Belfast-born, London-based duo Bicep (Matt McBriar and Andy Ferguson) release their hotly anticipated second album, “Isles”, on 22 January 2021 via Ninja Tune.Two years in the making, “Isles” expands on the artful energy of their 2018 debut “Bicep”, while digging deeper into the sounds, experiences and emotions that have influenced their lives and work, from early days in Belfast to their move to London a decade ago. “We have strong mixed emotions, connected to growing up on an island” they say, “wanting to leave, wanting to return”. “Isles” is, in part, a meditation on these contradictions, the struggle between the expansive and the introspective, isolation and euphoria. The breadth of music they’ve been exposed to in London during this time informs “Isles’” massive sonic palette; both cite the joy of discovering Hindi vocals overheard from distant rooftops, snatches of Bulgarian choirs drifting from passing cars, hitting Shazam in a kebab house in the vain hopes of identifying a Turkish pop song. But time away from home has also made the pair more reflective about the move between islands which led them here. For two natives of Belfast, any talk of islands, communities and identities will also have other, more domestic connotations. Before this project, it was an aspect of their lives they’d been reluctant to talk about. “It’s always been an unquantifiable topic for us” says Matt. “We’re not religious, but we're both from different religious backgrounds. There was always a lot of interest in us talking about that part of things in the early days, but we weren’t interested. We always felt that one of the things we loved about dance music was that freedom it gave you to be released from talking about those things. It provided a middle ground. I think we took for granted how much that meant at that time”. “Isles” is, perhaps, a chance to explore this background in ways that don’t conform to the stale, sensationalist narratives about Northern Ireland that predominate elsewhere; to ground those experiences in reality, and reflect on the gaps music can and can’t bridge. “You’d enter the club and it would be people from both sides of the tracks and they’d be hugging” says Andy, referring to massively influential Belfast club Shine, where both cut their musical teeth. “And the following week, they’d be with their mates rioting. It felt like the safest place but, on paper, it should have been the most dangerous”. Musically, too, they find echoes of those days in their work. “It was like being smacked in the head with a hammer” Matt says, of the tunes that defined that scene, and which find expression in “Isles’” most raw and energetic corners. “It was either very intense, in-your-face Italo tinged electro or really aggressive techno”. ‘Atlas’, the first track drawn from the record, speaks to these roots. Released to massive acclaim in March, making both the Radio 1 and Radio 6 playlists, its euphoric energy and bittersweet heft hit all the harder in uncertain times. It is, as Resident Advisor called it, “music that commiserates with you while you try to dance out your anxieties”. Lead single ‘Apricots’ has a similar feel, steeped in a shimmering bath of warm synths, its spare percussion and arresting vocals bring the big room chills of 90s rave, while still evoking something lost or forlorn. It’s a tone perfectly captured in ‘Apricots’ soulful and disorienting video by Mark Jenkin, fresh from winning 2020’s Bafta for Outstanding Debut by a British Director for his film ‘Bait’, or the album’s striking, explosive artwork by Studio Degrau, creators of the iconic imagery for the duo’s first album. “The previous record was written from a very happy and almost naïve place” says Andy. “On your first album, you can finally express what you can’t on an A-side or an EP. But, touring it for three years, you figure out what makes a good song; what gives it longevity”. Drawing on this experience, the pair wanted “Isles” to be a “a snapshot in time” of their work in this period, rather than a start-to-finish concept album. To do this, they drew from a massive pool of 150 demos. Whittling the record down to ten tracks was their first major challenge. “That’s the creative element in the beginning” Matt says. “The blue sky approach; stitching stuff together and jamming over the top. But then you get to the next phase where you tell a story with what you’ve got, get them to communicate what we feel when we listen to them. We’d spend a week working on a track and find a breakthrough moment where it would work in so many iterations. It comes alive as a piece”. “On an album, you want loads of detail for people listening at home” adds Andy. These details are everywhere on “Isles”. ‘Saku’s two step polyrhythms and Clara La San’s honey-sweet vocals feint toward UK Garage before diving, chest-first, into cosmic synths. Like 90’s RnB channelled through peak John Carpenter, it’s a track that demands, and rewards, multiple listens, suffused with the melancholic undercurrent that gives “Isles” its cathartic punch. ‘Cazenove’, another standout, pairs pitch-shifted choral elements with moody pizzicato strings and rave synths, combining to form a slowly building retro-futurist soundscape, Studio Ghibli one moment, Studio 54 the next. This globe-trotting sound was forged as their own rapid ascent through the musical ranks began. After starting their legendary FeelMyBicep blog in 2008, its humble trove of Italo, house and disco deep cuts grew into a runaway success, regularly chalking up over 100,000 visitors a month. Once the blog had spawned a record label and club night, the duo were propelled on to the international stage via sought-after DJ sets that reflected the eclecticism of their online curations. Following success with productions for Throne of Blood and Aus Music, Bicep were signed to Ninja Tune in 2017, where they released their wildly acclaimed self-titled debut album the following year, attaining a Top 20 entry in the UK charts, and a cover feature in Mixmag to add to the magazine’s gong for “Album of the Year”. Tracks like ‘Opal’ — and the subsequent Four Tet remix— as well as he record’s lead single ‘Glue’, with and its iconic Joe Wilson-directed video, became touchpoints for electronic music in 2017, with the latter named DJ Mag “Track of the Year”. The ‘Glue’ video, alongside Bicep’s RA Live performance were also recently included in the lauded ‘Electronic’ exhibition, first shown at the Philharmonie de Paris last year and most recently at London’s Design Museum. The album was followed by a massively successful tour, which saw them raise the roof at Primavera, Coachella and Glastonbury. The pair sold out their two forthcoming Brixton Academy shows in a matter of minutes, and amassed a 10,000 person waiting list once tickets were all gone. Plans for an extensive “Isles” tour in 2021 are still in the offing, with the duo offering only cryptic clues as to what it will entail.“This is the home listening version”, says Matt, “the live version will be much, much harder”. Bicep’s booked events will now take place as and when venue schedules become more clear, with additional headline dates across the UK, EU and US hoped for in 2021, including a headline slot at Field Day in London, as well as performances at Parklife, Roskilde, Creamfields, Primavera, MELT! And more. With the live music & touring industry in a state of flux, Bicep recently undertook a one-off ticketed livestream performance—one of the first of its kind for an electronic artist—broadcast across 5 different timezones, and watched by people in over 70 countries, with visuals by close BICEP LIVE visual collaborator Black Box Echo. Bicep will also launch their ‘FeelMyBicep Radio’ show on Apple Music in October, giving listeners an insight into the music that has shaped everything in the world of Bicep, with shows set to continue monthly throughout the coming year. Bicep are also ambassadors for Youth Music, a charity working to change the lives of young people through music and music production. Both take an active role in mentoring young people coming through YM programmes, reflecting their own eagerness to give back as musicians who themselves received industry support when they were coming up.

