The end of 2019 was soundtracked by one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller Uncut Gems. Unknowingly, Lopatin captured a universal feeling of dread that cuts even deeper in the current state of world affairs. And now, just as many artists are leaning into a newly discovered darkness as this year closes, Lopatin turns his dial towards a frequency of profound self-awareness on an even deeper journey inwards towards peace. With the backdrop of re-imagined programming for a soft rock-era format that symbolically spans from morning drive into late night hours, Magic Oneohtrix Point Never, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career.

In a Poem Unlimited is an album by U.S. Girls, the solo project of Toronto-based American musician Meghan Remy. It was released on February 20, 2018 through 4AD.

見怪不怪 美不勝收 打破世俗標準的審美觀 包容大千世界的惡與善 亞洲流行天后 蔡依林 JOLIN最新專輯 UGLY BEAUTY 11首心靈探索自問自答 最誠實的私密音樂日記 2018.12.26 全球怪美發行 【怪美珍藏版】 [Pandora's Box] 雙層四方開特殊包裝盒+歌詞拉頁 最誠實的Jolin！ 「曾覺得沒有做到100分的自己什麼都不是」 最實驗的Jolin！ 試驗多種不同曲風，忠於音樂的直覺，將自己打掉重練11首新歌 繼2014年「呸」《PLAY》掀起全球話題熱度並創華語流行音樂經典模範後，亞洲流行天后Jolin蔡依林睽違樂壇四年的新專輯《UGLY BEAUTY》終於在12月壓軸登場！上一張專輯從自身觀點去探討社會上各種表面現象，這次新作品回歸內心層面，Jolin從不斷地自問自答、自我探索內心的過程中，發現到正視並擁抱自己的陰暗醜陋面，得到的反饋是美好的！ Jolin透過主題《UGLY BEAUTY》的「情緒」與「慾望」探討人類的「感」「觀」，打破世俗對於美與醜的二分法並重新定義！ 這兩年對心理學有興趣的Jolin，透過心理學大師榮格的書，開始挖掘內心世界及探索自己，Jolin表示：「以前是沒有做到一百分，我就會很自責，我覺得我是一個不值得一提的人。」而這個摸索過程卻意外發現到曾經那個總想要考一百分、證明自己｢我可以」的Jolin，一直忽視內在陰性的力量而忘記如何好好愛自己；透過這樣的挖掘過程，於是聯想到《UGLY BEAUTY》主題為新專輯催生，Jolin表示：｢對我來說面對自己UGLY的一面就是情緒的一環，當你開始面對它之後，獲得的反饋是很美好的、更多的愛與同理心，你會很了解你自己當初作這件事情的決定，就不太容易去批判自己及批判別人！」新專輯的誕生過程Jolin透過不斷的探討、認識自己，專輯製作過程歷經多次的｢打掉重練」，新專輯完整紀錄、呈現Jolin這段「認識自己」的旅程「感」「觀」，也將會是Jolin歌唱生涯中最｢誠實」的一張專輯！ 為什麼專輯取名為《UGLY BEAUTY》？ 所謂的UGLY BEAUTY，其實指的不單是外表的美與醜，更多是想表達內在心理層面的兩極：善與惡/好與壞/哭與笑/開心與難過/黑暗與光明/脆弱跟強壯/正確跟不正確....，而所謂的惡，指的則是那些常常我們自己嫌惡的情緒特質：嫉妒、憤怒、自卑、脆弱、慾求不滿等等，因為知道他們不符合理想的審美，所以收在內心陰暗的房間裡不去正視它，但因為長期故意忽視他們，他們總會以各式各樣不同的樣貌出來犯案，於是有自殘、莫名的沮喪、消極、攻擊性、生氣、自負、欺負、鄙視別人等等，Jolin想要表達的是:只有打開心房，去認識自己內在的陰暗面，能夠辨識出他們，當他們幻化成各式各樣不同的樣貌在日常生活出現時，你才能夠指認出來他們的原型，就會慢慢有能力不被這些負面力量所吞噬並學習跟他們相處、理解他們的樣貌及必要性。而關於同理心，就是明白這些所謂惡的樣式，下一次若是你在別人身上看到他們發作，你能理解並同理對方，也許就比較不容易受到傷害！ 