Reissuing the brooding debut from legendary Scottish post-rock pioneers Mogwai may seem redundant to their obsessive collector fanbase, but there are treats within the second disc for devotees and newcomers alike. 'Mogwai Young Team' itself is considered to be one of the more influential instrumental rock albums of the 1990s, despite the fact that the band themselves have continually downplayed its acclaim. Documenting the band at their most violent and visceral, it is a stark example of the power of dynamics with rock instruments, but shot through with moments of darkness and quiet that are chilling rather than soothing. The second disc contains several live versions of songs from the album, as well as a rare cover of the Spacemen 3 song 'Honey'.

Yo La Tengo三部曲第章，成功結合感性Noise-nik氛圍及流暢調子的專集，將當年的Yo La Tengo聽眾擴展至英國。百聽不厭的I Heard You Looking。

1 序·玉楼春·雨·临江仙 2 幻听 3 旺天下 4 哪呢 5 丰收获 6 觉是 7 荡空山 8 暮春秋色 9 爱被爱 10 漓江水

Frank Vincent Zappa was an American composer, singer-songwriter, electric guitarist, record producer, and film director. In a career spanning more than 30 years, Zappa wrote rock, jazz, electronic, orchestral, and musique concrète works. He also directed feature-length films and music videos, and designed album covers. Zappa produced almost all of the more than 60 albums he released with the band The Mothers of Invention and as a solo artist.

We're Only in It for the Money is the third album by American rock band the Mothers of Invention, released on March 4, 1968, by Verve Records. As with the band's first two LP's, it is a concept album, written and composed by bandleader and guitarist Frank Zappa. The album satirizes left- and right-wing politics, the 1960s counterculture, the corporatization of rock music and youth culture, particularly the hippie subculture. It was conceived as part of a project called No Commercial Potential, which produced three other albums: Lumpy Gravy, Cruising with Ruben & the Jets, and Uncle Meat.

One of the most ambitious debuts in rock history, Freak Out! was a seminal concept album that somehow foreshadowed both art rock and punk at the same time. Its four LP sides deconstruct rock conventions right and left, eventually pushing into territory inspired by avant-garde classical composers. Yet the album is sequenced in an accessibly logical progression; the first half is dedicated to catchy, satirical pop/rock songs that question assumptions about pop music, setting the tone for the radical new directions of the second half. Opening with the nonconformist call to arms &Hungry Freaks, Daddy,& Freak Out! quickly posits the Mothers of Invention as the antithesis of teen-idol bands, often with sneering mockeries of the teen-romance songs that had long been rock's commercial stock-in-trade. Despite his genuine emotional alienation and dissatisfaction with pop conventions, though, Frank Zappa was actually a skilled pop composer; even with the raw performances and his stinging guitar work, there's a subtle sophistication apparent in his unorthodox arrangements and tight, unpredictable melodicism. After returning to social criticism on the first song of the second half, the perceptive Watts riot protest &Trouble Every Day, & Zappa exchanges pop song structure for experiments with musique concrète, amelodic dissonance, shifting time signatures, and studio effects. It's the first salvo in his career-long project of synthesizing popular and art music, high and low culture; while these pieces can meander, they virtually explode the limits of what can appear on a rock album, and effectively illustrate Freak Out!'s underlying principles: acceptance of differences and free individual expression. Zappa would spend much of his career developing and exploring ideas -- both musical and conceptual -- first put forth here; while his myriad directions often produced more sophisticated work, Freak Out! contains at least the rudiments of almost everything that followed, and few of Zappa's records can match its excitement over its own sense of possibility.

Rank 'em how you like, Rubber Soul is an undeniable pivot point in the Fab Four's varied discography no matter where, or how, you first heard it. The album was softened up in its original 12-song American edition to jibe with the Dylan/Byrds folk-rock sound, as well as squeeze money from the Parlophone catalog. The 14-song U.K. edition--the version now available on compact disc--is a different, more dynamic, and ultimately more accomplished achievement. So many classics: "Drive My Car" and "Nowhere Man" (both omitted from the U.S. edition) merge the early combustible Beatifics to a burgeoning studio consciousness; "The Word" can be read as a pre-psych warning shot; the sitar-laden "Norwegian Wood" and the evocative "Girl" (the latter written on the last night of the sessions) stand as turning points in John Lennon's oeuvre. George finally emerges too, with the McGuinn-ish "If I Needed Someone." EMI. 2005.

'U.X.O. is unexploded ordnance is landmines is cluster bombs. Yanqui is post-colonial imperialism is international police state is multinational corporate oligarchy. Godspeed You! Black Emperor is complicit is guilty is resisting. The new album is just music.' Recorded by Steve Albini at electrical audio in Chicago. Mixed by Howard Bilerman and Godspeed You! Black Emperor at the Hotel2tango in Montreal. Stubborn tiny lights vs. clustering darkness forever ok? Gatefold sleeve. Constellation Records. 2002.

