1990年滚石出品的台语大碟，台湾百佳专辑名列第6位，专辑的四位制作人陈升，李宗盛，周耀辉，罗纮武获得了当年的金曲奖最佳制作人奖。 《向前走》取得了极大的销量，能引起如此强烈的影响有很多原因，比如它符合台语对抗压迫、走向主流的文化形势，表达了新一代青少年对现代生活的认同与希望。但是林强和他的《向前走》震撼人心的真正理由，是歌声里散发的、永不低头的倔犟和生命力。 专辑从第一首歌“平凡的老百姓”（一个年轻的北上的男孩，将自己对过去的迷惑不解转为对未来 的希望）开始，点破整张专辑的意图。从北上的年轻人的积极生命到他回顾生活中的种种感情，让他恣意放任的表达爱意也让他在歌声里诚挚关心 ，制作人不同的切入角度创就了清楚的戏剧张力 ，也散发一种不退缩的勇敢热切，没有愤怒批判的满足发泄，不以悲观伤感来安慰逃避，林强的歌曲中，充满了勇敢和希望-这正是林强生命中最动人的地方。 在时代变化不安，未来捉摸难定的时刻里，只有坚定自我，向前走去是唯一的方向。《向前走》正是以这个语气，回答了所有的怀疑。

マキシ・シングル2連発の勢いがフルになったことで多少損なわれたような…。前半と後半の陰陽が強すぎて,ちょっととまどってしまったのは事実。ライヴはグングンよくなっているので恐れるものはないのだけれど。フィッシュマンズはたくましくなった。

品切れ続出の1stは楽曲ごとに11人のコンポーザー(=プロデューサー)を起用することにより,彼女のさまざまな魅力を引き出している。ヴァラエティにとんだ構成であるにもかかわらず,表現力豊かなヴォーカルですべて自分色に染めているところがスゴい

On November 11th, Parquet Courts will return with Content Nausea, an album attributed to their Parkay Quarts moniker. In anticipation, that album is streaming in full below. According to a press release, the name change reflects this particular configuration’s lineup: “With one member completing a degree in mathematics, and another starting a family, Content Nausea features mostly the work of Andrew Savage and Austin Brown, with the help of a few friends — Jackie-O Motherfucker’s Jef Brown on saxophone and Eaters’ Bob Jones on fiddle.” Touted as the “band’s most accessible and dissonant recordings,” the 12-track effort was recorded, mixed, and mastered on a four-track tape machine in just under two weeks. The press release adds, “Content Nausea is the inevitable repercussion to Sunbathing Animal’s pure emotion. Mostly, Content Nausea reflects the rapid change in the band’s hometown of New York City, while at the same time emphasizing the changes in the band itself. The record’s sleeve is a bleak vision of Freedom-Tower-era NYC flooded by (what else?) content. A city that is becoming increasingly unrecognizable to its romantic history. Not unlike Parkay Quarts.” Pre-orders for the album are ongoing. It’ll be available as a double LP beginning December 2nd.