最多創作的Jolin！ 全新自組音樂寫作營 參與新專輯創作 4年製作期橫跨歐亞 從台北到曼谷 遠征斯德哥爾摩 Jolin打破過去專輯製作的收歌方式，以全新的創作模式自組音樂寫作營，親自參與音樂人集體創作的方式，完成新專輯《UGLY BEAUTY》的歌曲。 Jolin親自「泡」錄音室參與創作的集思廣益，除了在台北還飛到曼谷，甚至遠征斯德哥爾摩，分別透過這幾個城市音樂寫作營的音樂人撞擊合作，動員近百位跨國音樂人，體驗到與不同地區的音樂人關在錄音室一周，一起腦力激盪的有趣過程，不但激發出Jolin自我潛能，更讓Jolin的創作力大爆發，新專輯一口氣參與了六首歌的創作作品。新專輯《UGLY BEAUTY》不僅將會聽到Jolin首次嘗試的創作模式，更將猶如大滿貫地聽到「創作力大爆發」及「最具Jolin 創作力」的一張專輯！ Jolin表示：｢自由的創作過程中，我探索出讓自己感動的聲音，而且跟不同的創作營合作，給我很大的推進力，一起做音樂討論、用不同的語言方式去表達你想要什麼，除了蠻過癮、蠻好玩之外，作品應該會讓大家聽了跟我一樣很有感覺！」 新專輯匯集來自世界各地音樂的創新作品，及主題《UGLY BEAUTY》多元化的探討內容，新專輯「實驗性」的成份、曲風不同以往，Jolin秉持「忠於音樂」的直覺，勢必將帶給華語流行樂壇更多的衝擊力、聽覺的新感官！勇於接受挑戰的Jolin表示：「我就是想試！」專輯製作過程中Jolin喜歡自問自答，也非常好奇、察覺女性力量及影響力，原本新專輯想探討｢什麼是女人」，投入的過程中發現自己才是最佳的｢實驗對象」，便開始一股腦地挖出內心世界的東西去探討，發現｢情緒」正是影響自己及他人的關鍵點，因此常自問自答｢自己是什麼樣的女人」；Jolin表示：｢一直覺得我在女性這個角色少了一點東西，雖然大家看我外表像公主樣子，但我一直自認內心是個男人！這樣的衝突點像是漩渦一樣，讓我不由自主地想要去研究。 」 從承認脆弱中得到力量　Jolin進化為Fighter 也是 Lover UGLY BEAUTY怪美珍藏版　時尚界頂級團隊聯手 當你有足夠的勇氣去探索黑暗 就會發現自身光明的無限力量 出道以來首張酷帥黑白封面　浴火重生自信登場 Jolin新專輯《UGLY BEAUTY》預購首日限量一萬張的［怪美精裝版］被搶購秒殺，預購主視覺的無辜眼神搭配「真理之口」的飾品首次讓她展現出「脆弱的力量」！ 「無論我們追求的程度有多高，只要我們想擺脫完美主義的束縛，心態就必須從『擔心大家怎麼想』轉為『我已經夠好了』。那轉變是從克服自卑和自我包容開始。為了接納自我、背景、信念，以及生活中的不完美，我們必須放自己一馬，欣賞自己的缺點和瑕疵。對自己和彼此更寬容，也用我們對我們愛的人的語氣和自己對話。」 而這一次新專輯，Jolin就想透過她的眼神和聽眾們對話；粉絲期待多時的［怪美珍藏版］終於曝光，這一次Jolin又大膽選擇了出道以來的首張黑白唱片封面，她選擇這張照片的理由是這一組暗黑系照片，帶給她很有力道又有自信的感覺，她就像是一位勇者無懼的Fighter，但她同時也是一位Lover，不管外面世界如何混亂是不是一堆爛泥，是不是骯髒的，她還是願意去當一位鬥士，她同時也是一位愛人，會帶領大家勇敢對抗這些負能量！ 珍藏版也特別邀請台北時尚雜誌界最受歡迎的攝影師江民仕以及香港最紅的造型團隊Tanglai & FORMZ聯手合作，打造最前衛的UGLY BEAUTY美學！ 江民仕為了創作出一個末日感的鬥士戰場，在片場搭景以夕陽西下，世界陷入一片黑暗前的沙漠環境， Jolin畫上看似無眉的煙燻妝，穿上英國前衛設計師Gareth Pugh的西裝外套搭配超短褲和長皮靴，高冷的站在火圈當中，象徵浴火之後的重生！ 專輯內頁也展示了歐美最新潮的時尚設計師話題作，包含首度讓英國伊莉莎白女王現身倫敦時裝週，並頒發第一屆「伊莉莎白二世英國設計獎」的得主，英國新銳設計師Richard Quinn同名品牌秀服以及本季以迷幻復古和80年代頹廢風再度成為焦點的 Marc Jacobs！ 金曲設計師顏伯駿，聽完了整張專輯UGLY BEAUTY的企畫概念之後，和企劃討論出了[Pandora's Box]的包裝概念，因為這一張專輯Jolin想探索的是人性的光明和陰暗面，其中一個企劃方向中提到「潘多拉的盒子」，這個希臘神話傳說，是關於人類世界的第一位女性誕生，非常接近Jolin新專輯想探討的陰性主義，潘朵拉因為好奇心打開了盒子，卻釋放出罪惡和災難等負面效應，這也是第一個關於人類原罪學探討的起源，但這個故事的寓意，卻在告訴人們擁抱希望的重要性，因為當時唯一被留在盒子內的就是「希望」，這也和Jolin新專輯《UGLY BEAUTY》中有探討的善與惡非常類似，不管經歷過多少的災難和考驗，黑暗和痛苦，但最後還是有希望和光明的存在！珍藏版的內頁設計像是打開一個紙盒的概念，一層一層的打開，從黑暗到光明，看到不同面相的Jolin，就像是每一個女人的內心裡都住著黑皇后和白皇后，她們彼此內心交戰，卻也可能是一體兩面，缺一不可！

