一个凝结思绪，一个消融心防。不去高峰深谷，只奏息翕之波，潺湲流淌中又有百转千回。深厚的文化底蘊和自然的民間色彩，让人犹如脱离于嘈杂的凡尘，回归久违了的心灵安静。与听者时时相并相失，各持自在。让闻者忘返蚀骨销魂。使之沉沦弦节之侧，流连羽商之间。

全国４会場で行なわれたシークレットライブ映像にツアードキュメントや楽曲の制作過程などを収録したＤＶＤ。「発芽」「害虫駆除」ほか全９曲収録。

愈沉默愈有力量 强烈不安 灵魂震荡 自由奔放 沉默震撼 所有的种种因为她的音乐得到了立即释放 直接 纯粹 无法复制 来自灵魂最深处的穿透与爆发 杨乃文十一首歌曲 全部推荐

大正から昭和の歌謡曲とパンク・ロックを混ぜたような、まったく新しい構造をもつメロディと、セクシャルな情念やエロティシズム全開の破滅願望を詩的につづった歌詞。ヒステリックに爆発しまくるギターサウンドと、聴く者を威圧する巻き舌唱法。アヴァンギャルドにして大衆的な音楽性によって、一気に女性アーティストのトップにまで登りつめた、林檎嬢のデビュー作である。 そのあまりにも斬新なインパクトはその後、数多くのフォロワーを生み出すことになった。エロティックなルックス、コスプレっぽいビジュアルセンスも挑発的だ。（森 朋之） まったくとんでもない処女作である。ストイックでいながらなお湿り気を残した歌声が,聴き手の感情の源泉に強烈な爪痕を刻みつける。全曲シングル・カットOKのポピュラリティと,詩に象徴される寒気すら覚えるアナーキズムが絶妙に絡み合った大傑作。

The Lion and the Cobra is the debut album by Irish singer Sinéad O'Connor, released on 4 November 1987 by Ensign and Chrysalis Records. O'Connor recorded the album while in the later stages of pregnancy with her first child.

So what happens when one of the most exciting young producers around reworks one of the most acclaimed albums from a true legend? The result is Gil Scott-Heron and Jamie xx's We're New Here which sees Jamie xx re-imagining thirteen tracks from the original I'm New Here album sessions. * In February 2010, Gil Scott-Heron released I'm New Here, his first album in 13 years. Produced by XL Recordings head Richard Russell during various studio sessions in New York, the album was enthusiastically received by fans and critics alike. * Meanwhile, the last eighteen months have been meteoric for Jamie xx. His band The xx's self titled debut album (which Jamie produced) received huge acclaim, picking up 2010's prestigious Mercury Music Prize, while Jamie garnered respect for his remixes (in particular of Florence & The Machine's `You've Got The Love' and more recently Adele's Rolling In The Deep) and solo productions (single `Far Nearer' on Numbers).

