Jay Som represents the musical vision of San Francisco singer, songwriter, and multi-instrumentalist Melina Duterte. Constantly shifting, that vision embraces indie, alternative, pop, and even a little shoegaze assembled by its architect’s hand like an infinite puzzle with no border. This unpredictable sonic sensibility is threaded together by melody but never bound to it. Turn Into, a collection of finished and unfinished songs written, recorded, and mixed between March 2014-October 2015, offers a snapshot of her musical evolution up to this point. Her self-described “headphone music” is the product of a full musical immersion that began during her childhood in the Bay Area. Born to a DJ dad and singer mom, she spent her formative years studying old cassettes and records as well as performing on the family karaoke machine. She picked up trumpet before eventually teaching herself guitar. Duterte started uploading her music to Soundcloud as Jay Som—a moniker she randomly found via an online baby name generator meaning, “Victory Moon.” By 2015, she had accumulated a growing following on Soundcloud and Bandcamp. After a few too many glasses of wine on Thanksgiving, she decided to unveil an early version of Turn Into online, performing every instrument—guitar, bass, keys, and drums. Signing to Polyvinyl Records, Turn Into gets a proper release in 2016. Its first single “Ghost” simultaneously haunts and hypnotizes as her voice hums a shimmering harmony punctuated by fits of fuzzed-out six-string emotion, acoustic unease, and poignant personal lyricism. Elsewhere, “Why I Say No” rides the crest of a surf guitar swell, while a whimsical and wild guitar lead jostles “Next To Me.” The distorted trudge of “Drown” beckons, while the title track offers a sun-soaked send-off. 2016 also saw her release a one-off 7-inch of “I Think You’re Alright” and “Rush” on Fat Possum Records in addition to embarking on her first proper tour with Mitski and Japanese Breakfast. Next up, Duterte will release her official full-length debut album for Polyvinyl in 2017, further welcoming listeners into her vision.

脏手指用自己最擅长的方式完成了《噢！脏手指：杭州的现场》。 这张专辑对于脏手指过去的音乐和现场几乎有着总结性的意义。它收录了脏手指在2020年7月31日杭州Mao的演出中，最能还原现场感的三首新歌和七首老歌。老歌之中，三首来自《猴子王》，三首来自《我怎么学的这么坏》，一首来自《滥情三部曲》。 专辑实体不仅包含CD，也包含相应的演出DVD。 词曲：脏手指 制作：脏手指 演奏：管啸天（主唱/吉他）邴晓海（吉他/伴唱）张海明（贝斯/伴唱）李子超（鼓） 录音/混音：沈帜 母带：李平 封面摄影：钟林江 封面设计：王靓 管啸天

The trails that Brooklyn’s Big Thief -- Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums) -- take us down on Capacity, are overgrown with the wilderness of pumping souls. After last year’s stunning Masterpiece, Capacity was recorded in a snowy winter nest in upstate New York at Outlier Studio with producer Andrew Sarlo. The album jumps right into lives marked up and nipped in surprisingly swift fashion. They are peopled and unpeopled, spooked and soothed, regenerating back into a state where they can once again be vulnerable. Lenker’s songs introduce us to a gallery of multifacted women and deal with the complicated matters of identity — at once dangerous and curious, though never unbelievable. Lenker shows us the gentle side of being ripped open. Tricked into love, done in and then witnessing the second act of pulling oneself back together to prepare for it to all happen again, but this time to a sturdier soul, one who is going to take the punches better than ever before and deal some jabs and roundhouses of their own. The album is thick with raw, un-doctored beauty: most of the songs on Capacity were played for the first time in the studio and were recorded the same day. “There is a darker darkness and a lighter light on this album,” Lenker explains. “The songs search for a deeper level of self-acceptance, to embrace the world within and without. I think Masterpiece began that process, as a reaction from inside the pain, whereas I feel Capacity examines the pain from the outside.”