Japanese pressing of her debut album includes the UK bonus track, 'Play Dead' along with the Japanese only bonus track, 'Atlantic'. 13 tracks in all, including lyrics to all tracks . 1994 release.

Julien Baker, Phoebe Bridgers, and Lucy Dacus formed boygenius after booking a tour together, but the trio had subconsciously been in the works for longer than that. Through a series of tours and performances together, and chance encounters that led to friendships – including Bridgers’ and Dacus’ first in-person meeting backstage at a Philadelphia festival, greenroom hangouts that felt instantly comfortable and compatible, a couple of long email chains and even a secret handshake between Baker and Dacus – the lyrically and musically arresting singer-songwriters and kindred spirits got to know each other on their own terms.

For the past two years, Nils Frahm has been building a brand new studio in Berlin to make his 7th studio album titled All Melody. Since the day Nils first encountered the impressive studio of a family friend, he had envisioned to create one of his own at such a large scale. Fast forward to the present day and Nils is now the proud host of Saal 3, part of the historical 1950s East German Funkhaus building beside the River Spree. It is here where he has spent most of his time deconstructing and reconstructing the entire space from the cabling and electricity to the woodwork, before moving on to the finer elements; building a pipe organ and creating a mixing desk all from scratch with the help of his friends. This is somewhere music can be nurtured and not neglected, and where he can somewhat fulfill his pursuit of presenting music to the world as close to his imagination as possible. His previous albums have often been accompanied with a story, such as Felt (2011) where he placed felt upon the hammers of the piano out of courtesy to his neighbours when recording late at night in his old bedroom studio, and the following album Screws (2012) when injuring his thumb forced him to play with only nine fingers. His new album is born out of the freedom that his new environment provided, allowing Nils to explore without any restrictions and to keep it All about the Melody. Despite being confined within the majestic four walls of the Funkhaus, buried deep in its reverb chambers, or in an old dry well in Mallorca, All Melody is, in fact, proof that music is limitless, timeless, and reflects that of Nils’ own capabilities. From a boy’s dream to resetting the parameters of music itself.

EP叫《维他命D》，因为写这四首歌的时候我们正缺，宇航员在宇宙中也容易缺。我们一边补维他命D一边像宇航员一样漂浮在自己的颅内宇宙中，打磨这块属于我们自己的2020太空漫游黑石。对于表情银行来说这绝对是一张特别的EP，里面存满了特殊日子里的特殊表情。这段日子里我们虽然缺维他命D但超级不缺时间，所以四首歌每个角落都翻来覆去地思考打磨过，希望你们能得到一些惊喜。

You Won't Get What You Want is the fourth studio album by American rock band Daughters. It was released on October 26, 2018, through Ipecac Recordings. It is the band's first album since they broke up in late 2009.