My Bloody Valentine的第一张全长度专辑《Isn´t Anything》，几乎可以说重新定义了90年代初的吉他流行音乐，并且确立了他们作为Shoegazing流派的奠基人的地位，和Sonic Youth、Pixies这些前grunge乐队一样对之后的音乐产生了不同寻常的影响。尽管用Kevin的话来说，他门自己都不清楚自己到底在做什么，也不确定他们的音乐会怎样发展(较谦虚)但不能否认的是，他们对于吉他噪音的试验态度的确为后继者开启了一扇大门，也让无数乐迷认识到所谓“噪音”也可以如此之美，乐评则用"beauty under siege"和“来自幽冥的声音”来形容他们的音乐。

大名鼎鼎的《纽约不插电》，Nirvana一次返璞归真的现场演出，有人说Kurt Cobain的天才与痛苦都在这次演出中表露无遗，数月之后，Kurt Cobian结束了自己生命，这张专辑也因而具有了非比寻常的纪念意义，在英美专辑排行榜都登上首位，并在1996年获得了葛莱美最佳另类摇滚专辑奖。

是一张有别于一般现场录音专辑，一张关于2020年八月「宜花东鹿户外直播巡演之旅」的纪录，精选出25首经典曲目，收录现场的自然之音与群众的对话声。简言之，这是罗大佑「收录生活、探究其因，记录时代」的Live概念专辑！ 而深入细究，我们回顾2020年，是一个COVID-19让世界重新整理的一年，这一年带来的冲击与沉淀反思，在罗大佑心中种下一颗种子，而这颗种子在2020年夏天萌芽，罗大佑号召各路音乐人马展开「宜花东鹿户外直播巡演之旅」。带着音乐与敬畏祈福之心到鹿港小镇拜天地、到台东感谢山海，到花莲港边吟唱游子归乡，最后终点站来到宜兰回忆童年，回归音乐初心。 而2021年春天，象征一切重生之意，罗大佑决定用专辑的形式将「宜花东鹿户外直播巡演之旅」保存下来，给予这趟旅程一个值得记忆的时代意义，精选出巡演当时在现场收音、录音的25首经典作品，专辑中所收录的25首经典曲目全经改编，Live最珍贵的纪实中能听见风声、笑声、雨声，摊贩的吆喝声、还有当天观赏的众人掌声与细碎的对话声。罗大佑将2020年的场景与时代背景全记录在此张专辑《二零二零八月宜花东鹿记》，一张记录「Life」的「Live版概念专辑」正式成型上市。

British musician M.I.A. (Mathangi "Maya" Arulpragasam) had released her second album Kala in 2007, which achieved widespread critical acclaim and was certified Gold in the United States and Silver in the United Kingdom. She toured in support of the album under the People Vs. Money Tour banner, during which she composed and recorded some music with her Korg Kaossilator atop the pyramids of Mexico. Tourmate Egyptian Lover stated he was ready to collaborate on her third album.She then collaborated with A. R. Rahman on the soundtrack of the film Slumdog Millionaire, receiving an Oscar nomination for the track "O...Saya", before giving birth to her son Ikyhd in February 2009. British producer Rusko was one of M.I.A.'s collaborators on the album. Six months after her son's birth, she began composing and recording her third studio album in Los Angeles, where she had bought a house with partner Ben Bronfman. Collaborators such as Rusko and Blaqstarr moved into the house to write and record songs for the new project, before she mixed the record with them in a rented studio in Hawaii. She collaborated with writer/producer Blaqstarr because "he simply makes good music." Producer Diplo worked on the track "Tell Me Why", but at a studio in Santa Monica rather than at the house. He claimed in an interview that, following the break-up of his personal relationship with M.I.A. some years earlier, he was not allowed to visit the house because "her boyfriend really hates me". Tracks for the album were whittled down from thirty-hour jam sessions. Producer Rusko, who played guitar and piano on the album, described the pair getting "carried away" in the studio, appreciating the "mad distorted and hectic" sound they were able to create. Rusko stated "She’s got a kid, a little one year old baby, and we recorded his heart beat. We’d just think of crazy ideas”. Rusko has described M.I.A. as the best artist he'd ever worked with, stating "She's been the most creative and I really had a good time making music with her".

tUnE-yArDs' forthcoming LP, w h o k i l l, out April 19 on 4AD, aims to clean up her sound a bit while maintaining the rawness that made BiRd-BrAiNs so lovable.

