artist JP Mika for the front cover, and more recently sampled by Beyoncé (who used ‘Diaraby Nene’ without permission on ‘MOOD 4 EVA’). Never before had Sangaré appeared so far removed from her home country - it’s a dynamic that ‘Acoustic’ redresses, with Oumou embodying the same freedom & audacity of her debut, 30 years ago. It’s the fighter, the undefeated rebel that you find here on this snapshot of an album.

取一个假乐队名，为一部压根不存在的西部电影做原声？是的，这是The Molds又一次唐吉坷德式的小玩笑，他们当然希望有这样的能力，或许等着他们的是又一次事与愿违。可谁又不是呢？你不可能总是得到你想要的。 于是，乐队在准备告别演出的1个月间见缝插针，完成了4首主题概念作品的创作和录音。随后，听从宿命四散而去，隔海相望。这会是西城最后的沙龙么？

A sonic collage of feeling and thought, an inner folding of outer. Composed, mixed and mastered on the stolen land of the Wurundjeri people of the Kulin Nation. All funds from sales donated to the Sisters Inside Children's Fund. credits released April 15, 2020 Music and lyrics by Hyphira Produced by Anna Durham Additional Production and Mixing by Robert Downie Mastered by Simon Lam Artwork by Beatrice Whardall license

Drawing on funk, Afrobeat, and spiritual tradition, two beautifully crafted albums from the elusive UK group passionately consider the entirety of the Black experience in this moment.

People On Sunday is an original soundtrack to the 1930 silent film variously known as Menschen am Sonntag, Les Hommes le Dimanche and People On Sunday. The film is a key work of interwar German cinema, based on a screenplay by Billy Wilder.Part documentary, part fiction, People On Sunday follows a group of characters going about their business in Weimar-era Berlin over one weekend and shows normal life in Germany before dictatorship. Domenique Dumont was invited to compose the score for a special screening and live performance at the Les Arcs Film Festival in the French Alps in December 2019. “Working on this score strengthened my belief that the time we currently live in, although far from perfect, might be the best time to be alive. All the bells and whistles, all the advantages that we have the opportunity to enjoy in the 21st century, are things people couldn’t have dreamt of only a hundred years ago. At the same time, we haven’t yet transformed away from our sense of humanity. As absurd and optimistic as it may sound, we are living in a utopia compared it to what came before and, perhaps, what is to come. Somehow this movie made me think of the present more than the past.”