我不喜欢4kHDR音乐，这张专辑就是自制的标清家庭录像带。虽然略感羞怯，但我也自认为这些内容不错，毕竟都是些发自肺腑的东西。 制作人：管啸天GuanXiaotian 录音师：尹冲（Loopy杭州） 混音师：沈帜（The Room鸡笼山） 母带师：李平（Astrodome Studio义乌） 参与录音：管啸天，沈帜，PZ，邬雨杰，HUHU，李平，尹冲，靓靓 摄影：靓靓 设计：Reneee 特别感谢：阿炳

怎么描述一个夜晚，脑海中第一跳出的是月亮 夜间情感总是那么敏感，看不见摸不着，不好说 三杯下肚，情绪挑逗泪腺，尿像泄洪一样在晚上喷涌 这张 EP 描述的故事可能是不少人夜间鲜活的情感体验 在夜里写下关于“情”的5首小曲 潦草地描绘了《夜晚的模样》 谢谢欣赏。

In a dramatic departure from their previous output, the UK collective taps into the spirituality of choral music and contemporary classical in an uplifting, celebratory, utterly gorgeous album.

For a very long time, I used to think about suicide every day. This album is about how my view toward life has changed in recent years. Thank you very much for listening! 이 앨범은 지난 몇 년 동안 저의 인생관이 어떻게 바뀌었는지에 대한 이야기입니다. 들어주셔서 정말정말 감사합니다!! 'Vitamins and Apprehension' is composed of two sections. 'Vitamins' is a celebration of some of the things that make me appreciate being alive and conscious. 'Apprehension' is an interpretation of the realization that I want a future for myself as well as an admission of the unexpected complexities that arose following this realization. The story is told from the perspective of a young boy who finds it difficult to accept that he loves watching the sun rise. '비타민과 우려'는 두 부분으로 구성되어 있습니다. '비타민'은 제가 살아 있다는 것에 감사하게 되는 날들을 기념하는 부분이고, '우려'는 미래를 원한다는 깨달음을 해석하고 이 깨달음에 따라 생겨난 복잡함을 인정하는 부분입니다. 일출 보는 것을 몰래 좋아하는 어린 소년의 입장에서 쓴 앨범입니다.

关于《陷害菜园》，专辑制作人Max Martin想说的话—— 从2019年起，Ryan（坏球音乐集团全球首席执行官）一直在寻找中国的下一个巨星。 他坚信，中国很快就会成为全球最大的音乐市场，他一定要找到那个天才，去占领这块蛋糕，而这个人必须是一个中国人。 他听了海量无人问津的作品，混迹于各种地下演出现场，甚至观看了无数的选秀节目。这期间，他的确曾经被几个卓越的声音打动，甚至要我去为他做出判断。 当一个歌声不能完全消除你的犹豫，它就不会是你要寻找的那一个——这是我给他的答案。 2020年底，Ryan突然打电话给我，他问我是否愿意暂时放下手头上的项目，并将所有的资源投入到一个新人的下一张专辑中，他说他找到了那一个声音！ 我当时正忙于The Weeknd, Ariana Grande和Rihanna的新专辑，所以我直接用一句脏话回绝了他，接着，Ryan用邮件给我传来了这个新人的作品小样。 Wow！我们可以从她身上赚几十个亿——这是我听完之后的第一个念头，而这个新人就是——张塑莱！ ★ 这是一个完全不同的声音、不同的灵魂，她以意想不到的方式，触碰你心底完全被忽略的位置——Adele ★ 她是那种，一开始就预示着长久生命力的艺术家——Rolling Stone ★ 粗糙复古的制作手法，丝毫没有让她的创作才华变得暗淡，但是过多的客串歌手显得毫无存在感，而且没必要。但不得不说，《陷害菜园》是这个十年迄今最好的专辑——独立报 ★ 第一次听到她的声音，我就告诉Ryan，我一定要跟她合作——Sia ★ 她开创了一个新的流派——塑料流行，这是她最伟大的地方——NME ★ 我们相信她不仅可以成为中国的巨星，而且还能把中文流行歌曲推向世界——纽约时报

