越来越多的人，选择生活在别处。 当我们带着异乡人的眼光去观察一座城市，这座城市的角落，会不会告诉我们不一样的故事？ 岁末年初之际，网易云音乐邀请五组原创音乐人，唱作出他们曾漂泊过的「异乡」。用另一种视角的音乐，描绘一座城市的故事。 网易云音乐岁末年初特别企划「在异乡」——最后一个异乡故事，来自张玮玮。 “2020年冬天，我参演的一个舞台剧巡演到郑州。演出结束后外面下起了雨，走在雨夜的街上，哈气从口罩缝隙里出来，在眼镜上结了雾。 戴眼镜的人冬天戴口罩就会这样，看上去有点可笑。我就那样走在街上，周围的一切在模糊和清晰间交替着，变得虚幻。这首歌的部分歌词，就来自那个时刻。 这首歌我们一直叫它河南，在最后确定歌名的时候，改成了《2020》。它其实也不像这首歌的名字，只是我自己想留下这个记号。 2020年是一个无比魔幻的年份，就像一根项链，到了2020这颗珠子的时候，穿过珠子的线没了。它就这么悬在项链上，和前后连着，又好像没连着。 生活就是这样，总有些情节会突然切进来，我们也拿它没办法。它就那么来了，带来了失落和期待，带来了翻腾的情感。 从来没有绝对的变好和变坏，2020像一个分界线，无论如何我们已经走到了分界线的这一边。这首歌也将是我新专辑的开始的序曲，又一个美丽的故事开始了。”

Album / Release: 365 Release Type: Album Date of release: 25/02/22 Label: YEAR0001 A&R: Emilio Fagone Producer: Quit Life Mixing: Quit Life Master: Gustav Brunn Writer: Bloodz Boi Writer: David Kyhlberg Writer: Johan Norberg Art Director: Victor Svedberg

Mole Eyes 是一个众人的分支计划，一个华语慢摇组合， 他们演奏一些带有复古流行乐特征的靡靡之音， 并在时光流转之际发出一声轻轻的叹息。 本次EP会收录五首曲目，将以七寸黑胶＋数字下载的形式呈现，其中实体七寸会收录两首今年完成的录音室作品，实体唱片内的下载卡还包含了另外三首曲目。 制作名单 翟瑞欣：结他 \ 大贝斯 \键盘\和声\并演唱了"某种缠绵" 刘舸：结他 \ 打击乐\和声\并演唱了"沙滩儿男孩儿" 李子超：架子鼓 录音混音由翟瑞欣在 Zhai Full Studio完成 架子鼓的录音由阿炳在Sleeping Dogs Studio录制完成 母带由李焱在 Petface Studio完成 设计由刘柯言与费度完成

A very first attempt playing live in the renowned studio in Beijing. Baihuashenchu - directly translated to the Deep of 100 Flowers, in a small Hutong. 作词：烧飞 作曲：赛吉来信 编曲：赛吉来信 主唱：烧飞 吉他：烧飞/郇郇 贝斯：一陈 鼓手：甜甜 小打：杜博轩 黑管：哈迪 录音：尹冲 混音：刘家辉/尹冲 母带：尹冲 制作人：赛吉来信 录制地点：百花录音棚

他是个 签约的小偷 注册的记者 客运汽车站 怪梦十三

宇多田光第八张新专辑《BADモード（BAD MODE）》确定明年2月23日发行实体唱片！数字专辑则率先于1月19日发行并同时举办线上演唱会《Hikaru Utada Live Sessions from Air Studios》！ 新专将收录日剧最爱主题曲《君に夢中》、Find Love、One Last Kiss、Face My Fears、Time、PINK BLOOD等先行单曲！