Following the success of her 2019 GRAMMY®-nominated album “Norman Fucking Rockwell”, Lana Del Rey will release her highly anticipated, seventh studio album on March 19th, 2021. Chemtrails Over The Country Club features eleven songs, including singles “Let Me Love You Like A Woman” and the title-track “Chemtrails Over The Country Club”.

此刻，你呆坐在床上回忆着这段时间所发生的一切。 从你暗中进入尹毓恪家里观察他的一举一动，再到目睹他被抓走，这其中究竟有哪些关联？你思考着，打算去其他房间找找线索。 你小心翼翼地走出房间，路过卫生间的时候你似乎看到了什么。你试探地走了进去，这…是尹毓恪吗？想到他最后的笑容，你鼓起勇气决定去问问这一切究竟是怎么回事，还有他被抓走时为什么要笑？ 你打开灯，却发现在你面前的，是一面镜子？！你震惊地后退了一步，张了张嘴却发不出声音，突然一道强光刺眼，你倒了下去。 …… 尹毓恪躺在治疗室的床上接受催眠，房间里没有时钟，只能听见节拍器哒哒地叫着。一旁的治疗师翻开日记继续读，日记的最后一篇只留下短短的几句： “似乎我不是我了，但我也还是我 被抽离的 是冷漠的我，懦弱的我，无喜悲的我 然而留下来的，是 爱你的我。” 话音刚落，尹毓恪缓缓地睁开了眼睛，张了张嘴： “你在，笑什么？” 尹毓恪全创作专辑「你在笑什么」 鬼马唱作人 尽显戏剧张力 01 Entrance:你在笑什么 02 Intro: 一条看了就会发狂的信息 03 感冒 04 我真奇，怪 05 做贼 06 都给你，行了吗？ 07 够了吧 08 衣柜里有东西 09 我，完了 10 后天 11 我的心死了 12 寄给睡眠之神的一封信 13 和世界和解 14 Exit:星期七 2021迎来了尹毓恪首张全创作专辑 打翻以往固有印象，并将他的蜕变以更加自我的形式直观呈现。 整张专辑倾向于碎片化及私人化的叙事结构，但歌曲与歌曲之间，互补互嵌环环相扣，引领听众一字一句，一步一步潜入尹毓恪构造的宏观视域中，随着种种线索浮出水面，真相愈发清晰。 Entrance-Exit 听众作为探员，从某个浴室现场展开一场秘密调查，通过每首歌中扑朔迷离的碎片线索，进行观察与分析，最终意识到这个戏剧化的脆弱敏感边缘人存在重重疑点，甚至在观察的过程中逐渐产生了一系列的自我怀疑情绪。 然而，当真相摆在眼前的那刻，会发现原来从始至终都只有一个人。 “你就是我，我也是你”。 01-14 以第一人称视角解读一个过度敏感游离于精神世界中的生命体。 08-09-10 值得探讨的尹式「暗黑三部曲」 精神失控的边缘人/“如果你不爱我，如何才能永远拥有你？/几近崩塌的世界观，如果真有客观事实存在的毁灭，谁能自救。 「和世界和解」 一系列的崩溃与救赎，无数个分离的碎片归为同一个自己，最终与世界和解，也同自己和解。 「你在笑什么」整张专辑词曲均为尹毓恪原创，并深层参与音乐制作，亲自把关。制作人陈陈陈老师以克苏鲁风格为框架概念，多处使用“突然安静”这种手法制造惊悚感从而产生微妙的ASMR效果，编曲部分融入trap等嘻哈元素，和非说唱人声形成冲撞，整体追求数字感的干净。 大量使用和声是整张专辑的特点之一，人声即乐器，尹毓恪自己编写的和声也更精准地表达了每首歌曲的风格及定义。用低语耳语、无厘头的声音采样等来拉扯听觉空间，严肃与搞怪的对冲更加体现了尹毓恪的灵气与多样性。 整张专辑通过层层打磨最终呈现在大众面前，尹毓恪别具一格天马行空的音乐内容，将会给华语乐坛带来一股新势力，迎来一场听觉感官的别样冲击。