很久很久以前，人们把密函绑在乌鸦的腿上，隔空传书。乌鸦们驮着信息，飞渡城堡、钟楼、森林和莽原…… 　　翅膀所到之处，连点成线，连线成面。放在今天，它们传输的路径叫网线，而覆盖的面积，叫局域网。 　　不管乌鸦是不是当今量子通信的图腾，人们对信息的热情追逐和传递，亘穿万古，纠缠万物。但信息爆炸带来的蘑菇云，也逐渐让文明在混沌中返祖。世界越来越扁平，大脑越来越相似。短平爽快的狂欢背后，连接的是价值模糊，正在迷失的晕晕众生。 　　2022年春，刺猬乐队的新专辑里，用叙事摇滚建模了一个叫“乌鸦谷Crow Valley”的奇幻世界。有如那个晕晕众生，命命相连的真实网络生态。 　　《乌鸦谷 - 晕晕众生，命命相连 Crow Valley - It's All Connected》是刺猬乐队发行的第十张专辑。也是刺猬从“我”到“我们”，从释放自我情绪，到洞察社会情绪的人文思辨之作。 　　其中的3首预热歌曲： 　　《浪花游：对话上帝的掌纹 A Spray's Trip: Talking to the Palm-Print of God》 　　《尚活·尽享此刻 Still Alive·Enjoy This Moment》 　　《期许·静灭之火 Expectation·Quiet Dying Tinder》 　　早在3月率先上线，揭开专辑一角面纱。如今拼图合成，封面里那个光怪陆离的“乌鸦谷”，结界刺破，大幕开启！ 　　如果你按顺序播放这12首歌曲，将解锁“乌鸦谷”地图上隐藏的秘境：山谷、床榻、地牢、无人岛、溶洞、河流……每一位听者都可以成为这场“不正当游戏的正当玩家”。 　　“混沌开”的序音中，你新奇地打量这万木吐翠的山谷。乌鸦接二连三嗖地降落，不断带来海量信息。 　　遗憾的是，“乌鸦谷”没有人物设定，更没有主角光环。每个玩家的命运被互相牵扯。“匐入残暴的黑暗轨迹”，马上你就要开始在网络世界里，和欲望、理想、痛苦、享乐、欺骗、耻辱、爱情角力博弈。 　　会成为什么样的男一号或女一号？全凭自己“对话上帝的掌纹”后所做出的选择。 　　很少有人满血通关成为人生赢家。在黑洞里屠龙的你，逐渐疲累，向往躺平甚至开始摆烂。祈愿自己变成一台巨大的信息处理器，能自动判断垃圾、处理指令、抵挡负面…… 　　然而人始终不是CPU，“乌鸦谷”一旦断了电，我们都要学会自己去辨别真伪、化解怨念，“像水一样流”去过滤迷茫。 　　毕竟拔了插头的乌鸦谷，还有太阳真实的光晕。一隙见深光，“爱能攻克一切”。 　　行至第十张专辑，“刺猬”的新乐迷里扩容了不少网络原住民。“正年轻”和“终将老去”在一个碗里搅拌，神奇地蒸出了平滑的水蛋。 　　他们明亮鲜活，从互联网发展的盛世上车。出生时，血管里就已经流淌着一个个bit。他们对技术革新无师自通，却在信息轰炸的次生灾害里还未群体免疫。 　　如同浪花腾游，刺猬在创作中捕捉到他们在网络洪流中的脉冲信号： 　　《来自乌鸦谷地牢的死亡风之回响》 　　为家庭暴力受害者敲键发声。 　　《尚活·尽享此刻 Still Alive·Enjoy This Moment》 　　关照年轻人的“EMO心理”。 　　《期许·静灭之火 Expectation·Quiet Dying Tinder》 　　反思社交网络中的情绪捆绑，欲火陷阱。 　　每个人都能从中找到自己的日常冲浪的乐章。 　　一边在生活里搬砖，一边在网络狂欢。信息流把两个时空缝在一块儿，没有哪儿是真空天堂。但刺猬一直希望听者，能在晕晕众生里保持独立思考、独立行事的态度。即使有一天网断了，你也能不点外卖做顿热饭；不看手机高声唱出最喜欢的歌；在沉默或喧嚣中，你都能明辨真理的方向。 　　从抒发少年心气，到思考世界观，刺猬作品的转变，开始像刺在时代穴位上的银针。 《乌鸦谷》不是为任何一部电影、音乐剧、游戏、品牌命题而作的专辑。它拓印当下，和现实浑然天成的剧情，是普通生活里随机抽离出的某一刻。或许也是未来日子里，我们会抽到的某个命运盲盒。 　　早点拥抱生活的不完美，同时接受人性的美丽和丑陋。 　　The more you know, the less you fear. 　　你知道得越多，你就越不会害怕。