真正的歌唱总是关照生命的。 艳粉街、沈阳、北京、上海、广洲、香港、东京、大坂、伦敦、纽约、意大利……始终在路上的艾敬将经历和思考融入了她的生命，就这两张唱片整体而言，艾敬在音乐上的个人化风格越来越明显，无一事一物不可用音乐来表达，卸去了传统的因袭，同时也放逐了社会责任感的沉重，普通日常生活的简单事物被提升为一种诗意。若说中国真有YUPPIES，艾敬便是当然的一个，摆脱了那些身外之物的羁绊和桎梏是前提，物质和精神上双重富足的人更有一种超脱犀利的眼光。 一直试图理性地从总体上来看艾敬而不是由单个的作品来解析她，但是在这里还是忍不住要单独提到这首《东京餐馆里的 China Girl》，我甚至一度认为它可能是艾敬的最高代表作。 关山万里一曲慰乡愁！很惊讶于艾敬的文字能力，不著一字，尽得风流！不仅如此，过多叙事口白化的创作及演唱而忽视了旋律曾是我们对艾敬的最大的担心，这一次《东京餐馆里的 China Girl》充分证明了这样的担心是非常多余的。当艾敬清亮却有些许纤弱的嗓音唱到高潮时，那种无可名状的属于游子的思念和寄居他乡的孤独就不可遏止的在空中慢慢升腾，慌张、迷惘、寂寞一起涌向我们早已在都市中磨砺得空洞麻木的脆弱心灵，一如我们当初离开时在雾里的挥手别离。

來自英國倫敦的樂隊 The xx 用他們的首張專輯《xx》驚艷四座，開篇一曲《Intro》便以獨特的重覆結他 riff 奠定了專輯基調：幽靜而略帶哀愁的節拍，淡然且迷蒙飄忽的唱腔，再加上詩意盎然的詞句，為聽眾勾勒出一系列冷洌的畫面。《VCR》中由空靈清響的前奏漸入，淺唱愛情的甜蜜；而在《Heart Skipped a Beat》中則以增強了的節奏帶動聽者脈搏，以簡約風格彰顯複雜情緒。

Japanese exclusive reissue of 1963 album. This Toshiba/EMI pressing features an OBI strip (different from the last Japanese pressings issued in 1990) & an insert with Japanese text & lyrics in Japanese & English. Manufactured & pressed in Japan. This album has been direct metal mastered from a digitally remastered original tape to give the best possible sound quality. 2003.

香港MCB杂志评出的欧美百张最具革命性专辑之一，评语为：“慑人澎湃的后摇滚史诗，产生无可比拟的情绪牵动作用。” 来自加拿大的Godspeed You! Black Emperor（好绕口的名字）的代表作，非常优秀的后摇，旋律、节奏、情感都把握得十分出色，专辑中的歌曲都是几十分钟一首的大部头，但听起来丝毫不觉得冗长，浑然一体。 以下引用VC网友“kumo”在MP3资源帖中的介绍： 我明白，Joy Division已被升上神台，所有低调死亡不快，全部都和他们有关。但如果我告诉那位旧同事，以及各位TMF网友，最近我发现了一支竟比Joy Division，甚至和我以往所有听过的低调音乐，还要更低调死亡不快的乐团，自命生活不如意的你，可会重拾点点人生兴趣，找来一听？我所说的，是来自加拿大Montreal的Post-Rock乐团Godspeed You Black Emperor!。 可能是笔者听歌年资尚浅也未定，但我真的从来想不到竟然有一支乐团，可以将我以往聆听过的所有低调、死亡、不快、不安、无助、绝望、悲愤、孤寂的音乐元素全部结集在一起，化为一首首长篇的末世乐章。纵然Godspeed的音乐没有旋律歌词，讯息亦只是透过零碎的街头演说及随意的录音片段来传达。但他们由三位结他手、两个鼓手、两个提琴手等所交织出来的高潮迭起、随时超过20分钟长的后摇滚交响乐曲，却要比很多有曲词唱的音乐，来得更清晰，及更具感染力。正因为Godspeed将一切重归于音乐本身，没有假意矫揉的虚饰，全部皆是发自内心的血肉情感演奏。 具体点来说，Godspeed的长篇乐章往往分为多个段落，你听到的可能是一段不安的街头演说，可能是一片Ambient声效，可能是由提琴发出的哀怨悲鸣，可能是由结他勾出的荒凉意境，却随时渐变为疯狂凌乱的Free Form摇滚弹奏，弹奏速度更是越来越风驰急激，仿似完全冲破了任何规范教条，不顾一切。我开始明白他们为何会采用Godspeed You Black Emperor!，这个源自日本某个黑夜飞车党称号，作为乐团的名字。 试过好几次听Godspeed，特别是最新的一张双CD专辑《Lift Your Skinny Fists Like Antennas To Heaven!》时，每每期待着乐章中那山雨欲来的一发不可收拾气势来临，仿佛将心中所有不快集中在一起，等待一息间全部爆发出来。是的，听Godspeed的音乐虽然很痛苦不安，但亦很美丽释怀，虽然一切只是暂时性的幻像。 其实据Godspeed的成员说，他们的音乐并不只属于低调死亡，正如新专辑的名称，便是希望透过诚实真切的音乐对话，能在末世困局之中找到出路。只是对我而言，却会选择继续紧握拳头，因为我从来也不相信，这个世界会有天堂 --- from