每当浪潮来临后，我们又会去到哪里？这不只是新裤子对自身所在浪潮的一种后退一步、看清大局的反省，也是给每个成长中的有机个体带来的一种向前看的思考。又一个五年后，新裤子带着《爱 广播 飞机》来了，这张新专辑绝非是由新裤子出版的、与过去思考相配套的答案之书，而是一种关乎人文、情怀、感受的场景展映。至于所谓答案，那理所应当属于乐迷的个人解读。 在五年沉淀后，新裤子对于都市生活和情感体验的白描更添了电影镜头式的氛围感：不论是勾勒场景的空镜头，还是故事中主人公的特写。彭磊用个人风格强烈的语言捕捉着一些生活里易逝短暂而脆弱的瞬间，更丰满了专辑在Synth-Pop、New Wave风格之外的层次感，动态的呈现了这幅经常灰蒙的现代生活图景中，偶尔出现于某一瞬间的闪耀流光。 对于摩登潮流的引领从来不是新裤子刻意为之，他们只是擅于找到合适的表达方式。多年经历的沉淀，则令这些新作的表里愈发统一于浓烈的情感，同时又在表达上回溯，串联起了属于90年代的、散落当下的独立音乐气质。在解构之外也未遁入虚无，新裤子无疑又在构建属于新世纪又一个十年的青年记忆。 吉他：彭磊 键盘：庞宽 贝斯：赵梦 鼓：Hayato / 徐彪 演唱：彭磊 / 赵梦 嘉宾演唱：万茜（《迷人的你》） 和声：陈笑颜 录音：张璐 / 陈东 混音：张璐 / 陈东 / Steve Dub 母带：彭磊 录音棚：Modernsky Studio 出品人：沈黎晖 艺人经纪管理：胡嵬 经纪协力：陈笑颜 邱欣 侯芳迪 企划：赵亮 曹翊 董格妮 媒体宣传：张洋 霍博男 封面作品：安德烈•卡瓦祖蒂

【欢迎收听及转发，万分感谢！】 2020是个特别的年份。我想大家与我一样，经历了各种各样的喜怒哀乐。 隔离在家的时候，我常常坐在那个陪伴了我十多年的钢琴旁，寻找尚未创造出来的乐句。我经常边弹琴边凝望窗外的康斯丹郡小区高楼，有时被暖阳照耀，有时被雨雾环绕，更多时候被黑暗笼罩。这些景色有时不经意间跳动在了琴键上，被我捕捉下来，最后肆意随机地发展，形成了总共40分钟左右的六首歌。（不包括仅有的那首中文歌） 2020年发生的那些事，不论是与往日同学的争论与摩擦，还是与错误的人渐行渐远，亦或是看到有人对世界抛出善意，最终杳无音信而自暴自弃，都让我看到些许希望，也感到一丝绝望。有时我觉得，人们在时间的怂恿下匆匆踏步向前，转过身去，猛然发现身边的世界像是一个机器，不眠不休地运转。纵使曾骄傲的理想在机器的注视下缓缓消隐，机器仍然转动不停，因为我们从出生到离去，都是这个世界的组成部分，都是这个机器的零件。在这个机器里，我们能做的事非常有限，但是一定永远不可或缺。 Anyway, 愿音乐可以走进内心 找到一片憩息的空地 或是温和轻柔地抚慰 或是歇斯底里地击打 愿音乐给予我们力量与面对前方的勇气 首先感谢澳门大学满珍纪念书院，为专辑制作与实验提供了录音排练房与大部分设备！ 其次感谢所有鼓励我的亲朋好友，在制作过程中给予了我极大的精神上的支持！ 最后特别特别感谢来自河南的画家莉莉，上海的乔治亚，还有帮助我完善制作的几个小伙伴，在这里就不便提及了。大家对这张专辑的最终完成给予了耐心而坚实的支持！古田小伙在此感激不尽！若大家肯耐心听完，便是我的荣幸！还有可以完善之处，还望诸君海涵！ 封面设计：古田小伙、病态霍莉 封面绘制：病态霍莉 专辑全长：49分11秒+6分49秒=56分钟 词：古田小伙、乔治亚 曲：古田小伙 编曲：古田小伙 人声：古田小伙 电吉他/木吉他：古田小伙 贝斯：古田小伙 钢琴/键盘：古田小伙 鼓及合金钢管：古田小伙 玩具竖笛：古田小伙 采样：古田小伙 录音：古田小伙 混音：古田小伙 录音地点：UM_MCMC_G027、我家卧室 曲目内容如有雷同，纯属巧合