▼WV061: Sheng Jie 盛潔 & Shen Jing 沈靜 - Parallel Weaving 聲比成音 狂風暴雨，神獸互搏，溫柔的交織 An enchanting "in distance" collaboration between cello noise and percussions, weaving the sound of a harsh and dreamy landscape. ▼ In the past two years of the outbreak I accidentally started some online cooperation models. In the winter of 2020, the idea of cello and drum cooperation emerged. So I thought of my old friend Shen Jing in London. We haven’t seen each other for a long time. Before the epidemic. One day I told her on WeChat that I wanted to collaborate on an album. I only used two kinds of orchestration: electronic cello + drum. I did this because I wanted to know what kind of effect the cello frequency and drum can produce. The way of cooperation is I will Send her the cello part I recorded in Beijing and she can add drums on it. We are both improvised. It just doesn't happen in the same time and space, but music can transcend everything. We have reached a lot of consensus. For example, music is the expression of everyone’s inner order, and the inner order of the two of us can be parallel. Because we all have the characteristics of division, I also hope that... we can express more freely together. After a happy voice chat, the creation of this album began. The cooperation process of several months was completed in excitement and anticipation. In the end, this album was fortunate to be released on WV Sorcerer, thanks to the support of the producer Ruò Tán, the Belgian god-level down-mix master Thomas Stadnicki and the sound engineer Frank Byng. I’d like to thank them for all of their great work on this album. 在疫情爆發的這兩年里，我意外開啟了一些線上的合作模式。2020年末的冬天萌生了一個大提琴與鼓合作的念頭，於是就想到了遠在倫敦的老友沈靜，我們好久沒見面了，疫情之前，她幾乎每年都會找機會回一趟北京看望她的家人和朋友，而突如其來的新冠為時間畫上了一道分界線。有一天我給她微信說了想一起合作一張專輯的想法，只用兩種配器，電子大提琴+鼓，因為我很想知道大提琴的頻率跟鼓能產生什麽樣的效果，合作方式是我會發給她我在北京錄好的大提琴部分，她可以在上面加入鼓，我們倆都是即興的，只是沒有在同一個時空里發生，但音樂可以超越一切。我們達成了許多共識，比如；音樂是每個人的內在秩序表達，而我們倆人的內在秩序可以呈平行式並行，因為我們都有分裂的特質，我也希望我們可以在一起表達得更自由，一通開心的語音聊天之後，這張專輯的創作就此開始了。幾個月的合作過程，是在興奮與期待中完成的。最終這張專輯有幸在WV Sorcerer 發行，感謝主理人若潭的支持，以及比利時神級後期縮混/母帶師Thomas Stadnicki 為這張專輯所做的一切工作和努力。 - Sheng Jie a.k.a gogoj 盛潔 ▼ Sheng Jie 盛潔 (a.k.a gogoj), born in 1975, based in Beijing. Audio / visual artist, graduated from Ecole Supérieure Des Arts Décoratifs de Strasbourg in France, currently lives and works in Beijing. Works include video, film, sound, installation, and performance. She is one of China's foremost experimental musicians, active from the late '90s. Her first full-length album "Oviparity" was selected in Top 50 Releases of 2020 on The Wire Magazine. “The album moves elegantly from delicate plucked melodies to harsh, bowed walls of noise, elegiac drones, and densely looped and layered chords.” - Josh Feola, The Wire 435 ▼ Shen Jing 沈靜 (a.k.a Shenggy)has been deeply immersed in Beijing’s music scene since 1998, participating in the vibrant explosion it has undergone in recent years. Until 2006, she was the drummer in Beijing punk legends Hang On The Box, but since 2003, her work has increasingly demonstrated her own unique form of cosmic industrial noise. She also formed White with Shou Wang with analog synths and percussions. Since 2007, she has been moved to London, continues her music career as a producer and drummer. Her current project is Elephant House with electronic artist Christos Fanaras.

晕盖的第一首中文单曲，同时也是一首狂欢歌曲。 主要描写一些难言之小痛与现实矛盾，并没有用到什么真心，因为真心也用不上这些。

Two decades into their career, Spoon return with loud, low-down, melodious rock record almost without sacrificing any of their savory nuance and inscrutability.

The follow-up to 2018’s 7 is the first album to be produced entirely by Beach House. It was recorded with a live string ensemble, too, and David Campbell provided the arrangements. The album was largely mixed by Alan Moulder with additional mixing work from Caesar Edmunds, Trevor Spencer, and Dave Fridmann.