聲景系樂團 聲子蟲第二張創作專輯《真面目 Understory》 4月7日｜全面發行 闊別十年，聲景系樂團聲子蟲第二張創作專輯《真面目 Understory》 4/7 正式發行 以台灣山林為創作繆思，專輯名稱以植被概念隱喻「被覆蓋故事」，蘊含成員們十年間觀察反思 廣闊聲響風景引領聽者往島嶼高山跋涉，俯瞰人們與社會、自然互動 2022年4月7日，《真面目 Understory》專輯全面發行 從2012年首張專輯《午夜城》至《真面目》之間的十年，台灣、世界、以及人們生活的樣態都已歷經了巨大變動。社群媒體從推翻極權的解放者變成放大極端言論的回聲泡泡，一場戰場關閉，另一個戰場接著開啟，社會運動風起雲湧後反抗者與掌權者翻轉，工作與休閒的區別只剩眼球從一個螢幕移到下一個螢幕。種種事物的真實面貌，被海量的資訊沖刷而模糊難辨。這些年間聲子蟲對於媒體、社會、山林、土地的觀察，切換在不同視角之間，試圖發掘被煽動的標題、黑箱的權力結構底下，真實的、被遮蔽的本質。 專輯英文名稱《Understory》既是生態學中的下層植被，但也有蘊含「被覆蓋的故事」的雙關。下層植被是在森林樹冠層之下，地面之上的植物們，站在遠處眺望時不會見到，唯有進到山林之中，才會發現在樹林的表層底下，仍有這麼多的植物藉著穿透樹冠層的光線生存著，在層層的遮蔽之下仍盡力接住每束陽光。 整張專輯引領聽者從滿是鑿斧的人為建構出發，進入林間，隨著海拔向上攀升，沿途的下層植被間則有一首首蕨類的形貌顯露，在越過山頭與後，回到山腳回望。聲子蟲誠實地將細膩的觀察轉為或輕盈、或厚重、或寬闊的樂音，沿途的領會則全然交給聽者詮釋。 闊別十年後，聲子蟲在《真面目Understory》中將這十年間的觀察與反思，鋪出一條引領聽者往高處跋涉的山徑，在廣闊的聲響風景中，俯瞰人們與社會、與自然互動。

‘This World Is Love Of Sacrifice’ 是Cephalosis献给逝者的哀歌，它不同于Cephalosis之前音乐的沉重与暗黑，但也同样是残酷的。 在新世纪的20年代初，体会到了与过往截然不同的生命体验，疫情改变了我们的生活和思维方式；战乱纷争，它相比于从前也更能震慑到我；还有更多私人的，亲人的离世、生活境况的改变。。。一切像突然徒增的一个陡崖，让过去变得遥不可及。但也让我更多时候开始回想我对于这些事件作为“人”是如何反馈的——也许在意识这些事情发生以前我只是在靠“采样”世界而活——而我的青春期似乎在此刻才迟迟结束。 但逝者知道一切。他们现身在新闻里、或者正在我面前。人群聚向这个残酷陌生的场景，逝者永远是事件的中心，当所有的眼睑都低垂下来，我明白了——这个世界是牺牲者的爱意。只是需要借我们的口说出。 “在世”已是一种无与伦比的体验，而葬礼是为生者准备，好让我们再靠近一些，点燃那些被风熄灭的蜡烛，必要时再护住他们。 这样的说明对这五首歌也许太过严厉了，我还是想保持它们作为音乐的质朴，因为它们本身就是如此。这几首“另类民谣”最主要受到了This Mortal Coil的影响，当我数年之后又听TMC时，以前所感受到的灰尘味以及阴霾都没有了，它们的音乐正变得明亮透彻。David Sylvian和北欧的新室内乐也给了我很多灵感。词作的氛围几乎来自于德语诗人特拉克尔，他作为上个世纪初的“逝者”，确实带给我了很多爱意。 All songs by Cephalosis Recorded & produced by 李平、Cephalosis Mixed & Mastered by 李平 Artwork by 平平

一次性交朋友是一个三人即兴乐队 同时也是一个在广州持续进行的即兴活动 这张专辑是自19年以三人形式开始活动至今的排练录音经选择和剪辑后的合集 混音：Hohn 母带：李平 专辑设计：稞宇 wx:13380246564