《止止安》取自武夷山道教千年古观止止庵。因2013年的一场流血公案导致衰败……2019年“朝简”游至，知情后不久世疫始发……遂以止止安为名祈望止疫止暴大道重生。 《止止安》 出品人：杨子江 制作人：窦唯 录音/混音：李杰 贝斯：何锋 吉他/鹰骨笛：文智湧 人声/合成器/海螺/采样：窦唯（采样内容：武夷山民间五显大帝诞辰法会/豫南民间“扇亡”祭祀/北京白云观道教法会） 录音时间：2019年11月 录音棚：北京光华路尊悦大厦b1录音室 鸣谢：子江及校友团队

2021年春天，来自河南新乡的疯医乐队带来了他们的第四张全长录音室作品——《愿我们在黑暗的另一边相见》。在全面转回母语歌词写作、引入先锋艺术家李增辉作为乐队新成员后，“再次相见”的疯医以这张专辑宣告了自己的一次新生。对疯医乐队而言，与传统Post-Punk经典范式相关的那些议题已不再是他们当下关注的重点：这张唱片以更具广度的音乐语言突破了特定风格的先天藩篱，拓展出更多表达的可能性。这是疯医乐队历时四年潜心探索的结果，也是他们迄今旋律性最强、制作水准最为精良的唱片。 《愿我们在黑暗的另一边相见》以一首作为Intro的《潮力》拉开序幕。在这支贯穿着细碎吉他刮擦的曲目中，可以听到间或的铃铛、脚步以及揉搓易拉罐的吱嘎声。这些来自现实物件的声音采样或许暗示着本张唱片某种自觉性美学追求——置身时髦电子声响大行其道的当下，疯医选择与数字合成的声音保持克制与审慎的距离：在摇滚乐经典的三大件以外，大量原声乐器、打击乐乃至人声合唱、念白的加入赋予了这张唱片可贵的质朴感与本源性。这其中，李增辉奉献的萨克斯演奏是独具灵光的构成部分：在《定国湖》中，它以沉静优雅的旋律线和王旭博标志性的诡谲分解和弦交织共舞，之后却在《回声之丘》里化为利刃与火焰，给三大件铺陈的稳固基底带来了撕裂般的力量。在《这不是雨能解决的问题》与《世界》中，纯净滞缓的钢琴与木吉他演奏更是被令人意外地推到了主导性地位——这与人们传统印象中的疯医乐队大异其趣，却赋予了整张唱片更具起伏错落的听感张力。 在这些原生乐器构成的温暖部分之外，整张唱片仍四处涌动着疯医一贯令人不安的危险色彩：但这次他们似乎收起了公开的侵略性，仿佛化身成四个刀背藏身的杀手，不时在听者放松警惕的片刻骤然亮出尖锐的锋芒——它们或是《沸报》中密布的法兹贝斯线里刺出的警报般吉他噪响，又或是《丢失的告白》中汹涌不安的犀利高频哇音。这些元素不仅型塑了疯医一贯冷峻、疏离的气质，构成了那些阴郁晦暗的乐句走向，并且在《瞳醉》与《有一天我死了，你还会恨我么》中被冰冷的鼓击和钢筋般的律动逐渐愈推愈烈，几近癫狂。 丰富的音乐语言承载着王旭博清晰可辨的中文唱词，还原了疯医长久以来被忽视的内省与表达。当英文写作的陌生感鸿沟被抹平后，真诚与坦率成为疯医的歌词文本中最令人印象深刻的气质，也更令本土听者为之共鸣：专辑同名曲《愿我们在黑暗的另一边相见》以诗性的修辞赋予了疯医更加成熟宏大的质感，而《西边的风》更是以内化的控诉直指尖锐的社会议题——童声与大提琴在其中交相辉映，厚重的气氛愈发沉淀，直指悲怆。 《愿我们在黑暗的另一边相见》于2020年底录制于北京的ModernSky Studio，由疯医乐队的主创王旭博和张楠亲自操刀专辑制作；P.K.14乐队御用制作人欧阳汉客（Henrik Oja）完成了唱片的后期混音工作。唱片的缩混与母带工程均在瑞典制作，由摩登天空唱片发行。（文/邱驰） 唱片视觉来自于Dooo Design Studio设计师霍文杰。概念源于疯医魔幻现实的歌词意向，封面以超现实的手法刻画了出口、阴影及无形的墙，体现了身陷囹圄却浑然不知的困顿。实体唱片的镭射烫印工艺赋予出口天空般的绚烂色彩，衍生出巡演海报视觉，带来了动态多样的视觉呈现。