The sleeve tells you so much about the process. It's a picture of a lone figure. Suited up and immersed in interplanetary protective gear, he walks out across unmapped terrain. In the distance, a mountain range towers over the roughly gridded sand he's striding. This is very much a solo mission - giant steps into the unknown. Inside the helmet, there's all the uncertainty and madness that such a pursuit brings. That sleeve (designed, as ever, with Mark Farrow), comes wrapped around And Nothing Hurt - Spiritualized's eighth album, the follow up to 2012's Sweet Heart, Sweet Light. From the opening lullaby of A Perfect Miracle through to the fading Morse Code at the close of Sail on Through, it painstakingly wraps layer upon layer of gloriously transcendent sound together to create a mesmerizing and cinematic collection of songs. There are points - the thunderous climax of On the Sunshine; the spectral waltz of The Prize; the towering guitar solo on I'm Your Man - where the waves of blissful noise are almost overwhelming, where one can imagine the studio's speakers vibrating themselves off of the walls. Which is an incredible feat when you discover that the album was conceived and recorded almost entirely by one man - Jason Pierce, AKA J.Spaceman - in an upstairs room in his east London home. Sat in an edit suite in Whitechapel a month or so after finishing recording, Jason talks honestly about the painstaking, frustrating process of creating And Nothing Hurt. "Making this record on my own sent me more mad than anything I've done before. We'd been playing these big shows and I really wanted to capture that sound we were making but, without the funds to do, I had to find a way to work within the constraints of what money I had. So I bought a laptop and made it all in a little room in my house." Whereas bedroom recording is commonplace for a generation of musicians who've grown up with horizon-expanding tech, Spiritualized have long used the studio as they would an extra member of the band - as a vital building block in the construction of some of the most cherished records of the modern era. This time would be very different. With no grounding in digital recording, Jason had to learn everything from scratch. "The biggest thing for me was to try to make it sound like a studio session. There are bits that I went to a studio to record - mainly drums and percussion. I mean, there's no way I'm going to get timpani up my stairs. When I came to terms with how I was going to make the record, I assumed it was going to sound like Lee Perry - all flying in from different angles; all extraordinary and not hi-tech in construction. But I was new to it all, I didn't have all the short cuts people use when they're making records - I just sat there for weeks… for months… moving every level up bit by bit just to try to get the sounds right." For the listener, the nine tracks on And Nothing Hurt effortlessly replicate the scale and power of Spiritualized's previous releases, whether it's the sonic blowback of On the Sunshine, the last dime in the jukebox love letter of Let's Dance or the swell of an imaginary orchestra that seems to lift Damaged towards the heavens as it plays out.

With The Lion King: The Gift album, Beyoncé curated a masterful recording, a robust soundscape bringing together some of her favorite artists with the most talented and important African artists of the day to both pay tribute to the iconic film and bring the authentic sounds of African music to the world.

Multi-platinum, award-winning SRP/Def Jam recording artist -and CoverGirl spokesperson - Rihanna has taken over the charts with her # 1 smash single "Umbrella" (featuring JAY-Z) and her chart topping album GOOD GIRL GONE BAD. Rihanna's third album release in less than two years, GOOD GIRL GONE BAD is the follow-up to 2006's platinum A Girl Like Me, with the back-to-back #1 hits, "S.O.S." and "Unfaithful"; and her gold debut from 2005, Music Of the Sun, featuring the worldwide smash, "Pon De Replay." GOOD GIRL GONE BAD boasts the production skills of Timabland, C. "Tricky" Stewart, Stargate, and the team of Evan Rogers and Carl Sturken (responsible for "S.O.S." and "Pon De Replay"), as well as songwriting contributions from Justin Timberlake and Ne-Yo, among others.