还没学会说话，好像就已经先学会了唱歌，而学习用音乐说话，我只能算刚刚开始。说些什么呢？从小到大被太多人形容淡定和冷静，这种张口而来的“夸赞”似乎可以映射我有时候在音乐表达上的阻碍和冲突，这种欲言又止的气质会不会也是音乐中的“我”？原创专辑的开启，是我对自己更真实的触摸，是2018年发布第一张爵士改编 EP 和之后的一次升级，而正在阅读这些文字的你，从三个分开的章节到现在的完整篇，也是这些声音共同的书写者。 2018、2019年的时候因为一些机会曾多次去往台北。那里淡淡的空气、街道、朋友以及角角落落，都十分令人眷恋，有让我“寄人篱下”的瑛兰、华劲和他们的一双腊肠狗狗，有同我一起写词并曾经是我年少时崇拜的押韵博士老莫以及最好吃的小潘凤梨酥，还有明明刚在纽约西村俱乐部偶遇而又在其家乡一起玩耍的子瑜等等。许多新鲜事贯穿于每次往返的前后发生，许多灵感萦绕在不同的纬度与温度之间，我把这些都留在<星期一的歌 Monday Spirit>, <蝴蝶 Butterfly, A Hyaline Beauty>, <Wolverine (Silent Chaos)> 这三首歌里，和2019年玉成戏院录音室的夏天。 <星期一的歌 Monday Spirit> 歌词中写到过一个词：灵感啼叫。这应该是创作者们都很期待的发生吧。非常庆幸我自己也遇到过此般情况。两年多前，吉他大师 Gilad Hekselman 在上海演出，他的三重奏充满魅力和能量，音乐产生的磁力把我吸了进去，一首 <Stumble> 听完我脑海中便产生故事的开始——We stumble around in this infinite world……回家路上我奋笔疾书一首诗 <Magnetic Field>，试图形容对“磁场”这个词的感知。还有另一个仙子 Becca Stevens，我曾跟她上过一节宝贵的私课，那次经历根本不像是课堂，而是从词汇卡到小王子绘本的激发式聊天实验，我像个被启发的小孩子一样写出了 <Turn On the Planet>，它是我为数不多从刚下笔就感觉很确信的一首。这些音乐所传递的，都想要好好珍藏在我的心球。跟我一起完成这两首歌编曲与演绎的好朋友肖骏说：“如果人生是无常的，希望我们的音乐也是无常的。”<真空垃圾 Vacuum Improv> 是我们这次的共创 Bonus。 与之呼应的另一首半即兴曲目是 <晶澈 Crystalline Improv>，这首和我对话的是大淮（王晨淮），还有他特别好听的合成器，很幸运能把这些充满灵力的声音记录下来。在这张专辑的多首曲目中，我也用上了我自己的“小武器”，虽做不了真正的乐手，但也多了一份实在的参与感，就像自己动手装修着自己家的角角落落。 还没被大众发掘的宝藏制作人 Sdewdent 帮助我一起完成了专辑同名歌曲，他创作的独特敏感最终营造出我们想要的主题氛围。专辑中还记录着他们贡献的声音：Eric Lau、Kaidi Tatham、Toby Mak、杨光、安雨、小黑（刘恒）、周润青、Danny Zanker，这些令我敬佩的佼佼者们。 这几年，音乐人的身份让我认识了很多新伙伴，交流和学习着不同项目，而我也一直保留着以「Little Happiness Group」为名义的爵士演出，我想它会一直存在。三年前陪我记录 <DEBUT> 的张雄关、李世海、Joseph，继续在新专辑中为我的写作加持，我爱不受限制的新奇声响，也爱单纯动人的原声音色，当被熟悉的 LHG 包裹，身上会立刻爆出幸福的鸡皮疙瘩。这次潜力巨大的鼓手俞国俊也正式加入进来，跟我完成了风格迥异的几首歌。<七下烂调 Seventh> 是「爵士与诗歌」的试验，<梯子 Ladders> 是人声与管乐的“再续前缘”，而如果你听过我的 <4 Loops in Her Way> ，肯定就能立刻认出 <催眠师 Hypnotist> 。 在做这张专辑期间，我也进行了一些合作项目，有的是词曲，有的只是加一点 backing vocals，每一次小小的尝试能给我带来对自己声音的加深记忆与多维理解。但着实痛恨自己做东西还是慢，不然也不至于要把一张专辑的发行战线拖成如此这般绵长，在此感谢后期主力胡仕俊老师。如果说每首歌是一个故事，那要怎么把它们串联起来？这对我来说并不容易，有人声的曲子比纯器乐可能会多一些想象的限制，但同时也有了引导的权力，我更享受在音乐里倾诉，哪怕只是在对自己说。 <欲言又止 Lost for Words> 没有在说什么社会观点，它就是我的生活记录，是另一种时间的刻度，它刻画的是融汇着人声美感与想象力的意境，一种背靠着爵士乐和各种不同音乐的广阔与自由的勇敢，不能说特别完美，但我真的非常爱它，快要做完的时候已经有了不舍的感觉。感谢所有人的帮助，音乐上的和音乐之外的，再一次感谢你们聆听新的小喜。等我们在专辑音乐会时相见，我一定也会欲言又止，让音乐说。 喜辰晨 Voision Xi 于 2022.1