音樂人對自己誠實的方法，是對作品誠實，一如作家起初的創作，總是圍繞著自己的故事與成長，如何在音樂裏解剖自我，再坦然地將其公諸於眾，是需要足夠勇氣和平和心態的。Fishdoll回歸自己生長的地方，打拼了兩年，經歷新階段的重重磨練，繼續與現實抗爭，重新找回對生活的信念，鑄就了這張新專輯的誠實核心。它自然而然，如開花結果，落葉歸根，它可以發生在每個人的身上，平常到似乎根本不值一提，如此一來，Fishdoll便能以輕鬆坦然的狀態將事實客觀呈現，並體會這一探索過程中收穫的對音樂的領悟。 開篇所展現出的自然意象，原始叢林般的開闊豐饒，奠定了這張新專輯樸實真誠的基調，緊接著有面對自然環境的自我呢喃；審慎的自我觀察；不懼暴露瑕疵的坦蕩和不怕散發魅力的自信；潛意識的自主生長；不進行任何人工干預的理智視角；發現自然生命力一瞬間時難以遏制的喜悅；不與潛意識對抗的順從等。這些Fishdoll想通過音樂與自然、外界和自己取得更緊密的企圖，都以一種中肯的陳述語態表達出來，不抗拒，不批判，不添油加醋，不強行解釋，這本身就是放下我執的過程，一旦與客觀事實建立起真實的連結，Fishdoll便在其中獲得了內心真正的充盈感，意識開始與潛意識互通，情緒的充沛轉化成自我能量的補充，就再也不想僅僅滿足自己的快感來製造音樂，創造力也不再被獵奇的聲音探索所牽制。 新專輯中，Fishdoll做了很多突破——第一次嘗試寫中文詞，第一次嘗試編寫管弦樂作品，她想“惡補”音樂知識，堅信就算半路出家也完全不晚，她希望永遠處於學習的過程中。因此，她再也不會介意任何一個階段的不完美，尊重生命自然屬性上的“留白”部分，並將對這部分“空白”的思考也融入創作：“每首作品的創作過程像是觀察痛苦並全然接受的過程，就像接受自己的不完美一樣，學會把執念放下。當心境豁然開朗，生命力會像朝陽一般燦爛，那些困住腳步的自我懷疑化成晨間的露水。這時你會看到生活的美。我想歌頌人間苦樂，因為生活給了我太多的禮物，我要感謝生活。我希望這些音樂能喚起人們心底的善念，善待世界，善待彼此。” As an artist, being honest with oneself is exemplified in the consistent integrity of each individual work. It takes intrepidity and an abandonment of the ego to create with vulnerability and self-acceptance. Fishdoll’s return to her hometown ushered in a new phase of life full of challenges and confrontations with reality. Her increasing awareness of herself within this struggle, and her desire to grow and evolve despite it, are what formed the nucleus of her next album. This process of growth is natural; Such as the flowering and fruiting of a tree, followed by its leaves falling to the roots. It is ubiquitous, so much so that it seems to be not worth mentioning. Using this essentialness as a conceptual platform is what allows Fishdoll to create from a place that encourages self-acceptance, self-exploration and serenity. We begin in a lush, ageless, flora and fauna rich forest. A contrasting blend of density and spaciousness ignites the essence of this new album. This is followed by a further acknowledgement of the environment, and Fishdoll’s internal dialogue of candid self-reflection. This leads to a reaction of open-heartedness and fearlessness; the willing exposition of flaws and a powerful confidence that entices. Then follows the autonomous strengthening of the subconscious mind. The joy of discovering the vitality of nature, that is as fleeting as it is transformative. The full acceptance of one’s consciousness, and the decrease in self-conflict. Fishdoll’s attempts and experiences to find herself more intimately through nature and the outside world are all expressed in a voice of definitive declaration. This voice does not hesitate, embellish or criticize with forced explanation. It evokes a gradual process of releasing the ego and establishing a real connection with one’s personal truth. In this, Fishdoll gains a sense of inner fullness and enlightenment. The conscious mind then begins with the unconscious, and the wealth of emotions is transformed into a supplement of self-energy. In a broader sense, it is a realization that self-satisfaction is no longer the sole pleasure of making music, but it is rather a desire to simply share with the world. This sophomore album presents several firsts; Fishdoll’s first foray into writing Mandarin lyrics, and her first offering of orchestral arrangement. She stands by the belief that it is never too late to learn what you feel may have already passed you; she hopes to stay in perpetual learning. Therefore, she has learned to pay no mind to imperfections, respecting emptiness as one of the essential aspects of life, and one to be respected. “When your mind suddenly becomes clear, your vitality will be as bright as the sunrise, and those trapped self-doubts will turn into morning dew. At this time you will be able to fully observe the everyday beauty of life. I want to sing the joys and sufferings of the world, because life has given me so many gifts; I want to give back. I hope these music can arouse the kindness in people's hearts, treat the world and treat each other kindly."