五年前的作品「My Life Will…」发行后深受好评「宝贝」温暖了许多人的心金曲奖最大遗珠之憾　张悬说：评审是要我更努力… 五年前录制好的专辑，却因为许多现实的问题始终无法顺利问市，五年之中，张悬选择在Live House的舞台上作最忠於自己的表演。2006年，张悬以一个新人的姿态终於在纷乱的国语唱片市场发行了这张五年前的作品「My Life Will…」，没有喧哗的操作手法，没有铺天盖地的艺人曝光，这张专辑凭着独特的音乐气氛和真诚而温暖的感染力感动了许多人。 浑然天成的创作「宝贝」成了2006年最具感染力的单曲，张悬的官网上陆续有人写下从这首歌得到的感动和安慰，不论是亲情。友情。爱情…，「宝贝」这首歌成了许多人2006年夏天中某段时光的主题曲，也让张悬在2007年的金曲奖中开出漂亮的四项入围成绩单。 虽然张悬成了今年金曲奖最大的遗珠之憾，但在金曲夜，她的脸上却没有失落之情。她带着兴奋开心的心情和许多长久以来一起以独立精神作音乐的朋友一同出席颁奖典礼，为他们出色的表现而喝采，典礼结束，她赶往录音室继续进行新专辑的录音工作，工作结束后她来到唱片公司准备的聚会现场，发表的感言中尽是对所有工作人员的感谢。 张悬说：我很开心，今天我见到了所有我想见的人，包括爸爸妈妈，我的朋友，所有的工作人员…这是我五年前的作品，我知道，评审要我更努力… 新专辑所有歌曲自己创作。编曲。制作… 所有的努力。嚐试。摸索　只为作出一张活生生的专辑专辑名称「亲爱的……我还不知道」　来自对音乐的信心和尊敬 金曲奖项全数落空，张悬不觉失落，但在新专辑的制作过程中，张悬却经历了无数次期待。嚐试。挫败。重新再来…，失望与惊喜，高低起伏不定的心情。 最新专辑「亲爱的…我还不知道」是张悬遇到李寿全老师后第一张正式的作品，爱才的李寿全老师，即使明明知道张悬对音乐的执拗会辛苦了她自己，却仍给予她创造理想音乐的空间和时间，以及支持和陪伴。 这张专辑中除了全数都是张悬自己的创作之外，她更自己担任了所有歌的编曲并参与制作的工作。在国语音乐已经发展成有如生产线般制式流程的今天，她仍坚持回归即使明知吃力不讨好，但她认为最理想的录音方式。她寻找愿意一同和她创作音乐的乐手，在练团室和录音室中重覆和乐手们琢磨呈现音乐的方式，她说一首歌中，所有的乐器都是活的，有他们自己的角色，有乐手们弹奏时的表情，而不仅仅止是歌声的伴奏而已。於是在她的理想之下，这张专辑的每个乐器都是Live录音，每个音符都是她和乐手们经过一再的讨论。实验创造出来的，每一首歌都在这样的过程中重新诞生一个样貌，於是成就了这样一张活生生的专辑。 然而成就这样一张活生生的专辑，代价就是要付出比一般专辑更多的时间和心力。录音过程中，许多同时出入录音室的歌手已经录完了一张专辑都发片了，唱片公司的工作人员承受着已经开始预购却还担心无法准时发片的时间压力，而张悬却还在录音室中一次次的重覆说着「再来一次」。 创作迷人和折磨人之处，是你总会相信，最好的那一次会出现在下一次的嚐试中。当工作人员询问专辑名称定为「亲爱的……我还不知道」的原因，张悬笑说，因为在这样不断实验的创作过程中，她最常说的三句话是「对不起…再来一次…我还不知道…」。 一个让人有勇气生活下去的声音听张悬的歌　好好心疼自己 经过了这五年多的生活历练，张悬觉得自己多少摆脱了青春期急於彰显自己的心态，也对生活和周遭所有的人充满了感恩的心情。这张专辑蕴涵了许多人与人之间的关系，爱的给予和失落，不被瞭解的时刻，冲撞和摩擦，感激和珍惜… 随着五年的时光过去，张悬的声音也充满了和上一张专辑不同的表情。那不再只是一个敏锐易感而又才华洋溢的女生对所有细节的体会和感受，更多的是在走过一段之后，对现下这一刻的明白，和带着诚意往前走的心情。 张悬，其实和我们每个人都一样，只是一个在时光中迈步前进的人，有时感受到自己和外在的世界格格不入，有时找不到陈述自己的字眼，有时渴望爱、渴望去爱，有时需要自己一个人安静一下… 於是在她的歌声中，我们终究跌入了自己的内心世界，想起那片刻的美好或艰辛。或许正因为如此，她的声音才充满了让人生活下去的勇气。比起心疼张悬为生活，或为音乐经历的一切，更重要的是：听张悬的歌，好好心疼自己。 「在所有人事已非的景色里，我最喜欢你」 最新发表创作「喜欢」…歌迷心目中最美好的经典曲目ＭＶ呈现时光流逝中的感伤之情 张悬五年多持续在Live House表演，听众对她的许多创作早已如数家珍，新专辑首支发表的单曲「喜欢」就是众多听众心中张悬的经典之一，其中的两句歌词「在所有人事已非的景色里，我最喜欢你」被许多人在网络上引用或作为签名档而广为流传。 专辑的录音版本中，张悬自己担任了古典尼龙吉它的演奏，钢琴则由曾为刘若英、许茹芸、蔡依林、李玟等人写曲，为几米「地下铁」音乐剧及「微笑的鱼」动画短片、电影「艳光四射歌舞团」、「十七岁的天空」作配乐，甚至获得金马奖入围肯定的陈建骐弹奏，呈现了感伤却又不失温暖的音乐氛围。 张悬不喜欢为自己的创作多作解释，她总说每个人只要在歌里找到自己需要的情感就好，无关乎她原来想说的是什么。 「喜欢」的音乐录影带由年轻的导演游绍执导，导演在听歌时想起了自己在时光流逝中的改变，於是将「在所有人事已非的景色里，我最喜欢的是最初的自己」作为拍摄的主题。为了呈现时光流逝的感觉，ＭＶ的对嘴大多在行进的火车厢中拍摄，ＭＶ的结尾导演安排让现在的张悬遇见了昔日的张悬，尽管时光流逝，两人之间不变的是对音乐的眷恋。 专辑预购创佳绩　巡回演唱门票热烈抢购珍惜来自网络的支持　「模样」ＭＶ选择在网络上独家首播 去年的「My Life Will…」专辑在发片前仅开放网络预购，却创下惊人的预购佳绩，唱片公司在这张专辑开放实体通路和网络的同步预购，希望方便更多支持张悬的听众朋友。 张悬的现场演唱充满感染力，去年发片时在北中南各地Live House举办的巡回演唱都出现开放售票后一周内门票就销售一空的状况，因此唱片公司这次特别增加了演出场次，希望更多人能有机会到场聆听，然而定在发片日将在台北THE WALL举办的演出仍然在开放售票一周内就门票售磬，唱片公司正积极洽询更多可容纳较多人数的户外场地，预计在发片后每周到各地举办演出，详细场次将在张悬官网随时更新。

