《Deep Water》 终于，Deep Water 2023年度同名专辑，在开春今日，全面释出。全专十一次隐喻。带来的是十一首波诡云谲的灵感生活日志。由李平进行制作和混音，乐队成员两人编曲。专辑概念以及题材，没有以小见大的远向包袱，都来自介时的情绪与爱情，是对于“Deep Water”的一封正式介绍信。 Deep Water是由主唱输哥曼（小曼）和乐手王博组成的双人乐队，2018年成立于成都，19年签约赤瞳厂牌，或受JAMC（The Jesus and Mary Chain）和Mazzy Star两个乐队的影响，他们拥有着黯黑温逸的、别样的极简气质。 新专中，后朋、后摇、电子、Dream-pop（梦泡）等风格杂陈，单一标签早已无法概述他们。《Plague Me With Your Love》和《Indeed》这两首的金属味道最为浓厚，带有“go，die，go”的释放感，即使掉进生活的牢笼，却还可以“以爱起誓”，怅惘呐喊，有始无终。 若沿着这样一条从金属般坚毅——到深水般温柔的线索，应该去《Open Your Mind》，这也是本专中唯二一首使用中文歌词的新尝试。第二首采用中文歌词的《We Can Go》，是乐队与作为制作人的声音玩具主唱欧珈源共同创作的，让我们相信，温柔的阴翳仿佛被春日微风拂尽，面对现实的纷扰与不安可以并肩逃离。 《You》、《And I》是“你”“我”的对话，《You》听起来如水般轻盈、惬意且顺利。“你”认为：虽然梦想不在身边，你却在我声旁。而《And I》，或许对“我”来说，却并没有明晰地认知爱。“How do I enjoy my time？”，因为相爱是中奖。 《小赵》或许是一封给三十岁的、“读不懂的”、赵氏男孩的情书。也是一次把戏，歌名虽然是中文，却仍选择了英文进行含蓄的表达。 《The Lover Of Dark》，“暗夜的情人”，给予我“明敞敞的爱”和“硬邦邦的心”。 《Moonshine》不单是灼伤我眼眸的月光，还是私酿酒后的乱语，带有90年代复古流行乐的气质，意为：let me，独饮“月光酿”。 《Say Goodbye After The Night》和《Outro》是温柔的夜，和温柔的别离。 别管，反正救世的不是我们。 愿你全部听过，然后释然： 喔！原来眸冷骨累，麻木不明的生活，听来并不那么沉重。 文案：Diane

It is Placebo's first studio album in over eight years, following 2013's Loud Like Love. It is also their first album to be recorded as a duo, following the departure of drummer Steve Forrest in 2015. Concurrent with the album announcement, on 4 November 2021, the band revealed a 2022 headline tour of Europe and the United Kingdom.

안그래도 조악했던 작년 앨범에서조차도 걸러진 비사이드 곡들을 모은 EP입니다. To celebrate the 1st anniversary, I decided to release the B-side EP that were failed to be included in last year's album. Thank you! (Made between November 2020 and February 2021)

Rivers Cuomo toys with Renaissance Faire shtick on the first of four planned EPs inspired by Vivaldi’s The Four Seasons.

衝撃の未発表音源! 清水靖晃がマライア『うたかたの日々』の翌年、1984年に完成させていたという幻の作品が30年以上の時を経てついにリリース! サックス奏者という枠を超え、あらゆる音楽を様々な観点から解釈し独自の世界観を創造する、唯一無二の音楽家である清水靖晃が、1982年録音の『案山子』、1983年録音のマライア『うたかたの日々』に続き、1984年に録音したのが本作『キレン』だ。完成するも公に出ることは無かった幻の作品で、その音楽性は前2作をさらに発展させたエクスペリメンタルなダンス・ミュージック。清水靖晃にとって極めて重要な80年代初期作品群の、失われたチャプターを埋める鍵となる作品と言えるだろう。

《20世纪的幻想》 第一章《灰烬》 在光与火的交织下，整个世界伴随着一声炮响进入了20世纪。 人们用他们绝无仅有的聪明才智证明了一件事：他们可以把一切磨灭成灰烬，然后在灰烬上重新建立世界。 今天，在这片废墟之上，我们用音乐重新撑起桅杆。 我们是白皮书，这是我们20世纪的幻想。 第二章《彩光》 聚变、裂变、穿越苍穹，恒星的光线落在我们的身上；收集、贮藏、重新点燃，人们用他们照亮现在和未来。 而今天，我们用声音去重新寻找这一切最初的起点，他们是宇宙中的一束彩光，是生活中的一点日常，是无聊中的一点想象。 这次，我们放下执念，感受自己。 我们是白皮书，这是我们20世纪的幻想。