I still remember the first korean indie musician I heard. His music was so amateurish and difficult. The next musician I listened to had a great influence on my music life. However, his music was not promoted properly. Now they are all living their lives, disappearing from the Internet. However, listening to their songs still reminds me of memories that never existed. Memories, recording alone in a small dark room, giving out a demo album to acquaintances, and forming a band in the club. Memories, in the early 2000s, when there was romance, performing at the Hongdae club with a few audiences, and then living each day without a plan. I'm sure I'll never forget them forever. I want to be a person like them, who is remembered and talked to for the rest of one's life. Through these works, I want to leave a little trace of my own, no matter how stupid and anachronistic dream it may be. This album can be said to be the answer to my dream. This is an album about a person whose body is an adult but mind is still a child, due to the wide gap between ideal and reality. He believes he is talented, and he thinks he will definitely become a world tour rock star in the future. In reality, however, he had never played a guitar while he was 21, his singing skills are fucking awful..., and is below average in height and appearance and everything. How will he react now, who has just faced reality as an adult after adolescence? This album contains references to many things that influenced my adolescence, such as Lily Chou Chou, Welcome to the NHK, Goodnight Punpun, and Neon Genesis Evangelion. Rather than trying to exclude it, I put it as honestly as I wanted. The feelings that I have felt for the past 3 years are also honestly contained. Delusion, Inferiority, Past, Non-adaptation, Escapist, Fantasy and Disillusion, Struggle, Most Ordinary Existence, Lethargy, and Suicide. Only complaints about those feelings are left in this album, and there is no such thing as overcoming them. I can't give you a sweet word of consolation. I can't say "It's gonna be okay someday". I just hope there will be more active losers like me in the world. 저는 아직까지도 처음 들었던 국내 인디 음악가를 기억하고 있습니다. 그의 음악은 너무나도 아마추어스럽고 난해했습니다. 그 다음 들었던 음악가는 제 음악생활에 지대한 영향을 끼쳤습니다. 하지만 그의 음악은 이상하리만큼 홍보가 되지 않았습니다. 지금 그들은 모두 인터넷에서 자취를 감춘 채 자기들의 삶을 살아가고 있습니다. 그러나 아직까지도 그들의 노래를 들으면 존재하지 않았던 추억들이 떠오릅니다. 근처 골방에서 홀로 레코딩을 하고 지인들에게 데모 앨범을 나눠준 뒤, 동아리에서 후배들과 친구들과 함께 밴드를 결성하는 모습. 낭만이 있었던 2000년대 초반 홍대 클럽에서 몇 안되는 관객들과 밤낮없이 공연한 다음 하루하루를 계획없이 즐겁게 살아가는 모습. 분명 저는 그들을 평생 잊지 못할 겁니다. 저는 그렇게 누군가에게 평생 기억되고 회자되는 사람이 되고 싶습니다. 이러한 작업들을 통해 저만의 사소한 흔적들을 조금이라도 남기고 싶습니다. 설령 그게 아무리 병신같고 시대착오적인 꿈이라 할지라도요. 이 앨범은 그러한 저의 꿈에 대한 대답이라고 할 수 있습니다. 이상과 현실의 괴리감이 큰 탓에, 정신은 그대로지만 몸만 커버린 어른아이와도 같은 사람에 대한 앨범입니다. 그 사람은 자기가 재능이 있다고 믿고있으며, 미래에는 분명 세계투어를 도는 락스타가 될 것이라고 생각합니다. 하지만 현실의 그는 21살이 될 동안 기타를 한 번도 잡아본 적 없고, 노래 실력도 형편없으며, 키와 외모도 평균 이하입니다. 청소년기를 마치고 어른이 되어 막 현실을 직시하게 된 그는 이제 어떤 반응을 보일까요. 이 앨범에는 릴리 슈슈, NHK에 어서오세요, 잘자 푼푼, 신세기 에반게리온 등등 제 청소년기에 영향을 끼친 수많은 것들에 대한 레퍼런스가 담겨져있습니다. 배제하려고 노력하기보다는 최대한 제가 원하는 대로, 최대한 솔직하게 넣었습니다. 최근 힘들었던 3년동안 느껴왔던 감정들도 솔직하게 담겨져 있습니다. 피해망상, 열등감, 추억팔이, 비적응, 도피, 환상과 환멸, 발악, 가장 보통의 존재, 무기력, 그리고 자살. 이 앨범에는 그러한 감정들에 대한 불평과 하소연만 남겨져있고, 극복같은건 없습니다. 저는 듣는이에게 달콤한 위로를 해줄 생각은 없습니다. "언젠가는 잘될거야"같은 말을 꺼낼 수 없습니다. 단지 세상에 저와 같은 행동하는 찐따들이 많아졌으면 합니다. more