혁오(hyukoh)의 첫 번째 EP 앨범 <20>이 발매된 지 겨우 8개월이 지났다. 교묘하게 숨어서 그를 괴롭히던 죄책감이 한결 덜어진 두 번째 앨범에서는 감성은 짙어지고 자유로움은 더욱 선명해졌다. 이 짧은 기간 동안 갓 스무 살을 넘긴 신예로서는 감당하기 벅찰 만큼 다채로운 플랫폼과 만남의 기회가 주어졌다. 변변한 프로모션이나 마케팅조차 거의 없다시피 했으나 입소문을 타고 유명해진 혁오의 음악을 듣는 관객층은 점차 다양해졌고, 길거리에서, 클럽에서 소규모의 공연을 해왔던 그들은 이제 국내의 거의 모든 페스티벌에서 러브콜을 받고 공중파에까지 출연하기에 이르렀다. 게다가 프라이머리 같은 국내 최고의 프로듀서와 앨범을 작업하고, 셀 수 없이 많은 피쳐링 및 공동 작업을 제안 받으며 2015년의 최대 기대주로서 각종 매체의 인터뷰 요청도 끊이지 않았으니 완전히 포텐이 터졌다고나 할까. 그러나 이 다양한 플랫폼 위에서 입자와도 같은 개인들이 모여 형성된 벤다이어그램들은 어김없이 해체되고 말았다. 제목과는 달리 모순적이게도 정착하지 못하는 자신을 노래하는 1번 트랙 <Settled Down>과 해외에 거주하던 어릴 적부터 서울에 자리 잡은 지금까지 반복되고 있는, 익숙해지려면 떠나가 버리는 사람들과 그 관계들이 부각된 2번 트랙 <와리가리(Comes and Goes)>, 그리고 이번 앨범에서 멤버들이 가장 애착이 가는 넘버로 꼽은 5번 트랙 <Hooka>는 크게 변화한 환경 속에서 그가 인간관계에 대해 느낀 감정들이 적나라하게 담겨 있다. 이처럼 작동하지 않는 공동체로 인한 상처와 그로 인한 삶의 공터를 채우고자 하는 열망은 좀 더 순수한 방향의 음악적 실험으로 이어졌다. 지난 해 9월 첫 번째 EP 앨범을 발매한 이후로 밴드의 리더이자 혁오의 음악을 만들고 부르는 오혁은 정말로 쉴 틈 없이 달려왔다. 어릴 적부터 음악을 해왔지만 출구를 찾지 못했던 그로서는 이제 그간 본인이 토해내고자 했던 것들을 모두 분출할 기회를 찾은 것이다. 뮤지션으로서의 빠른 성공과 폭발적인 반응, 그리고 그의 밴드에 대한 기대감은 물론 감사한 일이지만 소극적인 성격의 오혁으로서는 마냥 기뻐하기에는 부담이 컸을 것이다. 그러나 그는 주춤거리기보다는 앞을 보고 직진하기로 마음먹었다. 첫 앨범이 결과물을 내놓는 것 자체에 집중했던 것이라면, 두 번째 EP 앨범 <22>에서는 고민에 고민을 더해 음악적 퀄리티를 더욱 높이고자 했다. 프로페셔널한 작업이 가능한 환경이 주어진 지금, 이전에는 시도하지 못한 새로운 음악적 테크닉에 대한 실험이 크게 반영된 동시에, 과장된 리버브와 이펙트를 과감히 덜어내고 오혁 본인 목소리의 본연적인 매력을 디테일하게 살리는 데에 공을 들였다. 그 결과 공간감을 더하거나 덜어냄으로써 오히려 더 가깝게 다가오게 된 그의 날것처럼 생생한 목소리는 기계적인 힘을 빌리지 않고도 제자리를 찾은 한편, 곡 하나하나를 가득 채우고 있는 풍부한 밴드 사운드 속에서 오히려 부각된다. 박정대 시인은 그의 시 <눈 내리는 밤>에서 이렇게 말했다. “사랑은 소리 없는 음악 소리를 내는 것과 같이, 서로를 연주하는 마음이 세상의 어떤 음악보다 깊은 시간”이라고. 4번 트랙의 제목 <Mer>는 불어로 ‘바다’를 뜻한다. 이 곡에서 오혁은 마치 세상 더 없이 깊은 심연과도 같은 바다 속으로 빨려 들어가듯 고요히 침잠하는 사랑을 노래하고 있다. 다만 놀라운 것은, 그가 이 곡을 19살에 썼다는 점이다. 당시의 그는 ‘어른스러운 사랑’을 동경했지만 그가 원하던 사랑의 형태는 사실 어딘가 이기적이고 자기중심적이었다. 지독하게 인간적이면서 낭만적이다. 낭만을 찾는 것은 사실 슬픈 일이다. 지금 내게 부재하는 감미로움을 그리워하는 것이기 때문이다. 3번 트랙 <큰새>는 이런 맥락에서 쓰인 곡이다. 바쁜 일정 속에서 오혁은 보름달이 뜬 어느 날, 자신이 마지막으로 봤던 달 역시 보름달이었음을 환기하고는 먹먹한 슬픔을 느꼈다. 달의 주기가 한 번 바뀔 때까지 하늘 한번 쳐다볼 여유도 없이 살아왔던 것이 안타까웠던 것이다. 한낮에 대기를 가득 메운 따스한 햇빛 속에서 사랑을 나누는 연인들의 나른한 온기가 느껴지는 6번 트랙 <공드리>는 프랑스의 영화 감독 미셸 공드리(Michel Gondry)에 바치는 곡이다. 그의 영화 <이터널 선샤인>을 생각하며 단번에 써내려간 이 곡의 멜로디와 뮤직비디오 영상, 미쟝센은 그에 대한 오마주이기도 하다. 혁오의 앨범에서 특기할 점은, 그의 노래뿐만 아니라 밀도 높게 이와 어우러지는 음악 외적인 아트웍들이다. 지금껏 앨범 커버를 작업해준 류경호, 노상호, 김인엽 작가와 그의 뮤직 비디오 영상을 담당하는 촬영 감독 정진수, 김성욱 OUI 감독, 그리고 조기석 작가 등 다양한 장르의 예술인들과의 콜라보레이션은 그들의 곡과 긴밀하게 작용하는 결과물들을 함께 만들어내고 있다. 서로를 알아보는 안목에서 시작된 오랜 관계 속에서 관심의 기저에 항상 함께하던 이들과의 협업이 혁오의 앨범 면면히 스며들어 있음을 잊어선 안 될 것이다. 우리는 어떤 꿈을 가지고 여기에 모여 사는가. 비록 곰팡내 나는 원룸 한 구석에서 동물원 우리에 갇힌 개미핥기처럼 몸을 웅크리고 살지라도 각자 소망하는 바는 햇빛 가득 내리쬐는 더운 날의 갑작스런 소나기처럼 청량하기 그지없다. 이번 앨범에서는 갑자기 소낙비가 퍼부을 때 허둥지둥 대는 인파 사이로 홀로 우산도 쓰지 않고 온 몸으로 쏟아져 내리는 빗줄기를 맞으며 길을 걸을 때의 단호한 상쾌함이 느껴진다. 폐쇄적으로 자신을 감추던 내면에서 바깥으로 자꾸 나아가면서 점점 그들 스스로를 드러내고 보여줘야 하는, 그러는 동시에 본인들이 원하든, 원치 않든 생성되는 관계들을 견뎌내는 법을 배웠다. 첫 번째 앨범이 인간으로서의 소명을 다하지 못하는 것 같아 애타는 심정이 돋보였다면, 이번 앨범에서는 존재성의 본질을 다시금 들여다보고 여유를 찾은 것이다. 음악적으로, 인간적으로 차근차근히 성장해나가고 있는 그들의 다음 행보를 다시금 기대해본다.