If you’re the kind of person who would read a review of the second EXEK record on Paste Magazine dot com, then you’re probably also the kind of person who already knows that Melbourne, Australia is absolutely teeming with great bands right now. If you’re neither, know this: These days, it feels like every cool band that comes along comes from Melbourne. Many of these bands use electric guitars and bass and drums to create bright, upbeat pop-rock music, packed with catchy melodies and driving rhythms (even if their lyrics aren’t necessarily cheery). A smaller number of Melbourne bands are using guitars and bass and drums to do something entirely different. EXEK belongs to this second group. EXEK is a post-punk band in the truest sense of the term, lurching through the shadows and knocking shit over and sneering at innocent passers-by. Where many of their Melbourne mates draw obvious inspiration from the charming jangle-pop that came out of nearby New Zealand in the 1980s, EXEK bypasses that scene and draws a straight line back to fellow Melbourners The Birthday Party. EXEK started as a studio project for frontman Albert Wolski and then evolved into a quintet, including synthesizer and saxophone. The band’s debut, Biased Advice, came out in 2016, collecting the band’s past recorded material and presenting it in one spot. The follow-up, Ahead of Two Thoughts, expands on the embryonic feel of the debut. Opening track “U Mop” is a slithering jumble of parts: rubbery bass line, prickly guitars, a six-note sax riff, and Wolski’s dead-eyed rantings. “I’m sick of every bit of your shit,” he sings within the album’s first 16 seconds. Aaand…we’re off! Well, not quite. One of EXEK’s specialties is the slow burn, and some songs on Ahead of Two Thoughts take their time finding their particular path. “Punishment,” for example, clanks and clambers for 90 seconds before locking into a killer motorik groove that energizes all involved. And the tension that drives “Weight Loss (Henry’s Dream)” exists primarily in the interplay between its crescendoing guitar squalls and its unhurried, dubby rhythm section. EXEK has the good sense to never cut that tension, and instead leave the listener wanting more. Elsewhere, “Fluent in English” is the album’s guitar-heaviest track—the only place on Ahead of Two Thoughts where the buzz of six strings takes centerstage from the burble of four. “To Medicine” engages in some skittering Swell Maps-style noisemaking. And the penultimate track, “Elevator Etiquette,” somehow amalgamates searing guitars, eccentric drums, gleaming synths and unsettling echo into a seven-and-a-half-minute mishmash of mutant dance music. It is ambitious and strange and irresistible. You can say the same for EXEK.

小时候有玩过一种叫「琉璃嗝夯」的乐器，玻璃制品，唢呐的样子，喇叭口是由极其薄的玻璃闭封住的。「琉璃嗝夯」的发声原理很简单，用嘴对着瓶口轻轻地吹、吸、吹、吸，喇叭口极薄的玻璃面就会一凸一凹， 一凸一凹，发出嗝、夯、嗝、夯的声响。那时侯，我们一点也不小瞧它，对其进行了深入的研习，发明出用手、腋、膕窝等部位演奏的技巧，这就是我愿称其为乐器的原因。 我的创作跟所有我的听都有关，包括那些我并不喜欢的，被动与不经意间听到的。以至于，我无法保证那些我不喜欢的，对我的影响不甚。有段时间，我认为这世上根本没有百分之百的原创。回响这个词，我中意了很久，因为它很接近无法言说的“ 现实的样子” 。跟朋友说起这张《回响》歌集，我还会说两个字：“ 清楚” 。这些最远迄今2 4 0 0 年的禅诗、偈诵， 先是触动了自己，时常在早课后吟诵，日久成了歌，这非百分之一百的原创，於我，却绝无仅有。如同「琉璃嗝夯」的嗝与夯，来路去处不见，彼此难究，回响，却声声历历。 「界」以正命， 却常作烦恼、是非滋生之所。七贤嵇中散，越过琴笛鼓铃，了知“ 声无哀乐” 。大师吴清源，越过黑白敌我，见“ 棋盘如天宇浩荡，落子如星辰位列” 。世上并没有那么多笨蛋，却有数不尽无法将结论落实下去者。何歌手这些拙编陋唱，意不在声，耽搁闻者宝贵生命的同时，愿我们，闻性有响。哪怕如起晨的闹铃也好，因为醒来，就不是睡着。

《王力宏：不可思议》台湾流行歌手王力宏终于回归台湾，刚圆了八年来要在台湾市立体育馆举行开演唱会的梦，更热力发放国语专辑《不可思议》。早前Leehom成功攻入东洋市场，除了主演大电影《Moon Child》外，又推出日文碟《THE ONLY ONE》，更被当地的传媒喻为∶“继金城武之后，进军日本的大型亚洲艺人！” 率先主打歌乃活力之作“i m lovin it”（中译“我就喜欢”），此曲乃一全球快餐连锁店的新一辑广告歌。此外，Leehom希望以亲自创作的一曲“爱的力量”，感谢长久以来歌迷对他无条件的支持外，并证明他对歌迷“无所不在”的爱意！ 专辑曲目 01 Ya Birthday 02 你不在 (You're Not Here) 03 Love Love Love 04 女朋友 (Girl Friend) 05 此刻，你心里想起谁 06 不可思议电台 07 你和我 08 What Was I Thinking 09 Not Your Average Thug 10 不着地 11 Can You Feel My Word 12 爱无所不在 13 我就是喜欢（全球麦当劳广告主题曲）

