Ever since SPIRIT OF THE BEEHIVE released their self-titled debut in 2014, they’ve developed a reputation for being your favorite band’s favorite band. Theirs is the music of immersion, of confrontation, the kind that makes a listener stop and wonder, “How are they even doing that?” And as the years wear on, that sense of bafflement has made room for SPIRIT OF THE BEEHIVE to quietly but steadily ascend, with their most recent album, 2018’s Hypnic Jerks, leaving them poised on the precipice of wider recognition. On April 9th, SPIRIT OF THE BEEHIVE will release their fourth album and Saddle Creek debut, ENTERTAINMENT, DEATH. The album signals new chapters for the band on multiple fronts, being the first to feature their new three-piece lineup, as well as the first to be entirely self-recorded and produced. Guitarist/vocalist Zack Schwartz and bassist/vocalist Rivka Ravede are now joined by new member Corey Wichlin, a multi-instrumentalist who relocated from Chicago to the band’s home territory of Philadelphia last year. In the spring of 2020, the trio began to write their new album at a distance by emailing files back and forth. “The process of making this album was basically the exact opposite of our experience creating Hypnic Jerks,” Schwartz explains. “We had to record that in seven days, because that was the studio time we had, whereas ENTERTAINMENT, DEATH was made over the course of three, four months.” An abundance of time wasn’t the only difference. Recording remotely offered the band an incentive to experiment with new possibilities for their sound, resulting in an album that is unlike any SPIRIT OF THE BEEHIVE has released before. Once the band finished recording and mixing the album digitally, they mastered it to tape, lending the collection a textured, dimensional quality. “We knew we wanted to use some new instrumental elements on this album,” Wichlin says. “We're not going fully electronic,” Schwartz adds, “But guitar, bass, drums just get kind of monotonous.” Though ENTERTAINMENT, DEATH doesn’t cohere in a single, unifying theme, the band samples old obscure commercials throughout, many of which guided the process of writing a song instead of serving as an appendage. Schwartz describes his songwriting process as a stream-of-consciousness, while Ravede asserts that she doesn’t typically write vocal parts with any specific intention in mind. “When I write, the narrative usually doesn’t present itself until after the song is done. And even then, it depends on how the listener interprets the words,” she reflects. Regardless of how dreamlike SPIRIT OF THE BEEHIVE’s lyrics can be, reality rears its head throughout ENTERTAINMENT, DEATH. The album isn’t a metamorphosis, it’s simply the newest iteration of a longstanding project. “There’s a line in the Bee Gees documentary that I think applies to us. I’ll paraphrase: ‘We may not have always connected, but we always stuck around,’” Ravede says. Schwartz jumps in, “SPIRIT OF THE BEEHIVE: we’re still here.” written and performed by SPIRIT OF THE BEEHIVE produced and mixed by zack schwartz and corey wichlin mastered by andy clarke cover artwork by rivka ravede insert artwork by nico trevizo design & layout by corey wichlin

细碎缓慢的downtempo节拍铺底于温暖的细节音色、出离飘渺的优美旋律、绵长和声弦乐，情绪此起彼伏，结合充满哲思的超现实歌词，呈现出隐基底独特的融合电子美学。《危险森林》收录的这10首探索爱、信心、人与人连结等情感的歌曲，指引一个闪光着通向希望的出口。 《梦语者》道出轻柔的梦境启示，于漫长的黑夜里仍探寻爱的光源；《危险森林》里，现实困境与内心谜团交织，而希望将带我们寻找出口；《遥远的如同在身边》是对早期爱情的朦胧想象，享受着守护却不曾占有，感觉很遥远，又随时在身边；如果自己足够微小《Small Enough》，谦卑的心能够进入更多宽阔的空间；在这个时代“等待”似乎已变得很难，信息过载，情感也被效率和欲望稀释，《我愿意等待》是放下热闹的假象，在真实的关系中去承受那些孤寂，在忍耐中情愿冒险；《直岛时光》里对探寻的渴望令人印象深刻；《你是我羽翼下的风》、《拉撒路》和《Back to the rock》、《迷航水手》则是他们关于信心、信仰的思考，用此缝合人与人的连结，也将给予更多前行的勇气和方向。