“Yīn Yīn hop and bound along, being whisked up by the pure joy of their experimentation, unafraid to see how far from home it takes them...eccentric, boundary-bashing, genre-melding groove.” – The Line of Best Fit YĪN YĪN’s dazzling second album dives even deeper into dancefloor propulsion and space travel atmospherics than their lauded debut The Rabbit that Hunts Tigers (2019). While there is an expanded sonic richness on the new album as samples, drum computers and otherworldly synthesizers intertwine with the band’s taut playing, more than anything The Age of Aquarius is a simple, direct appeal to dance. The record’s groove manifesto can be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving.” Funk and disco beats. Electro experimentation. Global retro vibes. A shimmering, cinematic sweep. --------------------------------------------- YĪN YĪN’s new long player, The Age of Aquarius, is a simple, direct appeal to dance. It is also a record blessed with a considerable hinterland; with cosmic time, long studio hours and a... determination to transcend the daily ennui of living in the Dutch city of Maastricht all playing their part. YĪN YĪN see themselves as a bunch of musical dreamers. The track ‘Declined by Universe’ references the fact that “we’re all kinds of drop outs.” The beautiful, old and somewhat staid city of Maastricht, where the band is based, isn’t really conducive to setting up a bustling music scene: and it’s a place where the outsiders quickly recognize each other. YĪN YĪN are all “nightlife people”, which meant their friendship initially came about through co-organizing and deejaying DIY parties. Before the band formed, none had carved out a conventional career, or done the “very Dutch thing” of completing their studies. Things started to move for real when Yves Lennertz and Kees Berkers decided to make a cassette tape that drew on references to Southern and South East Asian music. Once the idea was formed, Lennertz and Berkers wasted no time in taking “a lot” of instruments to a rented rehearsal room in a small village near Maastricht. There the pair set up a couple of mics and recorded a number of songs in three days flat. Yves: “When we put it [the recorded session] out on tape, the reactions were very positive. So we decided to do a live show in Maastricht. We asked our musical friends to help us out, and from that night on we became a full band: with Remy Scheren on bass, Robbert Verwijlen on keys and Jerome Cardynaals and Gino Bombrini on percussion.” This “united against the world” stance is also heard at the end of ‘Declined by Universe’, where the band claps their own music, making the track initially sound like a live track. It’s a funny, maybe surreptitious statement of belief in what they do. YĪN YĪN also wanted to create an illusion of strength in other ways: ‘Declined by Universe’ sounds as if there is a large group of people playing, not just the core band. This was done by passing over sampling in favour of live recording multiple layers of percussion. Yves: “In the end we were getting kind of silly and started applauding every take. We decided to keep that reaction in. I still visualize a sort of school building in Thailand where people are playing this when I hear the recording.” Maybe YĪN YĪN also see their position of a band hiding in plain sight in their own land reflected in the legend of Chong Wang. Kees: “Chong Wang is a historical mystical figure. Very little is known about him and some people even deny his existence. But we wrote a ballad for him on the first album and now dedicated another track for him.” Regardless of attitude, the new record is bags of fun. Mainly because YĪN YĪN make dreamers music, in the sense that everything can happen, sometimes all at once. The working title was YĪN YĪN In Space, one that referenced the band’s inner vision of an entity that travels through space, encountering different planets, aliens, parties and galaxies along the way. Despite the name change, the music is still the soundtrack for that vision. And the intergalactic party vibes are strong. Nods to brilliant, invigorating dance music abound, some of the thumping beats in numbers like ‘Chong Wang’ the title track and ‘Nautilus’ drop some thumping 1990s-style electric boogie and italo disco chops along the way. Then there is ‘Shēnzou V.’, which plots a stately course between eastern-inflected pop music, Italo and Harmonia-style electronic meditations. The record’s party vibe can also be put down to YĪN YĪN’s experiences on the road, where the positive energies picked up from their audiences fed back into a sound that increasingly “kept people moving”. The expansive richness in sound and feel may also be down to the fact that more samples, drum computers and synthesizers are used on The Age of Aquarius than in their previous records, a process that intertwines with real-time playing in the studio. ‘Faiyadansu’, for example, started with a sample found on an old traditional Japanese koto record. Kees: “I first programmed a beat with 808 drums. Yves recorded guitars over that. Then we found some great vocal samples from a lady on YouTube who teaches the Thai language. These phrases and words all have something to do with enjoying food. The last step was to record some extra percussion on top.” Cosmic appropriations of time also crop up in the titles, which may give the lie to some of the band members’ preoccupations with the state of the world. The Age of Aquarius is seen as a time when humanity takes control of the Earth and its own destiny as its rightful heritage, with the destiny of humanity being the revelation of truth and the expansion of consciousness. An old trope musically the Age is most famously referenced in the hippie musical, Hair. For YĪN YĪN it seems to denote the time when this record first took shape during the previous January, when the Age was meant to finally dawn. Other direct references to cosmic times are in the track names ‘Kali Yuga’ and ‘Satya Yuga’: the Kali Yuga, in Hinduism, is the fourth and worst of the four yugas (world ages) in a Yuga Cycle, preceded by Dvapara Yuga and followed by the next cycle's Krita (Satya) Yuga. It is believed to be the present age, which is full of conflict and sin. Who said this was just a party record? more

