一支犹如月相一般，阴晴圆缺难辨的乐队，成立12年后，于2018年10月，在SpaceFruityRecords发行首张正式专辑《Born Astride The Grave》 ，包含了 2016年以来全新阵容的6首新歌探索和4首经典老歌的重新编曲版本。

憬观：像同叠第一张EP，磁带。 编号：RMA001

从1996年开始玩乐队算起来，已经20多年了，现在做音乐的状态感觉还是和那时候一样，写了歌，找大家排练，排练完吃顿宵夜聊天，再约下周的时间。如果有人来约演出，感觉合适就答应下来，演出前两周再抓紧排练两次，演出完如果有点钱大家就开开心心地分掉，怎么也算挣到钱了。 乐队就是这么靠身边朋友们的帮忙和支持一点点地做着，和这个星球上绝大多数玩乐队的朋友们一样，大家只要还有乐队做着，就很幸福。 《大家拨面子！》这张新专辑的歌都是从我的前两张民谣专辑《阿乌乱弹情》和《狒佛》里挑选出来的，演绎成了乐队版本，我们都做的很用心，希望大家能喜欢。 --陆晨

The elusive UK group’s third album in just over a year—to be made available online for only 99 days—renders Black trauma in the eerie, sing-song cadences of children’s rhymes.

精 煉 裝 甲 這是一個垃圾世界，要深掘垃圾，要傾倒垃圾，要站在垃圾堆上，理直氣壯地，堅挺不拔地指東罵西，大搞黑色諷刺，必須擁有一副精煉的盔甲，如此才能無淨不摧，無理不克，才能嚇阻偽善與潔癖者的說三道四。於是蒼蠅在新專輯《ii》裡，全副換裝，打造尖端精密重裝備，再亮相必會讓樂迷們為之一驚，並立刻被他們的音樂感染上亢奮雀躍的活力。精裝出擊的蒼蠅無疑為北京地下搖滾創作製品，打開與國際先進潮流同步的品質，立下了優良的典範。精煉裝備之所以必要，是讓新搖滾力量有更淋漓發揮與夠格的發音空間，徹底打破海外世界對舊搖滾神話的夢幻。犀利、成熟、精確與優質的製作，是地下搖滾翻身闢路的必備補帖。厲害的蒼蠅，在牠的複眼世界中，早已洞悉其奧義，以加強戰力指數為戰略原則，大有益於地下搖滾生態的改善，一掃人們視地下音樂為糟粕的印象。

We are extremely pleased to announce that Kate will be releasing a brand new album: "50 Words For Snow" on 21 November 2011. The album will be the second release from Kate's own label Fish People and comprises all new material that was recorded during the same period that Kate worked on her album “Director’s Cut”. “50 Words For Snow” will feature seven brand new tracks set against a background of falling snow. The total running time is 65 minutes and the track listing is: SNOWFLAKES LAKE TAHOE MISTY WILDMAN SNOWED IN AT WHEELER STREET 50 WORDS FOR SNOW AMONG ANGELS

We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form. Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography. We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension. * * * Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience. To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile. But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth. Truly, thanks for being open to hearing it.

Banga is Patti Smith's first collection of original material since 2004's critically-acclaimed Trampin'. The album was recorded at Electric Lady Studios in New York City and produced by Patti Smith and her band: Tony Shanahan, Jay Dee Daugherty and her long-time collaborator Lenny Kaye. Featured guests include Tom Verlaine, Jack Petruzzelli, Smith's son Jackson and daughter Jesse Paris. Inspired by Smith's unique dreams and observations, Banga's poetic lyrics are a reflection of our complex world a world that is rife with chaos and beauty. Praised for her storytelling abilities, Smith has crafted an album that captures a wide range of human experience. There is an exploratory spirit in the songs that make up Banga, including a melodic overture imagining the voyage of Amerigo Vespucci to the New World in 1497 ("Amerigo"), a rock song for the people of Japan in the wake of last years earthquake ("Fuji-san"), a classic ballad in memory of Amy Winehouse ("This Is The Girl"), an improvised meditation on art and nature ("Constantine's Dream") as well as a birthday song written for her friend Johnny Depp ("Nine"). Banga is available on CD, LP, and as a Special Edition hard cover book including 64 pages of original images, complete lyrics & liner notes by the artist plus an exclusive track, "Just Kids."