Dragon New Warm Mountain I Believe in You is a sprawling double-LP exploring the deepest elements and possibilities of Big Thief. To truly dig into all that the music of Adrianne Lenker, Max Oleartchik, Buck Meek, and James Krivchenia desired in 2020, the band decided to write and record a rambling account of growth as individuals, musicians, and chosen family over 4 distinct recording sessions. In Upstate New York, Topanga Canyon, The Rocky Mountains, and Tucson, Arizona, Big Thief spent 5 months in creation and came out with 45 completed songs. The most resonant of this material was edited down into the 20 tracks that make up DNWMIBIY, a fluid and adventurous listen. The album was produced by drummer James Krivchenia who initially pitched the recording concept for DNWMIBIY back in late 2019 with the goal of encapsulating the many different aspects of Adrianne’s songwriting and the band onto a single record. In an attempt to ease back into life as Big Thief after a long stretch of Covid-19 related isolation, the band met up for their first session in the woods of upstate New York. They started the process at Sam Evian’s Flying Cloud Recordings, recording on an 8-track tape machine with Evian at the knobs. It took a while for the band to realign and for the first week of working in the studio, nothing felt right. After a few un-inspired takes the band decided to take an ice-cold dip in the creek behind the house before running back to record in wet swimsuits. That cool water blessing stayed with Big Thief through the rest of the summer and many more intuitive, recording rituals followed. It was here that the band procured ‘Certainty’ and ‘Sparrow’. For the next session in Topanga Canyon, California, the band intended to explore their bombastic desires and lay down some sonic revelry in the experimental soundscape-friendly hands of engineer Shawn Everett. Several of the songs from this session lyrically explore the areas of Lenker’s thought process that she describes as “unabashedly as psychedelic as I naturally think,” including ‘Little Things’, which came out of this session. The prepared acoustic guitars and huge stomp beat of today’s ‘Time Escaping’ create a matching, otherworldly backdrop for the subconscious dream of timeless, infinite mystery. When her puppy Oso ran into the vocal booth during the final take of the song, Adrianne looked down and spoke “It’s Music!” to explain in the best terms possible the reality of what was going on to the confused dog. “It’s Music Oso!” The third session, high in the Colorado Rockies, was set up to be a more traditional Big Thief recording experience, working with UFOF and Two Hands engineer Dom Monks. Monks' attentiveness to song energies and reverence for the first take has become a huge part of the magic of Thief’s recent output. One afternoon in the castle-like studio, the band was running through a brand new song ‘Change’ for the first time. Right when they thought it might be time to do a take, Monks came out of the booth to let them know that he’d captured the practice and it was perfect as it was. The final session, in hot-as-heaven Tucson, Arizona, took place in the home studio of Scott McMicken. The several months of recording had caught up to Big Thief at this point so, in order to bring in some new energy, they invited long-time friend Mat Davidson of Twain to join. This was the first time that Big Thief had ever brought in a 5th instrumentalist for such a significant contribution. His fiddle, and vocals weave a heavy presence throughout the Tucson tracks. If the album's main through-line is its free-play, anything-is-possible energy, then this environment was the perfect spot to conclude its creation — filling the messy living room with laughter, letting the fire blaze in the backyard, and ripping spontaneous, extended jams as trains whistled outside. All 4 of these sessions, in their varied states of fidelity, style, and mood, when viewed together as one album seem to stand for a more honest, zoomed-out picture of lived experience than would be possible on a traditional, 12 song record. This was exactly what the band hoped would be the outcome of this kind of massive experiment. When Max’s mom asked on a phone call what it feels like to be back together with the band playing music for the first time in a year, he described to the best of abilities: “Well it’s like, we’re a band, we talk, we have different dynamics, we do the breaths, and then we go on stage and suddenly it feels like we are now on a dragon. And we can’t really talk because we have to steer this dragon.” The attempt to capture something deeper, wider, and full of mystery, points to the inherent spirit of Big Thief. Traces of this open-hearted, non-dogmatic faith can be felt through previous albums, but here on Dragon New Warm Mountain I Believe In You lives the strongest testament to its existence.

