Stephin Merritt celebrates all that is fuzzy, sexy, and drenched in reverb on Distortion, a 13-track rendering of the Jesus and Mary Chain's Psychocandy through the barbed sieve of the Magnetic Fields mastermind's seemingly endless notebook of relationship dos and don'ts and self-effacing cognitive therapy sessions. The unwavering decision to match the production with the album title is admirable, but one that will no doubt filter out the listeners who rely on Merritt's simple, clean melodicism to reel them in. By mirroring the lo-fi sunshine goth aesthetic that the Reid brothers so effortlessly beat into the ground in the mid- to late '80s, Distortion becomes more about style than substance, often burying the lyrics in an avalanche of mud that clings to each instrument (be it cello, Farfisa organ, accordion, or guitar) like pet hair on a pea coat. That said, patience rewards those who stick around for the credits, and acclimation to the pounding (yet still sweet) industrial landscapes comes about eight songs in with the instant classic "Too Drunk to Dream," a vintage Fields rave-up that launches out of a Gregorian-style intro that boldly proclaims "Sober, life is a prison/Shitfaced, it is a blessing/Sober, nobody wants you/Shitfaced, they're all undressing." It's a double-sided hook that clears the murkiness from the remaining five tracks, while simultaneously improving the first half (especially tracks like "California Girls" and "Please Stop Dancing") when spun for a second or third time. As usual, Merritt doles out vocal duties like handbills, making the whole affair feel a little more like a 6ths production rather than a Magnetic Fields event, and Shirley Simms, who lent her lovely pipes to 69 Love Songs and 2006's Showtunes, provides the album with many of its finest moments, specifically the infectious "Drive on, Driver" and the lovely closer, "Courtesans." In the end, though, even Simms' impossibly fluid voice can't cut through all of the noise. In some ways, it feels like a step backward, and even if that was the intention, it's disappointing to climb Distortion's many lovely peaks, only to be obscured by clouds. Rating: 3 1/2 stars source: allmusic.com With all of Stephin Merritt's cleverness and theatricality, it's easy to forget that the Magnetic Fields started out as an indie pop band. Merritt didn't really establish himself as a widely feted songwriter until 1999's 69 Love Songs, a far-flung compendium spanning acoustic ballads and skittery electro pop tracks. Merritt continued his conceptual unification streak with 2004's i, but that album's all-acoustic approach felt at odds with the songs themselves. (Compare the passable album version of "I Don't Believe You" with the vastly more fun single version.) While the overdone thematic focus of i generally seemed flat and frustrating, Distortion's aesthetic conceit-- conveyed by its title-- is worn well, and its blown-out sound breathes life into a collection of songs that brings together many of the best ideas from Merritt's back catalog. In the four years since i, Merritt has had plenty of opportunities to indulge his interest in all things theatrical, and that impulse is largely played down on Distortion. Instead, Merritt explores his 1960s pop fetish more directly than he has since the early 90s. Distortion is hardly a retread, though-- its fuzzy production substantially alters the focus and nature of Merritt's music. Opener "Three Way" serves as a straightforward statement of purpose; its simple, surf-y riff is almost unimaginable without a distorted guitar tone. Throughout Distortion, the squelching, tight-focus rhythmic interplay of Merritt's music is blown out into loud, distorted drum beats and smeared guitars, introducing a new level of messy, energizing depth to Merritt's characteristically stately and considered songwriting. These aesthetic changes resonate emotionally as well, often lending Merritt's music a previously unexplored shambolic melancholy. "Old Fools" plods along beautifully, Merritt's lugubrious voice offset beautifully by the loud, squealing guitars behind it. Indeed, while Merritt has gotten more technically adept at singing, Distortion's hazy and reverb-drenched arrangements consistently prevent him from slipping into fey preciousness. At its best, the effect is similar to that of Big Star's Third/Sister Lovers, a wall of disintegrating feedback bringing out the most rough and human tones of Merritt's well-honed voice. While the sonic treatment of Distortion flatters Merritt's singing, the album's greatest moments belong to Shirley Simms, the finest and most nuanced singer in Merritt's orbit. "Drive On, Driver" brings to mind The Charm of the Highway Strip with its serpentine melody and roadway imagery. "The Nun's Litany" is perhaps the best song on the record, cutting Jesus and Mary Chain guitar feedback and percussion with a striking, clean organ sound. And the audaciously titled "California Girls" is irresistible, bolstered by sly harmonies just peeking out from a sea of distorted guitar fuzz. For all its boldness, though, "California Girls" is a bit obvious and overstated in its approach. This hardly makes the song less enjoyable, though-- thankfully, cleverness isn't really the point of this record. In fact, the more laid-back and loose feel of Distortion casts its more ostensibly funny moments (see the sing-songy intro to "Too Drunk to Dream") as anomalous and weirdly charming like the goofier tracks on a Robyn Hitchcock record. For the first time since Get Lost, the conceptual conceit of Merritt's work sounds like a well-considered and-- dare I say-- fun, jumping off point for a thoroughly solid album. As such, Distortion isn't a return to form so much as a return to content. -Matt LeMay Rating: 8.0 source: pitchforkmedia.com Artist: The Magnetic Fields Album: Distortion Date Of Release: January 15, 2008 Genre: Indie Pop/Rock, Indie Electronic