My Bloody Sex Party 是一支山东临沂的摇滚乐队，目前的平均年龄应该刚过 16 岁。 他们组建于 2020 年的夏天。那时候是暑假，刚刚结束了中考，四位同学决定组建一支乐队。他们是刘（吉他，唱），尚（贝斯），庄（吉他），李（鼓）。在传统的摇滚乐器之外，他们也使用了大量的非常规乐器——从比较常见的提琴、二胡、三弦、琵琶，到非常罕见的西塔琴、维纳琴，或是匪夷所思的计算器。此外还有一些改装的乐器与加料演奏，比如装上了吉他弦的电贝斯，用弓拉琵琶，或是用笔在吉他上划过。 他们用一个多月的时间写歌，排练，在一位成员母亲的废弃的办公室里完成了录音。他们使用手机录音，然后用一台看上去有点旧的台式电脑混音，最后保存为 mp3 格式。 在正式升入高中之前，这张专辑完成了。四位成员后来分别去了不同的学校。鉴于曲目的时间太长（总长度超过 150 分钟），这套专辑将分作三辑在燥眠夜逐次发行。这里是第二辑。 母带：浦裕幸 设计：刘璐

Kerri Watt is a Scottish singer-songwriter and multi instrumentalist from Milngavie. At age 16, she moved to California after receiving a place at a performing arts high school. After a successful year studying in the States, Kerri moved to London to further her training in music and performing.

《山海经》是一部上古神话，同时也是一本荒诞的奇书。山川、地理、民族、物产、药物、祭祀、巫医尽在其中。龚琳娜《山海神话》将上古神话的原版故事融入在音乐之中，为我们用音乐揭开了山海世界的神秘面纱。 该张专辑打破了人们对音乐以往的想象，10首歌曲均是不同风格，有《凤皇》的超高音技巧，也有《饕餮狍鸮》无调式曲目的创新，《帝江混沌》更是童话版“忐忑”。其他歌曲中，除了别具挑战性的声音技巧外，还蕴含世界音乐元素。 专辑中的10首歌曲，从《帝江混沌》的心智尚未开发，到《一臂国》的回归初心收尾，如同人从“一团混沌”到“简洁明了”的经历。 龚琳娜与老锣一起经历了十八年的创作之路，在《山海神话》这张专辑里，老锣继续以作曲家的身份参与，而龚琳娜则完成了从歌者到制作人的蜕变。在专辑制作过程中，龚琳娜收获了创作者与作品的相互成就，拥有了更多的人生感悟。 龚琳娜2021全新创作专辑《山海神话》，正式揭幕。

二零二零年春节后的全民隔离期间，我决定在没有任何准备的情况下召集人马做一张双唱片。原因很简单，没有演出就没有收入，而我当时刚发行混乱之子，甚至还没有开始筹备巡演，但看到大家都闲着，意识到这可能不仅是一个全情做音乐的好时机，并且 可以解决一些生活 上的问题，于是迅速通知心目中录音室创作的最佳人选—由两代The paramecia成员合体，作曲执行能力爆棚的:录音/混音师，贝斯手，编曲人钟洋，吉他手/作曲人小弦，鼓手/编曲孙钰，长号/作曲人Danniel Rothwell加入。彼时我在伦敦，三月底回国辗转于深圳隔离，解除后即刻去往珠海，其他人则带着录音设备和各自的乐器从北京赶来。 《狂人农场的往事》这个名字是开始录音前后想到的，从“往事”(星尘往事2015)到“往事”(狂农2021)我用了六年时间近乎七张录音室唱片去成长，这个时候自认为是成熟了，“往事”是过去时，可以理解为在未来已经做完了的一张唱片，也为讨一个好彩头，狂人农场意为一班人要用当下非常人能理解的方式，但也是最为传统的方式去开垦去耕种了，而直到完成，直到现在我打下这些字，刚刚好用了十个月。录音地点之所以在珠海完全是因为天时地利人和，我跟梁楚结识多年，乐坊是个很棒的场地(空着并声场很棒)，而他作为主理人愿意带领团队完全的配合我们，这是我作为制作人的底气，通过这次合作我们在之后的一年中完成了两轮全国巡演，我几乎是在路上写完录完这张双唱片。 在珠海的四十天左右我们五人紧密合作，编/写/录同时进行，平均两天左右完成一首歌的打底创作，临近结束的时候我们有了21支曲子，但其中只有三分之一写了词和唱，另外三分之二还需要在生活中继续生长。录音的整体过程自然无比，大家为终于有机会能专心做音乐而感到幸福，来自于地下的经验让所有人都无比珍惜这次机会，于是产生了难以置信的碰撞。四月已过五月将尽，我的工作还远远没有结束，大部分想法和动机都需要丰满血肉画龙点睛，制作从有材料可用开始，我在混乱之子发行后也总感觉没写够，这种写作方式很有趣，想法上是从成品的角度倒着做，而现代唱片史上也有许多我喜欢的唱片是使用这种方式完成，属于高难度经典做法的一种，也是离开舒适区的更大的挑战。 狂人农场的往事分三部分发行。 第一部分集中体现了我们在器乐上对超长曲目的掌控力，对于管弦和双吉他编配更娴熟有力的运用，在迷幻实验音乐领域的进一步探索，从音乐性的角度来看我个人认为是代表了现阶段整个团队的最高水平，也是我最喜欢的一部分。 第二部分中有半的歌恰恰是在隔离期间写好的，另外一半是在珠海的实时创作，这些歌像散落的星群，同一时间掉在距离我不远的地方，并不是很费力，它们找到了各自在唱片中的位置。 第三部分我们尝试了一些小品类的作品，类似于甜点，其中有都市疯客迪斯科，当代古典乐融合JJ Cale式的乡村吉他，法式小调嫁接悬疑短篇小说，具有印度风味又光怪陆离的演奏类曲目。 奇迹之光照耀着我们，音乐从来都是为了交流而存在。在不满一年的时间里我调度了几乎是身边所有音乐家资源，每天跟不同的时区时差作战，下午写完晚上录，见缝插针的干活，上路演出， 日复一日殚精竭力。现在终于到了要端上台面的时候，我却只想像一名普通乐迷样好好听一听， 好好感受一番。 2021, 1.23 于大理