「在矮樹叢環繞四週的羊腸小徑，沿路上縈繞不斷的耳語，和著安靜而沉默的節奏，我被捲進了擁有一整片夕陽的旅行漩渦」，這是屬於甜梅號的溫暖，象徵青春白皮書的輕狂、帶著曖昧羞澀的明亮心情、串結每段傷心故事的始末......。 三人男孩團體的甜梅號，在台灣代表著不可思議的後搖滾先驅！90年代末期，在眾家爭鳴的水晶唱片初露頭角，2001年發行了第一張專輯＂是不是少了什麼＂後，甜梅號經歷了團員離團、當兵等種種驟變，沉寂了好一陣子。吉他手小白，是個連呼吸都是後搖滾的吉他達人，前陣子參加電影配樂刺青的製作，新專輯中，一人分飾多角的雙吉他與合成音效；貝斯手葉子，比擬賭神般的真人不露相，拍照和表演都不會出現五官的神祕型男；最後加入的孟諺，是個精通各類鼓藝的天才型鼓手，花式碎拍和數學派炫技都難不倒！ 甜梅號有的不只是音樂，所擁有，是象徵著對音樂永遠不會死的堅持與熱血。漫漫十年歲月幾近飄逝，終於在眾所期盼下，發行了第二張正式專輯「謝謝你提醒我」，像是對老友突如其來的擁抱。擺脫一般搖滾曲式的規範，這次僅僅五首歌的專輯中，卻擁有超長史詩般的氣魄，意圖在長篇之中找尋音樂演繹的真正解答，吉他堆疊出步步溫暖而動人的旋律，貝斯與鼓精準穩定的提供最厚實的背景，客串的長笛聲，彷若撰述著戀侶們所發生的，種種心碎而美好的回憶，結束的篇章則是充斥著情緒糾結的吟唱。 搭乘著甜梅號的列車，有蒸汽火車的高溫，還有子彈列車的脫序，或慢或快的律動，最適合在深夜與季節轉換之際盤旋，都將記錄我們難以啟齒的夢想。

《海王星黎明的酒宴》Joyside成立于2001年3月的北京。早期的风格为old school punk风格。2003年MIDI音乐节一夜走红北京摇滚乐界，乐队成员70年代摇滚乐特色的着装、不羁的生活作风和舞台上下酒鬼的形象引来无数青年争相模仿；同年签约摩登天空badhead厂牌。

碧昂斯将于今年6月28日问世的第四张录音室专辑《4》的全部曲目已于日前曝光。据了解，碧昂斯即将发布的新专辑《4》一共收录了12首全新单曲。令乐迷感到惊喜的是，收录在新专辑的单曲《Party》请来了美国当红嘻哈二人组合Outkast的成员Andre 3000助阵献唱，而这位嘻哈唱将也是巧克力美人在新专辑中唯一邀请的演唱嘉宾。

DELUXE EDITION LP IS ON TRANSPARENT BLUE VINYL, COMES WITH AN ENAMEL PIN AND IS GUARANTEED A HAND NUMBER 1-50. SPECIAL EDTION LP IS ON BLACK VINYL AND COMES WITH AN ENAMEL PIN. FIRST 200 LPs ARE HAND NUMBERED, FIRST COME, FIRST SERVED. On Gong Gong Gong’s raucous debut, 'Phantom Rhythm 幽靈節奏,' the minimalist Beijing duo created a drummer-less sound that was more than the sum of its parts, inspired by back-porch blues, Sahelian guitar music, New York no-wave, Cantonese lion dance percussion, and seemingly most incongruously, techno. With 'Phantom Rhythm Remixed,' Gong Gong Gong bring to life a concept they’ve planned since the release of their acclaimed first LP, curating their favorite China-connected electronic music producers to remix 'Phantom Rhythm' in its entirety. The globe-spanning collaboration features Yu Su (Vancouver/Kaifeng), Zaliva-D, Simon Frank, Howie Lee (Beijing), Mong Tong, Scattered Purgatory (Taipei), Knopha (Xiamen), Wu Zhuoling (Chengdu), Angel Wei (Copenhagen), and P.E. (Brooklyn). The LP traces a common thread..., organically expanding the palette of Gong Gong Gong into ambient club tracks, thumping dance music, cinematic soundscapes, and bit-crushed psych. Releases June 25, 2021 more

うわー,なんかわけわかんないです。でも椎名林檎さんの頭の中には,すごい物語があるのだろう。『歌舞伎町の女王』っていうタイトルからしてただ者じゃない(そういう面白がり方はピストン西沢みたいで嫌だけど)。いい加減なことは言えないが,天才肌の人だろう。

Lahore, Pakistan Jaubi (جو بھی) is an urdu word roughly translating to "whatever". Creating whatever sounds good and whatever feels good is the goal.