Remastered reissue with the original 1978 album plus 3 bonus tracks from 1979 'Outdoor Miner' (2 mins 54 secs), 'A Question Of Degree' (3 mins 9 secs) & 'Former Airline' (3 mins 20 secs). EMI. 2002.

相关组-- 演奏者： 河端一、津山篤、須原敬三、小泉はじめ、Cotton Casino、東洋之、Yoshida Fumio、Yoko、Lovely Ayano、Johan Wellens、Audrey Ginestet、Magic Aum Gigi、HACO、Father Moo 河端一率领的酸母寺迷幻公社第二张公式专辑。

Limited Edition Japanese pressing of this 1973 album comes housed in a miniature LP sleeve. Columbia. 2008.

IMPORTED FROM JAPAN BY RYKODISC This collector’s dream set completes our 20-disc series of limited edition Frank Zappa Japanese imports. Packaged in deluxe mini-album jacket sleeves, these 10 classic albums are packaged to re-create the original vinyl packaging in miniaturized form!

1977年12月發表的Before And After Science，參與樂手粒粒皆星：Bill MacCormick、Brian Turrington、Paul Rudolph、Achim Moebius, Mobi Roedelius、Dave Mattacks、Jaki Liebezeit、Phil CollinsFred Frith。記得留意By This River。

Audio CD (April 11, 2000) Original Release Date: 1971 One of the best all-time rock albums by any measure, Imagine is nearing its 30th birthday-and here's a marvelous tribute. You can get the original LP on CD or cassette with remixed, remastered sound and a 16-page booklet with lyrics and rare pix. Or go behind the scenes of a masterpiece-the documentary Gimme Some Truth-The Making of Imagine , featuring an unfinished film by John and Yoko, is available on VHS or DVD (DVD has surround sound, an eight-page booklet and discography). A treasured moment in rock history.

1974年11月面世。智取虎威山。

原版於1974年1月面世，是ENO第一張正式個人大碟，參與製作包括Roxy Music所有舊隊友除Bryan Ferry外。

《三毛作品第15号：回声》这张唱片在华语流行音乐发展史上具有极高的历史地位，极具典藏价值。如果暂且抛开音乐层面的意义不谈，单纯从收藏的角度讲，原因其实非常简单：这张唱片是台湾流行音乐史上的第一张CD唱片。当时滚石唱片公司率先从日本引进了雷射唱片(CD)生产技术，于1985年先行推出卡带版的《回声》，成为滚石1986年1月推出的前五张CD中的第一张，其编号为RD-1001。 这张唱片是作家三毛的半生故事，由她亲笔写下的12首歌词，串联成一张完整的音乐传记。这张专辑的一大特色是齐豫与潘越云宛若天籁般的歌声的珠联璧合。 由李泰祥、陈志远、陈扬、李宗盛等七位作曲高手所谱写的歌曲，在齐、潘二人的歌声里以不同的曲式唱法，诠释出三毛在人生不同时期、不同际遇之下的不同心境，再经由三毛本人的旁白贯穿，从而成为一张有着内质统一、叙述丰富的动人故事的唱片，被称之为“传记音乐”。 《回声》这张专辑将三毛的半生划分为四个阶段：从《轨外》到《谜》所诉说的童年封闭，是三毛这一生不寻常经历的缘起，其中的压力与叛逆，孕育出她日后浪迹天涯的生活中所赖以支撑的毅力与勇气；从《七点钟》、《飞》到《晓梦蝴蝶》则是少年三毛的初恋记录，由忐忑憧憬到恨别远走，心情也在纤细的颤栗中迷乱；从《沙漠》开始的崭新世界是三毛传奇的高潮，她对生命独特的观点带给人们一种新奇的刺激与向往，也是她最大的魅力所在。三毛浪漫的爱情，亦伴随她传奇的经历开始，《今世》和《孀》是唱给故去恋人的悲歌，也是三毛脆弱生命的一个节点。而最后的《说给自己听》、《远方》到《梦田》，则是在漫漫黑夜中乍现的黎明曙光，经历人生的创痛之后，在豁达中给自己的灵魂松绑。 “她要的是黎明，一种没有任何声音的黎明。即使她如此渴望着，回声还是不肯退去。” ——三毛在《回声》的唱片文案里，写下了这样的文字。 《回声》是一种绵延的声音，一波又一波地振荡着我们的耳鼓，将那份难以名状的感动，渗透到每一个人的心灵深处。这份感动，足以穿越时间，抚摸你。