《If I am in Love with You》像一剂黯淡的香水，它能舒缓地融入你的一呼一吸之间，在不经意间使周围充满迷幻异香。如果你稍加留意，它便将你从现实中抽离，进入余音袅袅的冷调幻境。 半念白式的唱腔透过层层雾气，仿佛诗人醉倒在月光沙漠上说的梦话；吉他时而冰冷地绘下画龙点睛之精彩乐句，时而化作充满荒诞美学的Riff娓娓道来；萦绕于半空的合成器为整个幻境勾勒出金色边框，反射出的泛光迷了双眼；简易设置的老式模拟鼓机声响则展示着稳扎稳打的神经脉络，在 TOW 所描绘的光怪陆离世界中，事物围绕着它婉转有机地生长。 2016年，TOW 成立于北京，成员为杨帆和刘舸。 从北京朋克时期的挂在盒子上和哎吆乐队，到 D-22 时期的 Ourself Beside Me 与 The Molds，二人的多年的音乐生涯和审美转变是如此的接近。从2006年就相互结识并成为“琴友”的他们，经过十年的漫长时光才组成 TOW，但这份无间的默契早在十余年前就深埋在二人之间了。对他们来说，TOW 是二人对于乐队组成形式的最新探索，也是二人将彼此多年音乐经验进行提纯，凝聚精华所汇成的联合精酿。 两个以旋律为主导的乐队核心人物碰到一起，代表着 TOW 的作品从来都不会缺失美妙的旋律，这从专辑同名开篇曲目就不折不扣的展露出来。不过，可别急着沉迷于那略有俏皮意味的开篇曲，它在曲目结尾处已经预示了接下来阴雨绵绵的景象。或是一部留下疤痕的悲剧，或是一场气数已尽的游戏，或是醉倒在被虚度的明天，又或是对往事残影的爱恨交织，它们是一扇灰暗的大门，TOW 用手中的乐器为它涂上了色彩，等你去开启。 专辑《If I am in Love with You》的创作/录制/混音均于杨帆的家中完成，由来自大洋彼岸 The Brian Jonestown Massacre 乐队的吉他手 Ricky Maymi 担任制作人，母带制作依然是来自杨帆个人专辑《What Happened After 1,001 Nights?》的母带师 Garrett Haines。 在创作角度上，杨帆在此专辑中首次尝试先用音色去创作动机，而非根据内容框架寻找音色。吉他、鼓机、合成器，虽然杨帆在专辑中使用的乐器都是再平常不过的、在家中随手拿起的设备，但从她独特的语境所道出，这些声音便被赋予了不可名状的神秘气息。而刘舸随后加入创作后，歌曲更是被调和出了颇具张力的浪人气质，在曼妙的旋律中注入了更加阴沉的色彩。 对杨帆来说，《If I am in Love with You》是对自己目前音乐生涯的一次小结，专辑中收录的7首歌曲分别隐秘地记录了她与刘舸共同经历的七个不同时期，每首歌不同的情绪气质则作为线索串联起了整张专辑。 给迷幻音乐增添冷艳的想象力，将冲浪摇滚用舒缓的方式展开，把情歌注入浓郁的 Cult 色彩……当今敏的《红辣椒》交到了昆汀手上，我们便得到了 TOW。

On her first proper album as Jay Som, Melina Duterte, 22, solidifies her rep as a self-made force of sonic splendor and emotional might. If last year's aptly named Turn Into compilation showcased a fuzz-loving artist in flux—chronicling her mission to master bedroom recording—then the rising Oakland star's latest, Everybody Works, is the LP equivalent of mission accomplished. Duterte is as DIY as ever—writing, recording, playing, and producing every sound beyond a few backing vocals—but she takes us places we never could have imagined, wedding lo-fi rock to hi-fi home orchestration, and weaving evocative autobiographical poetry into energetic punk, electrified folk, and dreamy alt-funk. And while Duterte's early stuff found her bucking against life's lows, Everybody Works is about turning that angst into fuel for forging ahead. "Last time I was angry at the world," she says. "This is a note to myself: everybody's trying their best on their own set of problems and goals. We're all working for something." Everybody Works was made in three furious, caffeinated weeks in October. She came home from the road, moved into a new apartment, set up her bedroom studio (with room for a bed this time) and dove in. Duterte even ditched most of her demos, writing half the LP on the spot and making lushly composed pieces like "Lipstick Stains" all the more impressive. While the guitar-grinding Jay Som we first fell in love with still reigns on shoegazey shredders like "1 Billion Dogs" and in the melodic distortions of "Take It," we also get the sublimely spacious synth-pop beauty of "Remain," and the luxe, proggy funk of "One More Time, Please." Duterte's production approach was inspired by the complexity of Tame Impala, the simplicity of Yo La Tengo, and the messiness of Pixies. "Also, I was listening to a lot of Carly Rae Jepsen to be quite honest," she says. "Her E•MO•TION album actually inspired a lot of the sounds on Everybody Works." There's story in the sounds—even in the fact that Duterte's voice is more present than before. As for the lyrics, our host leaves the meaning to us. So if we can interpret, there's a bit about the aspirational and fleeting nature of love in the opener, and the oddity of turning your art into job on the titular track. There's even one tune, "The Bus Song," that seems to be written as a dialog between two kids, although it plays like vintage Broken Social Scene and likely has more to do with yearning for things out of reach. While there's no obvious politics here, Duterte says witnessing the challenges facing women, people of color, and the queer community lit a fire. And when you reach the end of Everybody Works, "For Light," you'll find a mantra suitable for anyone trying, as Duterte says, "to find your peace even if it's not perfect." As her trusty trumpet blows, she sings: "I'll be right on time, open blinds for light, won't forget to climb."