A longingly beautiful mini-album Out of Time by London-based composer Mike Lazarev...Constructed as a soundtrack to an imaginary film, it is his first for the label and a standout work in his own high grade canon. Opening with swells of strings and plaintive piano chords, lead single “Out of Time” sets a profoundly expressive tone. Each reverberating note is carefully, gently placed on a canvas awash with purity and stillness, finally building into a rushing river of breathtaking prettiness that culminates in a hanging, dead-stop ending. Later on the record, “Time Becomes” progresses like a Harold Budd piece or a Ryuichi Sakamoto soundtrack work, melting away the ice with dulcet chord changes as single string notes float on a rarefied air. “Outerlude” changes the mood again, its subtly Eastern European melodies and natural piano noises - the chatter of keys and shuffle of pedals - transport us to a haunted, deserted ballroom where a lone ghost pianist laments the weight of a tremendous grief. “The protagonists of this imaginary film are constantly fighting against the fleeting moments on this plane. But it is less about death than it is about living. And most of all, it is all about time,” Lazarev writes. He is right: Out of Time is elegiac - heartbreakingly sad, even - but behind the melancholy themes lies a powerful affirmation of life, warmth, and the human spirit. Mike Lazarev was born in Kyiv, Ukraine in 1977. At the age of six, his parents sent him to a conservatory while his friends played football in the parking lot. His childhood passed by in the study of classical music and performing in the state choir. As a teenager, with his family, he left the USSR for the USA to escape persecution, freeing him from the strict academic discipline he spent his childhood resisting. However, a year later, music drew him back in: with his family’s first computer (“a Dell 386 with 4 MB of memory!”) he began using a sample-based tracker to make what was known as 'techno'. By the mid-90s, he had produced a few records. Later still, now in London, he finally brought his own piano, and found a teacher to re-immerse himself in classical music. But, lacking the patience to practice, he turned to reductionist minimalism. Soft, simple, sad piano melodies that somehow leaked from a lost soul.

云音乐： Bandcamp： Spotify: 制作人左玮现居多伦多，是电子二人组 Wanderlust 的成员 ，WISEFAKE 是他 2016 年开启的个人项目。相比起 Wanderlust 的歌曲属性，在 WISEFAKE 里，左玮更多以电子音乐的思维尝试新设备和新想法。 《constants/常数》是WISEFAKE项目运营五年来，即将发行的首张全长专辑 ，整张专辑采用纯模块录音，包括类人声、类鼓机音色，整张专辑无采样。专辑以常数为主题，每一首歌曲的名称与其用声音通感表达的景观均以一个常数命名，而整张专辑描绘了旅居加拿大九年的WISEFAKE对加拿大冬季的生活场景。加拿大的冬季从十月秋末黄叶开始替代绿叶开始，到转年四月最后的积雪融化，被半年低温环境限制的生物活动也像常数一样，只能保持一种状态而一成不变，直到冬季被每年两周的春季所替代。

On their eighth album, the Followill brothers desperately cling to a sound that has stopped working, trying to write songs that soar but capable only of ones that wallow.