The ethereal sounds on OTHER mark a moment of truth for Lim Giong. Compared to his sporadic "phantom persona" put together by media over the years, this work spontaneously coming out of his personal "psychological state and imagination", is more representative of the real Lim Giong today. The ex-pop singer, who left the entertainment world at the peak of his career, has long since changed course to become a low-key producer behind the scenes. In recent years, he has become a "music worker", frequently painting his musical brushstrokes on the cinematic worlds of directors such as Hou Hsiao-hsien, Jia Zhang-ke. Although carrying a similar aura of subtlety, the 3 tracks of OTHER are distinctive from the OSTs Lim composed for films - here, he expresses with a free state of mind, using the simplest ways to depict the most profound, which he experienced when surrounded by the earthy and floral scents in the great outdoor. 《別樣》的輕盈電子聲響並不完全虛幻。相比媒體常年間零星拼湊出的 「身外幻影」，這樣一部自發於個人 「心理狀態和想象力」 的作品更能代表如今真實的林強。 這位當年毅然離開娛樂世界的歌手，早已轉換航道成為帷幕後低調的製作人。近年來他以 「樂工」... 自居，頻繁為侯孝賢、賈樟柯、畢贛等導演的影畫世界塗抹上自己的音樂筆觸。而《別樣》的三首曲目雖帶著同樣靈氣，卻終究有別於為 「他人做嫁衣」 的配樂。看盡螢幕上下浮生掠影，林強在抒發自在心境時放下 「我執」，淺淺著力，用大道至簡的智慧在電子信號間只吐納天地花草的氣息。

Dan Bejar’s marvelously inscrutable songwriting reaches beyond meaning. On his most live-sounding record in years, he finds clarity when language recedes and the music takes over.

The luminous 3rd album from the acclaimed Korean multi-instrumentalist and composer. A gorgeous meditation on the intersection of music and light. "The beauty of Jiha’s work lies in the spaces she leaves" - The Guardian ----------------------------------------------------------- How often do we consider light? We revel in the soft wonder of a sunrise or the majesty of a glorious sunset, but all through the day its quality and texture is continually changing, second by second, in ways we rarely register. That beauty is the inspiration for The Gleam, the third album from Korean composer and instrumentalist Park Jiha. She distils light into sound, from the first flicker of morning on the horizon in “At Dawn” all the way to the moment when full darkness falls again in “Nightfall Dancer,” capturing the essence of it in notes and silence. The album had its origin with the piece “Temporary Inertia,” she explains, which was created for a performance as “a meditative improvisation in a bunker designed by the architect Ando Tadao, where the ceiling had an open light way going across the room, it slowly moves during the day and leaves a very special... impression when inside. I thought I could capture the emotions light gives me being just as an observer, the textures, intensity, warmness... the constant movement of light itself seems to look inert at points and needs time to be seen, to reveal things and angles you wouldn’t realize otherwise.” Like its predecessor, Philos, The Gleam is a completely solo work, all the music composed and played by Park Jiha on the piri, a type of oboe, the saenghwang, a mouth organ (shown on the album cover art), the hammered dulcimer known as the yanggeum, and glockenspiel. There’s a stark clarity to the sound, yet it’s never spare or empty. There’s a searching warmth to what she does. It’s minimal without being minimalist, occasionally presenting itself with the formality of traditional Korean music that is her background, although she feels that the distance she’s put between herself and that teaching is “really what made my music what it is now.” At other times her playing is an improvisation that spirals free into the sky. It all comes together into a beautiful whole and it always flows with a natural rhythm. Like everything, it breathes. “Breathing has been an essential part of all my work since day one,” she notes. “It definitely is intertwined within the music, as we need breathing to feel music. I tried taking my time as much as possible with this album trying to express what I felt at the moment.” Breathing is an act of constant repetition, of course, but “repetition is essential to keep a certain focus and create enough ground for the atmosphere of the track to develop and create feelings, music is very similar to nature in a way.” The music on The Gleam often surprises, as instruments take on different colours and shades. Nowhere is that more evident than on “Sunrise: A Song of Two Humans,” a composition created as a live soundtrack for a movie of the same name, a silent black-and-white film. “It made me think a lot on the role of light and gave me the opportunity to re-imagine this black and white canvas with a sunrise of my own,” Jiha explains. “I also divided the piri melody into two parts so it sounded like two choirs that would assemble and transition together.” The effect shimmers, both intimate and quietly flickering, like light itself. Across The Gleam, the music patiently shifts moods, from the soft serenity of “At Dawn” to the playful, sparkling dance that marks “A Day In…” as the rhythm carries it along. Nothing is rushed. As Park Jiha says, “things take time and the layers of events end up creating something.” Much of that sense is due to the way she composes. “There is absolutely no formal writing process, once I start feeling something that really strongly inspires me to start working. It is very instinctive. This is very emotional work for me as well and can take me a long time to get it right, but I try to focus on textures and layers of sounds I create with time to build up a piece that sounds complete to me.” Working with it until it breathes, until it’s ready. However, there was another, inevitable factor involved in the creation process of The Gleam: Covid-19. The global pandemic has affected everything, put lives in limbo, and it was no different for Park Jiha. It meant that the performance of “Temporary Inertia” was pushed back until Oct. 2020. “I did prepare for this a while ago, it just kept on being moved because of Covid regulations. They made it hard to have much in the way of performance happening, but Covid also gave me enough time to focus and give life to this new album.” The music had already been gestating for a while, with some pieces written a couple of years earlier, but the long break offered her more chance to “slowly shape the album with a strong representation of the kind of work I am doing at the present.” A chance for it to breathe and for the light to shine, growing from a glimmer. The Gleam shimmers and dazzles. Let it carry you. ---------------------------------------------------------- The Gleam: liner notes The inspiration for this album originates from the concept of light - in its different forms, and in the way in which it interacts with us throughout the different parts of the day. It takes a certain focus to appreciate the textures and emotions light can bring. A faint gleam of light piercing through the darkness, evokes a signal ready to be awoken in ‘At Dawn’. Changing environments and feelings are expressed throughout the album, conjuring atmospheres from the crack of dawn to nightfall. Part of ‘The Gleam’ project was conceived for a special performance in the Meditation Hall created by Ando Tadao at Museum San in Wonju, Korea. Light is an integral part of the architecture of this space. Whilst feelings are instantly captured, the constant movements within, allow us the sensations of observing the unreachable. For the meditative performance we had there, sound was a way to carry the light further giving it a sensation of being expressed aurally. This resulted in the realisation of the final track of this album, ‘Temporary Inertia’. Light is in a constant race towards time. Repetitive, yet constant, it only leaves temporary feelings behind. This being exactly what I want to picture for my own music. – Park Jiha more