Cate Le Bon’s wondrous sixth album exists in a waking dreamscape whose locked-in grooves approach the unknowable at slanted angles.

Black Country, New Road return with the news that their second album, “Ants From Up There”, will land on February 4th on Ninja Tune. Following on almost exactly a year to the day from the release of their acclaimed debut “For the first time”, the band have harnessed the momentum from that record and run full pelt into their second, with “Ants From Up There” managing to strike a skilful balance between feeling like a bold stylistic overhaul of what came before, as well as a natural progression. Released alongside the announcement the band (Lewis Evans, May Kershaw, Charlie Wayne, Luke Mark, Isaac Wood, Tyler Hyde and Georgia Ellery) have also today shared the first single from the album, ‘Chaos Space Marine’, a track that has already become a live favourite with fans since its first public airings earlier this year - combining sprightly violin, rhythmic piano, and stabs of saxophone to create something infectiously fluid that builds to a rousing crescendo. It’s a track that frontman Isaac Wood calls “the best song we’ve ever written.” It’s a chaotic yet coherent creation that ricochets around unpredictably but also seamlessly. “We threw in every idea anyone had with that song,” says Wood. “So the making of it was a really fast, whimsical approach - like throwing all the shit at the wall... and just letting everything stick.” Their debut “For the first time” is a certain 2021 Album of the Year, having received ecstatic reviews from critics and fans alike as well as being shortlisted for the prestigious Mercury Music Prize. Released in February to extensive, global, critical support - perhaps best summed up by The Times who wrote in their 5/5 review that they were "the most exciting band of 2021" and The Observer who called their record "one of the best albums of the year" - the album made a significant dent on the UK Albums Chart where it landed at #4 in its first week, a remarkable achievement for a largely experimental debut record. The album also reached #1 on Any Decent Music, #2 at Album Of The Year and sat at #1 on Rate Your Music for several weeks, remaining the record to generate the most fan reviews and site discussion there this year. Black Country, New Road were also declared Artist Of The Week and Album Of The Week by The Observer, The Line Of Best Fit and Stereogum, and saw features, including covers and reviews, from the likes of Mojo, NPR, CRACK, Uncut, The Quietus, Pitchfork, The FADER, Loud & Quiet, The Face, Paste, The Needle Drop, DIY, NME, CLASH, So Young, Dork and more. With “For the first time” the band melded klezmer, post-rock, indie and an often intense spoken word delivery. On “Ants From Up There” they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band. Recorded at Chale Abbey Studios, Isle Of Wight, across the summer with the band’s long-term live engineer Sergio Maschetzko, it’s also an album that comes loaded with a deep-rooted conviction in the end result. “We were just so hyped the whole time,” says Hyde. “It was such a pleasure to make. I've kind of accepted that this might be the best thing that I'm ever part of for the rest of my life. And that's fine.” Black Country, New Road's live performances have already gained legendary status from fans and has seen them labelled "one of the UK's best live bands" by The Guardian. After the success of their livestream direct from London’s Queen Elizabeth Hall, Southbank Centre, stand-out performances at SXSW and the BBC 6 Music Festival, and following a sold-out UK tour this summer, high-profile festival appearances, and a 43 date UK & EU tour to follow in the Autumn with sold out US dates next year, the London-based seven-piece today announce further UK & IE dates in support of the album for April 2022, preceded