《多米力高威威维利星》由脏手指乐队于2021年独立发行。 专辑中的12首歌曲，多数是脏手指乐队在2018-2020年间创作的。参与创作的成员包括管啸天、邴晓海、张海明、赵子龙、李子超。 专辑录制于2020年末，北京百花录音棚。参与录制的乐手有：管啸天、邴晓海、张海明、李子超、沈帜 、邬雨杰。录音师：尹冲。 《多米力高威威维利星》在脏手指原本三大件的音乐基础上，极大地丰富了编曲，律动与和声，同时也保留了乐队一贯以来粗糙的赤裸裸的特点， 专辑后期制作于鸡笼山，制作人沈帜；专辑母带制作于匹兹堡Treelady Studio，母带师Garret Haines。 统筹：脏手指乐队 运营：王靓、章江南、管啸天 封面插画：Peiyun Chen 封面设计：王靓 制作执行：王靓、管啸天、Elsa Bouillot 特别感谢：郭震、李平、兵马司唱片、Daily Vinyl、赵凯、PNPRESS版画工作室、Elsa Bouillot、曼透录音棚和阿炳。

The Pakistan-born, Brooklyn-based composer draws from jazz, Hindustani classical, and folk to create a heartbreaking, exquisite document of the journey from grief to acceptance.

Lothian Buses is an EP of genre collisions with Proc Fiskal amalgamating his unusual melody-driven twinkling, caffeinated grime sound with the rhythms and sounds of other genres.releases March 26, 2021

The Griselda rapper’s second album of 2021 is his statement of reinvention, a neat balance between glitz and grime.

Accompanied by a like-minded troupe of intergalactic travelers, the Bitchin Bajas member brings together jazz composition with far-out electronic sound design.

Pete Kember follows up his first album under the Sonic Boom moniker in 30 years with a remixed version that stands as its own discrete work, as impassioned and cohesive as the original.

Inspired by a panoply of club-music styles like gqom, UK funky, and tribal, the Mexican producer’s music revels in eroding barriers between percussive techniques.

Channeling the scrappy ache of ’90s emo, the New York City band’s DIY rock songs voice the joy and catharsis of creating in community.

On his second album inspired by journeys in the Arctic wilderness, Finnish electronic musician Sasu Ripatti makes even the most hostile environment feel homey.

The third album from the Detroit collective is an exceptional melding of hardcore, noise, and pop. Abstract concepts aside, the Armed makes thunderous and discordant music move with great finesse.

是一张有别于一般现场录音专辑，一张关于2020年八月「宜花东鹿户外直播巡演之旅」的纪录，精选出25首经典曲目，收录现场的自然之音与群众的对话声。简言之，这是罗大佑「收录生活、探究其因，记录时代」的Live概念专辑！ 而深入细究，我们回顾2020年，是一个COVID-19让世界重新整理的一年，这一年带来的冲击与沉淀反思，在罗大佑心中种下一颗种子，而这颗种子在2020年夏天萌芽，罗大佑号召各路音乐人马展开「宜花东鹿户外直播巡演之旅」。带着音乐与敬畏祈福之心到鹿港小镇拜天地、到台东感谢山海，到花莲港边吟唱游子归乡，最后终点站来到宜兰回忆童年，回归音乐初心。 而2021年春天，象征一切重生之意，罗大佑决定用专辑的形式将「宜花东鹿户外直播巡演之旅」保存下来，给予这趟旅程一个值得记忆的时代意义，精选出巡演当时在现场收音、录音的25首经典作品，专辑中所收录的25首经典曲目全经改编，Live最珍贵的纪实中能听见风声、笑声、雨声，摊贩的吆喝声、还有当天观赏的众人掌声与细碎的对话声。罗大佑将2020年的场景与时代背景全记录在此张专辑《二零二零八月宜花东鹿记》，一张记录「Life」的「Live版概念专辑」正式成型上市。

Featuring co-production from Kurt Vile, the classic trio’s latest reunion album is their breeziest and most melodically generous yet.

The hip-hop collective’s sixth album refocuses on melody and economy, resulting in the group’s most focused and impressive record yet.