2020年5月、コロナウイルスが世界中に猛威を振るう中、ー常に助け、決して傷つけないーというコアメッセージを掲げたデビューアルバム『HELP EVER HURT NEVER』で鮮烈に登場した藤井 風。 昨年9月にいろんな人の心が“Free”になることを願い【Fujii Kaze “Free” Live 2021 at NISSAN stadium】を無観客にて開催。 雨天の中、日本最大級の野外スタジアムで1時間、ピアノと歌のみのステージを YouTube全世界生中継配信し、Twitter世界トレンド１位になるなど大きな話題を呼び、年末には『第72回NHK紅白歌合戦』に初出場した。 1stアルバム『HELP EVER HURT NEVER』がリリースから2年経った今もチャートインする中、リリースされる2ndアルバム『LOVE ALL SERVE ALL』は、既に発表されている「へでもねーよ」「青春病」「旅路」、ストリーミング累計2億回再生を突破した「きらり」、紅白歌合戦でサプライズ生演奏した「燃えよ」に、未発表6曲を含む全11曲入りとなる。 サウンドプロデューサーは、国内外問わず多岐にわたり活躍中の「Yaffle」氏。 1stアルバム同様、藤井 風とともに全楽曲のアレンジを手掛けた。

故事有美丽的开始，我从妈妈肚子里就开始冒险，好奇的来到这个世界。童年的自卑让我羞于表达，我变得孤独并锋利。成长中我追逐欲望，也试图弄明白爱， 时常感到困惑，自己像卡在嗓子里咳不出来又咽不下去的异物。我做过很多梦，虽然不相信愿望都能实现，但依然会许愿。 慢慢地我发现，我在追寻通向自我的道路，没有人能指明这道路，也没有人知道，无论是妈妈爸爸，爱人朋友，或那些智者们。 脚跟接着脚尖，我就这样一直往前走，目光如炬，路边的风景开始后退，里面有愤怒、有痛苦、有悲伤 、有自负，我放下了那部分的自己，但不会忘记。