《We Fought Over The Moon》的音乐充满了表情，或者说，语气。它有时是单纯欢乐的，有时充满紧张感，还有吃力、濒临昏迷，以及无所顾忌地忘记外部世界而潜入自身内部发出的怪异、不和谐，还有窒息中露出的一丝诡异。在《I! Alarm! Alive! Alive!》中，潜意识和现实彼此穿梭交融，让人难于区分，睡梦般的音乐伴随着此起彼伏涌现的情绪，在这些情绪中时常又因自我出离而产生了自我观看，就像意识到自己在做梦的梦境，唱腔的丰富多变也标示着梦呓的丰富表情。这些当然应该部分地归因于制作人Angus Andrew的加入，这张专辑中有一些单曲基于最初的排练或演出版本有了较大的改动，就像我们在《Last Days of Louis XIV》中听到的那样，它的结构得到了调整，伴奏部分出现了许多急停和骤起的对比，同时，音乐与人声的前后关系也更加自由地游移，彼此掩映。 这些润色为歌曲营造了戏剧性的氛围，相应地，人声的层次处理也更为立体了。这些在听觉与文本之间的关系方面制造了某种复杂性——音乐、人声、情感逻辑这三者之间不再是简单的对应、叠加，不再是同一频率的曲线重叠和平滑推进，而是如整张专辑的情绪一样此起彼伏充，满了自我分析、对抗，还有暧昧。从《快快》开始的最后四首歌，就文本而言它们显然走向了一个下沉的、充满不祥之兆的通道，或许这仅仅是录音的先后顺序，而并不意味着更多，好在最后一首《Last Days of Louis XIV》在音乐上的丰富和叙事性标题（这在专辑中显得很突出的）对本文的下沉做出了平衡，它是否隐约指出了一种新的方向，走向一种可称之为“客观的主观性”的创作？ 这张专辑相比文隽此前的乐队“怪力”，它的内部结构变得更为复杂——更加专注于内在结构的丰富体验，不论在音乐还是情感两方面都是如此。但是在遭遇音乐时完全不必依赖分析的态度，事实上，它要求我们与创作者一样投入情感，它在根本上依然是一个简单而纯粹的邀请，邀请我们共情并且在自身的生命实践中更多地以情感的方式构建我们与世界、与他人、与自己的关系。

The concentration camps that Japanese Americans had to go through has been a major part of my work for the last couple of years,” says Los Angeles based composer and saxophonist Patrick Shiroishi. His last album Descension was heavily focused on the experience inside Japanese-American concentration camps, but his new album Hidemi, a solo multilayered woodwind journey, is more on the personal experience of his grandfather after getting out. “His name is Hidemi Patrick,” Shiroishi explains, “so I was named after him, but I never got to meet him, as he passed away before I was born.” As Patrick’s name is in memory to his grandfather, Hidemi is too, and across the album’s nine tracks, Shiroishi brings the listener through tension and release, showcasing something unfiltered, beautiful, and ultimately hopeful, a testament to perseverance and grace. If you’ve ever wondered what trios, quartets, and quintets of Patrick Shiroishi’s sounded like, Hidemi was made for you. All of the album was written and performed by Shiroishi who sang and played alto, baritone, tenor, C melody, and soprano saxophones, stacking up layers of harmonies often each recorded in one take. The album’s opening blasts on “Beachside Lonelyhearts” blow the doors open, but are quickly replaced by loping, interplaying melodies... that swell, recede, then slowly, methodically shuffle off. Other songs like “To Kill A Wind-Up Bird” start with woodwind flurries and free jazz that metamorphosize into something serene before Shiroishi’s baritone sax, breaks open the piece, and brings back the beginning’s composed but frenetic energy. Shiroishi wanted to allow for community expression, too, to be a part of Hidemi regarding the Asian-American experience, so he curated and edited a chapbook featuring writings and art by fellow Asian-American artists - Tangled. The book was made to provide a platform for thoughts considering the recent rise of violence against Asian-Americans due to racism spurred by misinformation on Covid-19, and features artists such as Dylan Fujioka, Mai Sugimoto, Tashi Dorji & Susie Ibarra. In an evocative, personal essay from Tangled, Shiroishi explains the Japanese concept of “‘gaman,’ which means to endure the seemingly unbearable with patience and dignity, or simply put, to bite your tongue.” It’s a chilling, profound passage in which the history of Japanese-Americans have had to “gaman” with Shiroishi ultimately stating that “We can no longer ‘gaman.’ We must be loud and speak up, so what our grandparents and ancestors went through will not be forgotten or taken for granted.” Hidemi functions as a warning, but there is ecstasy and hope in it, too. In the last song “The Long Bright Dark,” a short, blossoming tear-jerker that crescendos with Shiroishi’s vocals, the artist cries out in Japanese “Is This The End Of The Storm?” It’s the sole sung passage in Hidemi, but its effectiveness is chill-inducing - it contextualizes everything, pushing forward while acknowledging historical evil. It’s moving and impactful, moving towards a society where - in his essay he writes - “our children and future generations may live without fear. So that they won’t have to “gaman.”

Five years in the making, the UK band’s debut accomplishes something nearly impossible for a largely instrumental post-rock album: to project urgency and timelessness simultaneously.

On his most personal project to date, the Buffalo rapper laces intimate narratives with battle-ready barbs over an ornate collage of haunting boom-bap.