In 2018, Low will turn twenty-five. Since 1993, Alan Sparhawk and Mimi Parker—the married couple whose heaven-and-earth harmonies have always held the band’s center—have pioneered a subgenre, shrugged off its strictures, recorded a Christmas classic, become a magnetic onstage force, and emerged as one of music’s most steadfast and vital vehicles for pulling light from our darkest emotional recesses. But Low will not commemorate its first quarter-century with mawkish nostalgia or safe runs through songbook favorites. Instead, in faithfully defiant fashion, Low will release its most brazen, abrasive (and, paradoxically, most empowering) album ever: Double Negative, an unflinching eleven-song quest through snarling static and shattering beats that somehow culminates in the brightest pop song of Low’s career. To make Double Negative, Low reenlisted B.J. Burton, the quietly energetic and adventurous producer who has made records with James Blake, Sylvan Esso, and The Tallest Man on Earth in recent years while working as one of the go-to figures at Bon Iver’s home studio, April Base. Burton recorded Low’s last album, 2015’s Ones and Sixes, at April Base, adding might to many of its beats and squelch and frisson beneath many of its melodies. This time, though, Sparhawk, Parker, and bassist Steve Garrington knew they wanted to go further with Burton and his palette of sounds, to see what someone who is, as Sparhawk puts it, “a hip-hop guy” could truly do to their music. Rather than obsessively write and rehearse at home in Duluth, Minnesota, they would often head southeast to Eau Claire, Wisconsin, arriving with sketches and ideas that they would work on for days with Burton. Band and producer became collaborative cowriters, building the pieces up and breaking them down and building them again until their purpose and force felt clear. As the world outside seemed to slide deeper into instability, Low repeated this process for the better part of two years, pondering the results during tours and breaks at home. They considered not only how the fragments fit together but also how, in the United States of 2018, they functioned as statements and salves. Double Negative is, indeed, a record perfectly and painfully suited for our time. Loud and contentious and commanding, Low fights for the world by fighting against it. It begins in pure bedlam, with a beat built from a loop of ruptured noise waging war against the paired voices of Sparhawk and Parker the moment they begin to sing during the massive “Quorum.” For forty minutes, they indulge the battle, trying to be heard amid the noisy grain, sometimes winning and sometimes being tossed toward oblivion. In spite of the mounting noise, Sparhawk and Parker still sing. Or maybe they sing because of the noise. For Low, has there ever really been a difference?