乐队在2000 年推出了一张最受期待的大碟《Kid A》。自从 Radiohead 的《OK Computer》被誉为“宇宙最佳大碟”之后，Radiohead已经成为The Beatles最具威胁乐队，这新碟真是全球瞩目。 不过《 Kid A 》大概会令不少 Radiohead 迷感到意外，因为全碟跟Radiohead以往的风格非常不同！ 以往的强劲电吉他弹奏已荡然无全，就连打几下重鼓都没有，换来大量飘渺迷离气氛。Atmospheric 、Ambience 、Nightmarish、Moody、Sparse…… ...

經典原版於1987年6月面世，相對前作E.V.O.L.滲進更多搖滾肌理，吸引了更多原本視SY為地下洪水猛獸的樂迷。

也是日本「後黑王」，很正的VU Unreleased Tracks!

Abbey Road is the eleventh released studio album by English rock band The Beatles and their last recorded. Though Let It Be was the last album released before the band's dissolution in 1970, work on Abbey Road began in April 1969. Abbey Road was released on 26 September 1969 in the United Kingdom, and 1 October 1969 in the United States. It was produced and orchestrated by George Martin for Apple Records. Geoff Emerick was engineer, Alan Parsons was assistant engineer, and Tony Banks was tape operator. Abbey Road is regarded as one of The Beatles' most tightly constructed albums, although the band was barely operating as a functioning unit at the time.Rolling Stone placed it at number 14 on its list of "The 500 Greatest Albums of All Time". In 2009, readers of the magazine also named Abbey Road the greatest Beatles album. (转自维基百科)

美國獨立音樂長青樹續寫不朽傳奇 與Tortoise鼓手John McEntire再度合作 Yo La Tengo用音樂對抗這個黑暗時代！ 2015年，Ira、James、Georgia這三位一同走過25年的夥伴，因為軟體更新被迫更換工作室的錄音器材，於是靠著即興演奏熟悉新的器材。剛好他們接到一個案子：根據曾轟動全球書市的《背離親緣》一書構想而拍攝的同名紀錄片，其劇組找上門尋求部分配樂，工作數月後交出了對方喜愛的作品，三個人非常高興，因為即使貴為當今世上最棒的樂團之一，仍曾被業主狠狠打槍過。 自從傳奇專輯《Electr-O-Pura》以來，Yo La Tengo的創作過程總是充滿機遇、重製、拼貼，唯一的目標只是滿足自己的完美品味，讓堅毅且幽默的本性自然散發。於是配樂的案子結束後，他們自認時候到了，在沒有預先完成詞曲的情況下，著手將累積多年的錄音素材重新整理編曲成這張新專輯。 專輯名稱與1971年Sly and the Family Stone的經典專輯同名，呼應美國社會正面臨相同的黑暗時期。樂團自主製作，混音則交由2013年專輯《Fade》期間合作愉快的John McEntire擔綱，更加減少吉他聲響比例，凸顯如詩如畫的流動感。Krautrock演奏曲〈You Are Here〉揭開序幕，替整張專輯寫下甜美前言；〈She May, She Might〉宣示The Velvet Underground當今唯一傳人的地位；〈For You Too〉彷彿重新演繹經典名曲〈Blue Line Swinger〉，過去的催人淚下昇華成自在豁達；而極微聲響〈Shortwave〉之後的曲子，則是呈現Yo La Tengo近年節拍實驗的豐碩成果：Sun Ra式前衛爵士的〈Above the Sound〉、森巴搖擺的〈Esportes Casual〉、帶有trip hop氣味的〈Out of Pool〉，Ira也承認這麼多年來，他們總以錯誤的方式製作音樂，也非常自傲完成了獨一無二的風格。 在海上隨波浪漂浮時，耳裡嗡嗡作響，找到與自己對話的凝結時空，我們想起了夢想是甚麼。這就是Yo La Tengo的音樂暴動，直教人感嘆：「幸好有Yo La Tengo，他們的音樂將拯救一切！」

Summer Sun is the tenth studio album by American indie rock band Yo La Tengo, released on April 8, 2003 by record label Matador.

Beyoncé is the fifth studio album by American recording artist Beyoncé, released on December 13, 2013 by Parkwood Entertainment and Columbia Records. Described as a visual album, Beyoncé is a simultaneous audio and visual experience where non-linear short films accompany its songs to illustrate the concepts that were conceived during its composition. It has been identified as one of the most explicit albums ever recorded, with feminist themes that are much darker than her previous material, including sex, fear, loss and the insecurities of marriage and motherhood.