“The Knees Start To Go” comes on the fifth anniversary of Boiled Records: a combined effort by two of the label’s staple artists, Flanafi and Ape School. Flanafi is the musical disguise of one Simon Martinez, who has played with artists including Jazmine Sullivan, Marsha Ambrosious, Kiefer and Boiled’s own Pulgas. Ape School is the occasional recurrence of Michael Johnson, who has played with Lilys, The War on Drugs, Kurt Vile, Daedelus and Holopaw among others in his now two decade “career." This release follows Flanafi’s “Do You Have My Money” and Ape School’s “You Don’t Listen." both out in the latter months of 2020 to a truly pandemical reception. Martinez was a student under Johnson’s university tutelage in the middle part of the 2010s, and they developed a working relationship via many hours in a rotting old studio in downtown Philadelphia. Concentrated studies included: spelunking the value cave of absurdity, creating music while actively removing one’s own brain from the equation, and general explorations in letting one’s instincts dictate direction. Budget Eno on a private school price tag. Paradox eternal which still confuses them both. In the end, these years laid the groundwork for a very natural back and forth this time around. This collaboration followed a relatively simple... trajectory: Flanafi painted the picture and colored it in while Ape School blurred the edges and added melting palm trees and an occasional stump to the landscape. The resulting effort combines a host of approaches and influences, producing a work that should baffle and delight in equal measure. For some, these two reactions are codependent. An amalgam of synthetic and natural sound: bird calls clashing with ARPs, hiss fighting for room with gnome r&b choruses, carried always by Flanafi’s stunning musicianship and plaintive vocals. Some would some say prog, but that’s likely because we’re all musically moronic at this point. Open your ears and see what you might hear, people. The new is the old all over again, and vice versa, foreverandever, amen. "The Knees Start To Go" will be released digitally and on 12" vinyl on May 25, 2021. more

1990年，朱哲琴开始与何训田合作，走上了艺术化歌曲的创作道路。1992年出版的《黄孩子》，使得朱哲琴在音乐发烧友中小有名气。《黄孩子》是一张极富个性、创意、高水准的专辑，充分反映了现今身处在西方文化泛滥的社会里的人们那种矛盾的心情。而最动人之处，便是朱哲琴寂寞的声线，沙哑、娇小，但充满着反叛，直达听者的心灵。

Stephen Bruner, bka as Thundercat returns with his follow up to 2015s The Beyond / Where the Giants Roam . The latest album titled Drunk is released on Flying Lotus Brainfeeder label and features production from Flying Lotus himself. After attaining national attention following his Grammy award winning collaborations on Kendrick Lamar s To Pimp A Butterfly , Bruner delivers arguably his most ambitious work to date. Vocal features include Michael McDonald & Kenny Loggins, Kendrick Lamar, Wiz Khalifa and Pharrell. In addition to Kendrick Lamar, Thundercat has worked with a wide range of artists including Erykah Badu, Childish Gambino, Mac Miller, Ty Dolla $ign, Bilal, Suicidal Tendencies, Kamasi Washington, Terrace Martin and more making him one of the most in demand musicians of our time.

Artist：Pg.Lost Album ：In Never Out Date ：2009.12.11 Style ：Post Rock、Experimental、Alternative、Indie Myspace： Website： 瑞典后摇嗲团Pg.Lost，伴随他们的巡演而早泄的09专辑，更加深沉与内敛。