听见一种幸福足以悲伤　用最温柔安静的方式感动你 来自草原的寂静天籟　别无所求的灵魂之歌 金曲奖最佳跨界专辑《狼图腾》之后，一场真实照见你我的心灵旅程 「天空、草原、雪山、湖…都展开在磅礡无极的音乐之中， 耳朵成了灵魂与天地宇宙钩通的唯一管道。 於是，身体、时间、空间都消失了，纯净光透的声音琉璃界於是形成── 这绝对是直接从天上唱传下来的绝佳天籟，没有人能错过。」 ─广告创意作家李欣频 讚叹推荐 【代青塔娜】 蒙古族青海省海西州蒙古台吉乃尔部，阿吾嘎思姓氏歌者，HAYA乐团成员 【全胜】 马头琴演奏家，音乐製作人，哈雅乐团创始人乐团首张专辑《狼图腾》获得第19届金曲奖為《黑骏马》、《千里走单骑》等电影配乐多次於欧洲各地巡演中央民族大学副教授中国音乐家协会会员中国马头琴学会常务理事（USA）国际沙漠绿洲基金会常务理事 【HAYA乐团】 2004年，几位志趣相投的朋友走在一起，在音乐道路上重新寻求心灵的方向。HAYA在蒙语中译為「边缘」的意思，音乐特点如其名，从非主流文化出发，摆脱了传统的规则束缚，与当代世界音乐元素完美交融，并以最易亲近的间单方式走出一条现代人冀求的「心灵民谣」之路。 HAYA乐团首张专辑《狼图腾》获得第19届金曲奖最佳跨界专辑，也引起华人乐坛对他们的关注和好奇。乐团的创始人与灵魂人物——全胜，这位曾经登臺维也纳金色大厅并多次於欧洲各地巡演的马头琴演奏家，除了将游牧民族文化乐器带到欧洲殿堂以外，也是一位勇於突破传统包袱的优秀作曲家和製作人，曾為张艺谋电影《千里走单骑》担任马头琴配乐演奏，凄美的琴音与这部公路电影的绝妙搭配浑然天成，使整部影片充满著强烈的人文气息和浓厚的地域色彩。新专辑《寂静的天空》加入新一代的蒙古女歌者代青塔娜，2008年中国大六春节联欢晚会上演出一曲『雪山』，她的歌声自此惊艳全中国，而HAYA乐团的音乐也转為更悠远寧静，更贴近与现代人灵魂共鸣的境界。

Recording in a studio, the Chicago DIY trio sound newly airy and lush, but no less direct and sincere. Their confidence in their concision is the best part.

对于Fever Ray，我想很多人对并不熟悉，但他最近很火，原因很简单，这是Karin Dreijer Andersson的首张solo专辑，而Karin是电子界顶顶大名的The Knife的主唱，你说他能不红么？ 留意到这张专辑已经有一段时间了，主要是听到他的首发单曲《If I Had A Heart》。在这张专辑里Karin Dreijer Andersson依旧保留着一些The Knife原有的感觉在其中，但并不多，个人感觉《Fever Ray》比起以往的专辑要显得沉重了一些，可能是因为背景音乐渲染得要格外的厚重、另类的原因吧，但无法否认这些都非常的漂亮。如果把这张和The Knife以往的专辑放在一起做比较的话，你会发现他们较为明显的共同点——明快的节拍。我非常喜欢这样的感觉，就像很亮的颜色用在很黑灰的画上一样，很容易提升整体的风格。正因为这样的节拍，很好的缓解了背景音乐的给人带来的沉闷感，反而让这些不良的感觉起到了反作用力，神秘之外，让整张专辑显得特别的前卫、另类。Karin的声音依旧是亮点，他的声音我还是比较熟悉的，《Heartbeats》、《Silent Shout》这些大快人心的单曲，依旧让我记忆犹新。我一直都觉得他的某几个声部挺有Bjork的味道，就像很多北欧名玲一样，都会或多或少的有这样的感觉。奇异的风格，是整张专辑的另一大特色之一，我觉得这应该算是一种民族风，无论是碎碎念也好，高亢宣泄也吧，奇特，诡异，婉转的调子总是有雕刻的感觉，一些沧桑，一些诡异，Karin诠释地都非常的完美，就像图腾一样，让人有一种漫步在历史的感觉。