On their collaboration with the Alchemist, ELUCID and billy woods drag postcolonial wounds onto the examination table. They don't just embrace the darkness; they wear it as a protective cloak.

《走神的卫星》是丢莱卡的第一张全长专辑，乐队选取了2018至2019年创作的十一首歌收录其中作为小结。 从创作上来说，《走神的卫星》是一张纯粹由兴致驱动的专辑。在这里，乐队在音乐上真正的趣味有所展现，但毫不执拗，任凭自己——具体到歌曲的——那一阶段听觉的舒适度决定音乐的呈现，即便是庸俗的打动，也没什么不可以。或许能说成松弛，可同时也残忍：去掠夺那一刻的情绪、习惯、观察和思考，不留情面地将它们灌注成歌。和EP《健忘的平原》不同，红色EP承载的是经过提纯的相似情结，《走神的卫星》则是这些年波动剧烈的不同阶段共同束起的一串漂流瓶。 作为尚在见习阶段的歌曲作者，“音乐”这一载体本身，至今仍让我们惊奇。无论彼时理智与情感冲动比例何如，作为作品落听的歌都像瓶子，搭建歌曲犹如业余匠人用力吹玻璃制成器皿，再将酒酿灌入任其发酵。因为乐队本身这些年的波折，《走神的卫星》中的声音在录音前我们已经过于熟悉，演绎过太多次，可最终听到它的时候却又觉得它和我们并没有什么关系，它只是十一个瓶子的组合，尝到什么或爱或憎是听者自己的事。我们自己也是听众，它把我们带去另一些走神的时刻，珍惜地存进瓶子里的、意想不到的。 对于我们，它具体。关于春夜的气息、失神时偶然瞥见河面的波纹、远去的朋友、怯懦与愤恨、酗酒、对时局茫然、对结构的不甘、理想世界、气馁和总归不曾抛弃我们的，希望。关于“事情本不该是这样可是——”，关于“事情如果是这样就好了”。可对于我们它又太具体，具体到我们也只能观看。抬起醉眼看那颗脱轨的绕地卫星，它会陨落还是永存，小狗莱卡又将去到哪里呢。 《走神的卫星》本该更早问世，但这它诞生的过程又与丢莱卡所经历的这几年高度相似，乐队和专辑各自命运的起伏纠缠在一起，形成合理的互文。所幸在朋友们的帮助下，它好算能来到你和我们的耳边，为此我们骄傲又感激。 用所有的爱感谢李平、尹冲和百花录音棚、雨晨、山猫、王靓、艾晶、三儿、冠宇、盲区合作社、救命小酒馆、所有关心和支持这张专辑的朋友和我们自己。 同时也用所有的运气感谢曾与我们同行的朋友，包括与我们一起创作这些歌曲雏形的过往成员（彤彤、阿驴、一陈、壮壮、卢大师、阿勇）和陪伴丢莱卡最初日子的听众朋友，希望你们一切都好，始终怀有期待。 衷心愿你喜欢这张专辑，请继续支持丢莱卡。会有新的音乐，会有新世界。 《走神的卫星》是丢莱卡的第一张全长专辑，丢莱卡由涂俊南、李堂华、赵彦樵、王帅、张永郭组成。 涂俊南，二〇二一年春。

Taylor Swift’s project to re-record her albums to reclaim legal ownership of the music begins with 2008’s Fearless, an almost identical, polished, and somewhat melancholy version of it.

L'Impératrice is a French pop and disco band, founded in Paris in 2012.

Returning with another debut album for 2021, Music From Memory are delighted to introduce a new band, The Zenmenn, with their first ever release ‘Enter The Zenmenn’. Whilst little about the band is made known, their work is described by writer Winton Rousseau as an “experiment in harmonic convergence emerging from a deep respect for cosmic symmetry and a resistance to the prevailing Zeitgeist.” ‘Enter The Zenmenn’ sounds as old as it sounds new, as organic as it is electric, as harmonic as it is rhythmic, and the album’s fusion of different palettes, colours, tempos, instruments and sources offer a harmonious balance and unity that already feels like the perfect soundtrack to a better world. In a time of what they see as spiritual neglect, it offers a “human kind of stillness” through the “dualistic fusions of complexity and simplicity, mystery and clarity and East and West”.