《舌头乐队：小鸡出壳》在时间的流逝中，散发着它的经典性。“舌头”乐队来自乌鲁木齐，是北京地下音乐界的一队尖兵，首张专辑体现了“舌头”音乐中的火爆气息，在细听之后，你会发现所展现的是“舌头”理性的一面。

《编号89757》是来自一千年后的伴侣型机器人，完美的情人，在这个混乱的时代 让我们听见善良与希望，《编号89757》 是林俊杰充满未来感与科技感的最新创作专辑，俊杰相信认真做音乐是他唯一的使命。 林俊杰太认真，他的想法总是跑得太快，这次远远向前跑了1000年。不怕做错的林俊杰，脑海里的许多想法都争先恐后地跑出来，只希望尽力做到最好，永远只跟自己比赛。《编号89757》专辑的制作概念其实早在赴马来西亚宣传《江南》时就已成形，一直是”星际大战”的忠实观众的林俊杰拥有全部的影片。电影里对未来世界的描写，激发了他的创作灵感，于是着手用音乐制作了一部气势滂沱的科幻电影。《江南》的成功并没有让他沾沾自喜，没有休息，不想渡假，只想做出一张更新、更魔力的音乐作品。他的基因是音乐组织，是呼吸音乐而活的生化人。 林俊杰解释奇怪的专辑名称《编号89757》时说，他这次创作的概念是以一个来自3005年的未来战士的角度来关注今天的世界、生活，89757是机器人的编号，而自己就是机器人的化身，他希望通过充满科技感和梦幻色彩的时尚音乐，带给歌迷前所未有的体验。另外，林俊杰在新专辑中还会一改出道以来乖乖大男孩的讨巧形象，以更有质感的成熟造型示人。值得一提的是，此次被作为《编号89757》预售单曲的作品是林俊杰与师妹金莎合唱的《被风吹过的夏天》，另外，鉴于前段时间某唱片公司在未经林俊杰方面认可的情况下就为旗下歌手翻录《江南》一事，林俊杰特意赶录了一首《盗》收录在新唱片中，以表达自己对盗版的痛心疾首。

乐坛才女亲自担纲制作 集结亚洲顶尖幕后制作班底 全力打造内地歌坛天后 「金海心」踏新年钟声如约而至 ★初次全新另类迷幻曲风《此时 彼刻》 ★欧洲古典浪漫情歌《对他说》 ★再次掀起新一轮K歌热潮的《她比我懂你吗》 ★横扫中国百余家排行榜热门冠军单曲《对岸》、《悲伤的秋千》 《金海心》由金海心亲自担纲监制以及制作。向来对音乐有独到见解的海心，此次对集结了高水准的国内外幕后班底，由姚若龙填词、日本的作曲家Bonnie Pink创作的《听见》，是一首汇集亚洲顶尖制作水准的经典歌曲，特别是新加坡著名音乐人吴庆隆的编曲：将优美的钢琴旋律、大气的弦乐编排，与金海心高超的演唱相互呼应，犹如神来之笔，点睛之作，堪称经典不朽的传世金曲。法国作曲家Patrick Bruel 和Gerard Presgurvic的《对他说》，是学院派的典范，优雅得体的歌曲增加了此张唱片的含金量，绝对具有收藏价值的豪华金唱片。