来自瑞典Norrkoping的传统力量后摇.瑞典的音乐始终带着迷幻而奇妙的色彩.从软弱深处给人以力量.

許多歌迷都是從《旅行的意義》這首單曲開始接觸陳綺貞的音樂，其實距離她發行第一張專輯，已經有七年的時間。這張完全由陳綺貞個人企劃創意並執行製作的專輯，單曲提前一年曝光，便俘獲了死忠歌迷們的心，專輯還未發行便凝結了廣大聽眾的期待，發行後更在華語樂壇掀起了台灣獨立音樂文化現象。

新生代创作才女，大学期间便在全国性音乐创作比赛展露头角。 98 年发行个人首张创作专辑 " 让我想一想 " ，清新优雅的清纯音乐风格为台湾流行音乐市场注入一股清流，获得中华音乐人交流协会评选为年度十大专辑唱片，同时入围第十届金曲最佳新人奖。 《让我想一想》是陈绮贞的第一张，也是风格最凸现的一张专辑，带来一阵清新的民谣之风。

内容紹介 2010年、新たな才能が誕生します。 クラシックギター弾き語りの「剃刀乙女」鮮烈デビュー!!! 弱冠19才にして、エバーグリーンな歌声と驚くべき演奏力、 そして、卓越したソングライティング能力を兼ね備えた 青葉市子の記念すべきデビューアルバム「剃刀乙女」は、 縦横無尽なフリースタイルで奏でられた叙情詩全8篇を収録。 約27分間の「2010年 音楽の旅」。 *本人作による「光蜥蜴」の絵本付き アーティストについて 1990年うまれる ヒト 女子 クラシックギター 弾く 歌う 2007年1月 ギターに命を吹き込むマヂナイに成功 2008年2月 作詞・作曲を開始 2008年9月の初ライブを皮切りに 東京都内を中心にだららん と活動中 らしい

静寂了21年，MBV主唱Kevin Shields履行了他的承诺，乐团继1991年推出了堪称经典的《Loveless》后，终于发行了第三张全长专辑。本作创作周期极长，9首曲子录制时间可回溯至1996年，新砖通过网络平台先行组织发售，还细心地提供了数字下载、CD和限量黑胶三种版本，晚些时候还将有EP上市。苦心颇费的筹备，想必魅力不减当年的MBV将会令乐迷们大饱耳福，接下来4位现役成员即将展开东亚巡演，其中包括本月13号的台北站，有条件的歌迷们不要错过。 MBV (stylised in lowercase letters as m b v) is the third studio album by alternative rock band My Bloody Valentine. It was released on 3 February 2013 in the United Kingdom and on 2 February 2013 in the United States. P.S. (Gig) 02/13 – Taipei, TW @ Ntu Sports Center

Fleet Foxes will release Crack-Up, its long-awaited and highly anticipated third album, June 16 on Nonesuch Records. Crack-Up comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band's 2008 self-titled debut. All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist). "A rich, ideas-driven record which pulls off a pretty unlikely feat: infusing Fleet Foxes' music with the same sense of transcendence and beauty that they managed the first time, now delivered with an added sense of expansive musical ambition. Confirms that rarest of achievements: a group somehow hanging on to the essence of who they are, while pushing their art into thrillingly unforseen places." Q Magazine "At a time when indie-rock seems to be growing more culturally marginal by the day, Crack-Up is a defiant artistic statement, an album that dares to feel important." The New York Times "Likely to be the most remarkable album you will hear this year...the return of one of the most original bands of this century." The Times "Astonishing. Crack-Up may be the most anticipated release of the year; a welcome return. Ambitious, mature, meticulous." Uncut