收录＞陈建年纯吉他演奏、达悟语版的「港边惜别」、凄凉的萨克斯风独奏「夜空」，以及兰屿，那湛蓝， 如天堂般的海洋世界；海水潮声。生命的偶然脱轨，使我有机会替生命中某个不平凡的时刻留下证据；那就是马目诺带给我的启示：只要我们心中对美好世界的嚮往永不死绝，这世界就会往好的方向前进。........导演汤湘竹 这是台东后山吉他传奇-陈建年，继首张专辑「海洋」后，又一“最谦虚”的音乐力作。也是陈建年首部电影配乐作品。凑巧的是，当他完成这部描写兰屿深海的音乐后不久，他终于如愿以偿地调离待了八年的台东警局，到一个他梦寐许久的海洋乐土-兰屿。 本片配乐，以吉他演奏为主。陈建年用撩动式的吉他琴声，勾勒出一首首对海洋的深情与讚叹。由于此片乃以海底拍摄为主，且在海裡无法张开嘴巴唱歌，故以独特的“哼唱”方式，咏诵一段段关于生命与海的主题。本专辑除了陈建年纯吉他演奏之外，同时还收录了兰屿当地壮丁所演唱的「港边惜别」达悟语版、凄凉的萨克斯风独奏「夜空」，以及兰屿，如天堂般的海洋世界；海水潮声。

2008 digitally remastered edition of this album from the British Post-Punk/Funk band, originally released in 1982. Songs Of The Free, the band's third album and first to feature Sara Lee following original bassist Dave Allen's departure in 1981, was the closest they'd come to conventional Pop, thanks to Mike Howlett's crashing but crisp, shiny production and guitarist Andy Gill and singer Jon King's increasing ability to sugar their bitter messages with candy-coated melodies. There's even, in the Falklands-anticipating 'I Love A Man In Uniform', a near-hit single - only a ban by the BBC prevented this clubland favorite from charting higher. Elsewhere, on 'Call Me Up' and the Joseph Conrad-referencing 'We Live As We Dream, Alone', GOF continue to fuse feedback and Funk to startling effect. EMI.

The Avalanches’ new album, We Will Always Love You, will be released by Astralwerks on December 11. An exploration of the vibrational relationship between light, sound and spirit, The Avalanches have moved beyond the party-up exuberance of their youthful music to a tender, reflective sound infused with hard-earned life wisdom. Building on the sample-based approach of their classic albums Since I Left You and Wildflower, We Will Always Love You is their most song-oriented album yet, made with an array of guest singers and writers.

After a string of EPs, collaborations with FKA twigs, and contributions to Yeezus, Venezuelan artist Arca has announced his debut album. It's called Xen and is out November 4 on Mute in the U.S. (and a day before abroad). That's the cover art by Arca collaborator Jesse Kanda, above, plus the album track "Thievery". A string of North American appearances has also been confirmed, dates for which are below. A limited edition version of the vinyl will include a bonus 10" of unreleased music, hand-numbered and packaged in black PVC.

An incredible focused and formidable fifty something min. single track solo electric guitar wall of noise work from new face from the Chinese music scene. A release that will be sure to make more then a few people scramble to dig up Li’s back catalog of work on his own 2pi imprint. Comes packed in a double sleeve with the outer sleeve being a semi transparent vellum fold around. Graphic work by Chase Middaugh. Single pressing of 500 copies.

For a quarter-century, the Canadian chamber ensemble has made hold music for awaiting a revolution. Suddenly, on their seventh album, they sound hopeful it could come.

Following Brutalism (2017) and Joy as an Act of Resistance (2018), two releases that garnered global critical acclaim, IDLES return with their highly anticipated third album – Ultra Mono. Sonically constructed to capture the feeling of a hip-hop record (including production contribution from Kenny Beats), the album doubles down on the vitriolic sneer and blunt social commentary of their past work. Not far beneath the surface of their self-admitted sloganeering lies a deeply complex and brutally relevant album that chews up clichés and spits them out as high art for the masses. This is momentary acceptance of the self. This is Ultra Mono. Ultra Mono will be released on 25th September 2020 on Partisan Records.