新澤西三人組的第八張大碟，成熟多元(Noise-pop、Jangle-pop、Shoegazer、Post-Rock、Country)的樂風，配合極其窩心而絲絲入扣的夫妻合唱。

据说这张专辑的名字取材于一伙苏格兰人的涂鸦之作。在录制这张专辑的时候，乐队所有的成员都为自己订造了一个新的身份，Stuart变成“等离子发生器”，Dominic称自己为“恶魔”，John变为“肉上尉”，Brendan则更名为“遗迹”，而且每人都冠以Young Team的头衔，并且在录音前必须刮脸（除“遗迹”以外）净面，仿佛必须凭借如此的神秘仪式才能做出令他们满意的音乐。当然，结果也并没有让他们失望，这张1997年10月发行的唱片，仅在英国本土就已有了35000张的销量，直到现在依然从头至尾散发着炫目的光彩，并且被公认为是90年代最具影响力的作品之一。各种乐器的音效盘根节错，交相辉映，微波荡漾的声响闪烁于噪音喧腾的碎片之中，Mogwai用音符将日常瞬间流转的光影刹那间凝固成跌宕的声波，在经历阵阵惊天动的撞击后，悄然融化于我们的内心。10首歌曲听起来仿佛彼此没有开始也没有结束，因为在地铁呼啸而过震耳欲聋的巨响背后，我只有等待内心喘息不安的悸动姗姗而来。 开场的“Yes！ I Am A Long Way From Home”，从喃喃的记录片式的人声起步，慢慢地搅拌起低沉的Riff和清丽的弦音，然后在反复跌宕中，弦音的主旋律开始退居幕后，Mogwai敏锐地捕捉到声音和情绪达到高潮的交点，就在3：41秒的黄金分割点，狂沙漫卷的失真噪音拔地而起，前台的Solo扶摇而上，后台的和弦则开始反复推进，直到所有的音域重新恢复平静，直到心中的情绪慢慢尘埃落定。接踵而来的“Like Herod”，依旧如法炮制，先是两分半钟轻描淡写的弦音流动，而后，在经过短暂的类似终止性的间歇之后，噪音出其不意地扑向耳鼓，每次到这里我不禁心惊胆战，不知道那些心律衰竭的听众们该如何消化，更何况在这首将近12分钟的作品中，这样的安排还重复了一次，套用老崔的一句话，这声音真“像一把刀子”，近似于毫无节制的疯狂。“Katrien”紧凑的节奏下，终于有人声出场了，按照Mogwai的一贯风格，他永远都是躲在背景后面模模糊糊地哼唱，我无法听出来他在说写什么，因为那时候吉他的旋律和轰鸣完全占据了所有的空间和心智。而后登场的“Radar Maker”沉静了许多，键盘营造出的空旷声音，配合着偶尔能够察觉到的电子声响，彼此缓慢流动至尾，最后以略显嘈杂的自然声音结尾。第五首“Tracy”可能是这张专辑里最动听的歌曲之一，轻盈的吉他、不缓不急的鼓点和摇摆不定的电子轰鸣浑然一体，制造出遥远而空灵的未来感。而后的“Summer”是他们早先发表过的同名单曲的最初版本，依然传承了Mogwai静噪结合的特点，从静如止水到铺天盖地，怦然心动的声响滚滚而出源源不绝。“With Portofolio”可以说是Mogwai对声音大胆的试验，先是键盘制造的轻柔慢缓的清脆声，背景起伏不定的噪音若隐若现，等到键盘消失不见，背景的噪音暴风骤雨般从左耳轰炸到右耳，仿佛要用巨大的能量把大脑的所有神经彻底蹂躏一番。Arab Strap的Aidan Moffat的声音出现在“R U Still In 2 It”中，在软绵绵的吉他声中，喃喃自语的Aidan冷静地哼唱着被恋人抛弃的无奈和痛楚。紧随其后的“A Cheery Wave From Stranded Youngsters”在钢琴和鼓充满立体感的氛围中继续释放着人类内心空旷的情感，随意的蒙太奇式的剪接编排，各种乐器层叠的呤呤细语被放大成遥远而苍凉的回响。最后的“Mogwai Fears Satan”好像Sonic Youth1988年《Daydream Nation》的延续，悠远的笛声和凝重的鼓音飞翔在海潮般时起时落的噪音流中，而我们只有继续扭曲着，痛苦着，缠绵着……Mogwai用《Young Team》特有的声音，把隐藏在尘世中无奈的情感全部压成齑粉，而后再轻飘飘地撒向空中，让脆弱的灵魂随风而去。