by their biggest London headliner to date at The Roundhouse in February. Black Country, New Road Live at the Queen Elizabeth Hall, mastered by Christian Wright at Abbey Road, will be available as part of the Deluxe LP and CD versions of ‘Ants From Up There’. Fans who pre-order any format of ‘Ants From Up There’ from the Black Country, New Road store, their Bandcamp page and the Ninja Tune shop, will be able to gain access to the pre-sale for the 2022 UK headline tour dates. The full set of dates are as follows: 22/10/2021 - Rotondes, Luxembourg 23/10/2021 - Bumann & Sohn, Cologne – DE (SOLD OUT) 24/10/2021 - Botanique Orangerie, Belgium – BE (SOLD OUT) 25/10/2021 - Le Trabendo, Paris - FR 27/10/2021 - Le Grand Mix, Tourcoing - FR 28/10/2021 - Lieu Unique, Nantes - FR 29/10/2021 - Rockschool Barbey, Bordeaux - FR 1/11/2021 - Teatro Duse, Bologna - IT 2/11/2021 - Auditorium Della Mole, Ancona - IT 05/11/2021 - Circolo della Musica, Turin - IT 06/11/2021 - Bogen F, Zürich - CH (SOLD OUT) 08/11/2021 - Underdogs', Prague - CZ (SOLD OUT) 09/11/2021 - Frannz Club, Berlin - DE (SOLD OUT) 10/11/2021 - Hydrozagadka, Warsaw - PL (SOLD OUT) 11/11/2021 - Transcentury Update Warm Up @ UT Connewitz Leipzig - DE 12/11/2021 - Bahnhof Pauli, Hamburg - DE 14/11/2021 - Le Guess Who? Festival, Utrecht - NL 16/11/2021 - Paradiso Noord, Amsterdam - NL (SOLD OUT) 20/11/2021 - Super Bock En Stock, Lisbon - PT 21/11/2021 - ZDB, Lisbon - PT (SOLD OUT) 29/11/2021 - Chalk, Brighton - UK (SOLD OUT) * 30/11/2021 - Junction 1, Cambridge - UK (SOLD OUT) * 01/12/2021 - 1865, Southampton - UK * 03/12/2021 - Arts Club, Liverpool - UK (SOLD OUT) * 04/12/2021 - Irish Centre, Leeds - UK (SOLD OUT) * 06/12/2021 - O2 Ritz Manchester, Manchester – UK * (SOLD OUT) 07/12/2021 - Newcastle University Student Union, Newcastle Upon Tyne - UK * 08/12/2021 - SWG3, Glasgow - UK * 09/12/2021 - The Mill, Birmingham - UK * (SOLD OUT) 10/12/2021 - The Waterfront, Norwich - UK * 12/12/2021 – Marble Factory, Bristol – UK (SOLD OUT) * 13/12/2021 - Y Plas, Cardiff - UK * 15/12/2021 - Whelan's, Dublin - IE (SOLD OUT) * 08/02/2022 - Roundhouse, London - UK 18/02/2022 – DC9 Nightclub, Washington, DC – US (SOLD OUT) 19/02/2022 – The Sinclair, Cambridge, MA – US (SOLD OUT) 22/02/2022 – Sultan Room, Turk’s Inn, Brooklyn, NY – US (SOLD OUT) 23/02/2022 – Elsewhere, Brooklyn, NY – US 25/02/2022 – Johnny Brenda’s, Philadelphia, PA – US (SOLD OUT) 26/02/2022 – Bar Le Ritz, Montreal, QC – CAN 28/02/2022 – Third Man Records, Detroit, MI – US 01/03/2022 – Lincoln Hall, Chicago, IL – US 03/03/2022 – Barboza, Seattle, WA – US (SOLD OUT) 04/03/2022 – Polaris Hall, Portland, OR – US 05/03/2022 – The Miniplex, Richard’s Goat Tavern, Arcata, CA – US 06/03/2022 – Great American Music Hall, San Francisco, CA – US 08/03/2022 – Zebulon, Los Angeles, CA – US (SOLD OUT) 09/03/2022 – Regent Theater, Los Angeles, CA – US 06/04/2022 - The Foundry, Sheffield - UK 07/04/2022 - O2 Academy, Oxford - UK 09/04/2022 - Liquid Room, Edinburgh - UK 10/04/2022 - The Empire, Belfast - UK 11/04/2022 - 3Olympia, Dublin - IE 13/04/2022 - Albert Hall, Manchester - UK 14/04/2022 - Rock City, Nottingham - UK 16/04/2022 - Concorde 2, Brighton - UK 17/04/2022 - O2 Academy, Bristol - UK 02/06/2022 – Primavera Sound Festival, Barcelona - ES 08/07/2022 - Pohoda Festival, Trencin – SK * - with Ethan P. Flynn Pre-sale to The Roundhouse show and April 2022 UK / IE dates available from Tuesday 19th October at 9am BST. Tickets go on general sale on Friday 22nd October at 9am BST.

Mitski’s sixth album is an austere, nuanced, and disaffected indie-pop record that, in part, addresses her turbulent relationship with her own career.

The pioneering second album from the London-based avant-pop artist is a darkly nuanced look at identity and technology, where personal disasters occur at the same scale as the actual apocalypse.