Copenhagen-based songwriter and producer Erika de Casier has announced details of her second full-length studio album. Sensational, which includes recent singles ‘No Butterflies, No Nothing’ and ‘Drama’ Sensational expands the universe of de Casier’s 2019 self-released debut album Essentials. Where Essentials dealt more with the infatuation stages of love, Sensational has more of an attitude, aiming to dismantle the stereotype of single women looking for love, tackling relationship dramas and the toxicity of dating. It was a chance to rewrite scenarios in ways that empowered her, fantasising about what could’ve been. Sensational was co-produced by de Casier and is a breath of fresh air to anyone with a passion for music in all its genres, as much influenced by Aaliyah and Janet Jackson as house, garage and techno. With hushed, pillow-soft vocals and production that references turn-of-the-millenium sounds, de Casier’s sound surveys the past while looking to the future. Born in Portugal to Belgian and Cape Verdean parents and raised in Denmark, Erika de Casier initially made her mark as an ally of the Regelbau collective (home to Danish house acts DJ Sports, C.K and Central) before writing, co-producing and releasing debut album, Essentials, through her own Independent Jeep label. Her take on 90s/00s R&B became a slow-burn success story and Essentials graced Best of 2019 lists at Mixmag, Gorilla vs. Bear, FACT, Dummy, and Crack Magazine.

楊祖珺是七零年代「唱自己的歌」民歌運動的重要旗手，她與胡德夫為了紀念傳奇吟遊詩人朋友李雙澤，錄製了「美麗島」、「少年中國」等傳唱一時的歌曲，開啟了台灣民歌全盛的時代。然而其歌聲中對台灣土地、與人民澎湃的熱情，卻觸犯了當時政治噤聲的禁忌，隨之而來的政治壓迫使楊祖珺一度放棄她的歌唱生涯，憤而轉投入「黨外」運動，但也因此更強化她對台灣社會文化以及政治運動的參與動機，以個人生命印證台灣蛻變轉型的軌跡。專輯【關不住的歌聲】由大大樹整理，首度以CD形式重新發行。 這張光碟中收錄的歌曲，除了1977年的「美麗島」，是楊祖珺與胡德夫為了李雙澤的喪禮臨時錄製之外，其餘清一色地來自楊祖珺在黨外時期，在各個不同的選舉期間所錄製的錄音帶。1970年代中期以後黨外政治力量的出現，一方面由於台灣社會中產階級興起，加上當初中國國民黨為了爭取美國政府支持，刻意表現民主化而定期舉辦的選舉政治有關；另方面也與國民黨政府實質上「去中國化」、「去台灣化」，而全盤美國化的政策息息相關。當時多數的年輕人在沒察覺到的肅殺社會氣氛中，在不解左派思想長年累月受到壓抑的環境下，跟著政府配合美國政策的腳步，60年代中期以後順著美國唱片工業的發展，美國流行排行榜歌曲因而進入了台灣年輕學子的生命中。雖然，在當年成長的路上，從小學到高中每週僅有的一、兩堂音樂課中，學生必需使用自己也搞不清楚的西洋美聲唱法，扯著脖子高唱著「美哉中華 」或「沙里洪巴」等幾十首歌曲；到了大學後，美術系的學生不准使用紅色為主的色調作畫，音樂系的學生不准使用中西樂器合奏，但是，問題不大！因為，年輕的學生可以毫無忌憚地跟隨著收音機中播放由「美軍電台」（即美軍撤退後改為今日的ICRT）工作人員在市面盜版販售的美國流行歌曲放聲高歌。除了擔心父母或老師責罵我們跟著音樂搖頭擺腦，或責怪我們不會唸書只會唱歌之外，60、70年代的反戰、反叛、與反權威的「動念」，就跟著1960年代的美國排行榜的流行，在台灣的文化沙漠中埋下了綠意。「唱自己的歌」運動也就在前述美國流行文化的啟蒙下逐漸醞釀成形。 1970年代中期出現「鄉土文學論戰」，在美國學習現代舞的林懷民組「雲門舞集」演出「渡海」，繼有台大學生楊弦在「中國現代民歌」的演唱會中，譜唱出了外省老一代因戰亂流離，而揮之不去的鄉愁。與「夏潮雜誌」相關的文化人、加上極少數廣播人（如陶曉清、凌晨、李文等）和唱片製作人有心正視年輕人的創作而在商業文化中大力推廣，台灣年輕人在1980年代以後，逐漸出現了不再因為使用自己語言唱歌而感覺「沒有水準」的風潮。 這張光碟的版稅收入，楊祖珺將全數捐給「日日春關懷互助協會」。