▼WV048: Otay:onii - 冥冥 Míng Míng “冥冥 Míng Míng” is Otay:onii’s second full-length album (after the album “NAG”), each song came out of soul ratcheting stories interrelated through her exploration of the word “冥 Míng”. As she defines it: “Míng 冥, a Chinese word meaning a place between our world and the other world, where souls wandering around before they take turns to reincarnate. The word consists of a roof on the top, a sun in the middle and the number six on the bottom. Míng Míng 冥冥, which doubles the word and turns the meaning into a state where the inexplicable entanglement of past and future happens, a state where the gap which we describe as present opens the portal of memory in transformation, mutation and sublimation. If you are an angel, but as well as a fly, which of the 3 a-tions will you choose to describe these phenomena? The answer deciphers your 冥冥.” Electronic, ambient, sound collage or even noise, with a heart to be mindless on the boundaries of all, Otay:onii breaks down structures that chains her neck and feet, aiming to be free on the ride of acute instincts and establishing a bodily connection through the synchronization of the heart and mind. She believes it is... through this particular synchronization that people are brought to the bed of honesty, in which a moment of history will be worth looking back and upon, and the light will slip out from this crack within any world of creation reverberating the loudest echos. ▼ Otay:onii (Lane Shi Otayonii) was born in Haining, China, and has recently been a resident of New York and Shanghai. She is also the vocalist of the punk spit heavy shoegaze band Elizabeth Colour Wheel (US). Her voice is frequently compared to classics such as Janis Joplin, Björk, Hope Sandoval (Mazzy Star), and Beth Gibbons (Portishead). Her own talent distinguishes itself from these greats as her own voice delivers a sound that ranges from ghostly ethereal to brutally powerful to chillingly dreamy. Otay:onii graduated from Berklee College of music in 2016, honored twice with “Laurie Anderson Women in Technology” awards. She has also received many other honors and accolades including a bronze prize for “Best Female Vocalist” from Global Music Awards and “Best Sound” from the Audiovisual Arts Industrial Incubator Awards. She was rebellious while in school, frequently testing the limits of the learning environment and continually questioning the institution’s business model. She said she would “drop out of school if as a foreigner I can stay there without a visa”. Soon after she got the “alien of extraordinary ability” artist visa. She considers the opportunity of getting to know her bandmates and life time friends as the biggest achievement received at school. ▼ Otay:onii （施金豆）出生於浙江海寧，常駐紐約，她同時也是美國噪音朋克/自賞黑金屬Elizabeth Colour Wheel樂隊的主唱。Otay:onii的嗓音，令人聯想到Janis Joplin、Björk、Hope Sandoval（Mazzy Star）或是Beth Gibbons（Portishead）這樣的經典音樂人與樂隊，但與這些音樂史上的經典女聲主唱不同的是，Otay:onii的聲線更為飄逸與詭異，獨樹一幟，令人印象深刻。 Otay:onii於2016年畢業於伯克利音樂學院，曾榮獲兩屆勞瑞·安德森女性科技獎，Global Music Award的最佳女聲銅獎，與Audiovisual Arts Industrial Incubator最佳聲音金獎等。學院派的背景下的她一直與學院環境和理念格格不入，一直認為“如果不是需要學生簽證繼續在美國生活，早就輟學了”。在大學最後一年，她順利地拿到了傑出人才藝術家簽證，而回顧起學校的經歷，她覺得反倒結識了許多音樂夥伴才是最大的收獲。 《冥冥 Míng Míng》是她的第二張個人專輯，每一首曲目都講述了一個關於“冥”的奇妙故事，同時也相互關聯。她是這樣描述正在探索的遨遊的世界的： 「冥處於此岸與彼岸之間，無數靈魂正在過渡。那裏有一個屋頂，屋檐下有個太陽，六字號在最底下祭奠著。冥冥將此案和彼岸雙重在了一起，過去與未來開始糾纏，打開了“此刻”這個無法描述只可經歷的通往記憶印記之入口，裂縫不停地變著型，在天使和蒼蠅之間。」 她在電子、氛圍、音效拼貼甚至噪音等眾多元素裏穿梭遊離，不斷打破邊界後又重新構建，在尖銳的直覺下企圖用身體見證心與思的合並，並且在此構建真誠溫床上值得回顧的展望的歷史，追尋著迸出裂縫的那一束光，和其最蕩漾的回聲。 ▼ “Singer and front-person Lane Shi Otayonii mostly sticks to cleans, but the register of her voice and her off-kilter inflection means the vocal sits above the riff-swirl in a way that never lets you ignore it. And she’s constantly doing weirdshit: sing-song playfulness melts into a jazzy drawl, syllables rolling around her mouth until she finally lets loose with a wail, while the songs beneath go in every direction but straight ahead. At every turn you’re reminded this is something you haven’t heard before.” - Stereogum “Nocebo plays like a single epic work, thanks largely to Lane Shi’s vocals. (For a rough approximation, imagine an amalgam of Diamanda Galás, Julie Christmas, PJ Harvey, Judy Garland on the best night of her life and John Motherfucking Coltrane.)” - Decibel Magazine “It’s impossible to deny that Lane Shi’s vocal performance is incredibly unique from the off; you could reference Joanna Newsom or Regina Spektor as a vague comparison, but she is tapping into something that’s totally her own on these tracks.” - Echos and Dust "Otay:onii’s vocals here are retro and dusted with grit, almost smokily cabaret. The nuances and inflection in her singing are connected deeply to flexible filaments of emotion.” - Boston Hassle “with vocals that sound like a banshee version of Amy Winehouse.” - Rolling Stones more

El Madrileño is the third studio album by Spanish singer-songwriter and rapper C. Tangana. Written by Tangana and co-produced with Alizzz, the album is scheduled to be released on February 26, 2021 through Sony Music. It showcases Tangana's musical evolution since his previous release Avida Dollars (2018), moving to a more sadcore, folky and R&B ground, without leaving his urbano essence apart. For this, Tangana adopted a new alter ego named after the album.