Black Country, New Road return today with the news of their signing to Ninja Tune, who will release their much-anticipated debut album "For the first time" on February 5th 2021.Recorded with Andy Savours (My Bloody Valentine) during the early part of this year and then finished at the end of the nationwide lock-down, the album is the perfect capturing of a new band and all the energy, ferocity and explosive charge that comes with that whilst also clearly the work of a group who have no interest in repetition, one-note approaches or letting creative stagnation set in. Featuring six new songs including reinterpretations of early tracks "Sunglasses" and "Athens, France", "For the first time" is a sonic time capsule that somehow manages to bottle the past, the present and the future. “We wanted it to sound exactly how we love to sound live,” says saxophonist Lewis Evans. “This is basically representative of our first 18 months”, continues frontman Isaac Wood. Indeed the band found they had to stop themselves running too far ahead in order to document this album in a way that felt as truthful as possible. “We see this as being a stop in the road” explains Isaac. I've always been interested in a really honest portrayal of what a band is and what they've been working on. I think it's really nice if people can see an artist like: this was them in the early days, this was their next phase and that they're quite clear and honest about genuine progression as people and musicians.” The band have today also shared the new track, "Science Fair", alongside an interview with The FADER. Minimalist and foreboding, "Science Fair" opens around their rhythm section, precise percussion and bass locking in to allow a residual build from the rest of the band, viola and sax loop and layer over fits and squalls from dual guitars, a synth break and an ever-anxious narrative laid down by Isaac Wood. Climbing towards his desperate exclamation of - "it's black country out there!" - the song caves in on itself during a blistering, caustic final breakdown. Already a live favourite, "Science Fair" is paired to a video directed by Bart Price who said the following about its themes: "When developing the music video for 'Science Fair', I was thinking about fictitious worlds that we visit through our screens, such as the American high school. Despite our lack of direct experience, these worlds become a universal means of communicating about and understanding things like what it means to grow up, or what it means to be in a friendship group, or to be in love. I wanted to create such a world around Black Country, New Road, placing their music at the heart of a small American town, that in a sense we’ve all been to and lived in." Despite having just those two early singles to date, Black Country, New Road - their name originally found on a random Wikipedia generator - have made an impressive impact on fans and critics alike. Declared “the best band in the world” by The Quietus, with glowing reviews from The New York Times to The Guardian, a cover feature for Loud & Quiet, a live BBC 6 Music session, selling out shows across the country (including 1700 tickets in London), being invited to festivals around the world including Primavera and Glastonbury, and finding themselves on French TV sandwiched between Sonic Youth’s Kim Gordon and Radiohead’s Ed O’Brien. Their live performances gaining legendary status among fans of the emerging scene that coalesced around vaunted south London venue The Windmill, and which gave rise to many of their peers and contemporaries such as Fat White Family, black midi and Squid, artists with whom they have variously supported, toured with and collaborated with over the years.

The English band’s nervy debut blazes through scraps of jazz, funk, krautrock, dub, and punk. More than a canonized style, it’s their level of control that sets them apart.

The Pakistan-born, Brooklyn-based composer draws from jazz, Hindustani classical, and folk to create a heartbreaking, exquisite document of the journey from grief to acceptance.

Third release from experimental indie rock act feat. Brian McMahan (Slint, Squirrel Bait) with John McEntire (Tortoise).2000 release. Standard jewel case.

Originally released in January 1987. Contains 12 tracks in all. Eleven original and a cover of Leonard Cohen's 'Who By Fire'. Marc Almond sings backing vocals on 'Who By Fire' & 'Slur'.

Remastered UK reissue of 1984 debut album by British industrial/experimental/ambient/electronic outfit led by John Balance & Peter Christopherson (ex-Throbbing Gristle, Psychic TV). Produced with Clint 'Foetus' Ruin. 2001 release.

Take Me Apart is the upcoming debut studio album by Ethiopian-American singer and songwriter Kelela, scheduled for release on October 6, 2017 through Warp Records.

When tUnE-yArDs, a.k.a. Merrill Garbus, announced her new record Nikki Nack, she streamed a megamix of the album’s 13 tracks. Tucked somewhere in that audile assemblage was the whooping “Water Fountain”, which has now been released in full as the first single. “Water Fountain” is full of tUnE-yArDs’ signature off-the-wall energy, heavy on eclectic percussion and odd little bings and zings. We know Garbus brushed up on her rhythmic training on her recent Haitian excursion, but the song’s lyrics make it seem she also left the island nation more in tune with its people’s hardships. “Nothing feels like dying like the drying of my skin and lung,” she sings, “while we just sit here while they watch us wither till we’re gone.” Not that the song is a downer by any means, with the undeniable beat and lines about cherry pies and two-pound chickens keeping things lively. Take a listen below. Nikki Nack is due May 6th via 4AD Records. Pre-orders are now ongoing, and LPs purchased through 4AD’s or tUnE-yArDs’ websites will receive a limited edition 7-inch of “Water Fountain”. tUnE-yArDs has also announced a massive summer touring schedule, which includes opening spots for Arcade Fire and stops at the Sasquatch!, Firefly, and Forecastle music festivals. Consult the schedule following the album art and tracklist.