Japanese Breakfast's 'Soft Sounds From Another Planet' is less of a concept album about space exploration so much as it is a mood board come to life. Over the course of 12 tracks, Michelle Zauner explores a sonic landscape of her own design, one that's big enough to contain her influences. There are songs on this album that recall the pathos of Roy Orbison’s ballads, while others could soundtrack a cinematic drive down one of Blade Runner's endless skyways. Zauner's voice is capacious; one moment she's serenading the past, the next she's robotically narrating a love story over sleek monochrome, her lyrics more pointed and personal than ever before. While 'Psychopomp' was a genre-spanning introduction to Japanese Breakfast, this visionary sophomore album launches the project to new heights.

Hot Thoughts is the bravest, most sonically inventive work of Spoon’s career. With all due respect to earlier efforts that have made the quintet both critically acclaimed and a commercial contender, preconceptions about this band are about to be obliterated. That’s not to say Hot Thoughts doesn’t have a requisite supply of infectious earworms but there’s a lyrical bent that’s as carnal as it’s crafty, and a newfound sense of sonic exploration that results in the genresmasher Spoon have flirted with in the past but not fully consummated. Co-produced by Spoon and Dave Fridmann and reunited with Matador Records (third time’s the charm), let's acknowledge that Britt Daniel’s spot in the pantheon of rock’s genius songwriters was well established a ways back, but with the crackling, incandescent, multi-dimensional backdrop conjured on ‘Hot Thoughts’, the lines between accessible and experimental become non-factors for once and all. It’s pop as high art, delivered with total confidence and focus.

Richard Dawson will release new album Peasant via Weird World / Domino on 2nd June 2017. Coinciding with the announcement, Dawson has shared a video for the album’s first single ‘Ogre’, directed by Matt Stokes. “A crack team of physicists, leather-workers, synchronised swimmers, sausage-sellers, professional wrestlers and computer games-designers assembled in a remote cleft of the Tyne Valley to portray a community fraying at the edges, eaten from the inside by some fearful sickness, searching for answers in the all the wrong places,” says Dawson of the new video. “Matt Stokes is a fabulous video artist. I've loved his work ever since seeing 'The Gainsborough Packet' almost ten years ago now. I'm very happy that we were able to work together to present to you the first song from the album Peasant. It is only one panel of a larger mural. I hope you will enjoy and find something to take from it.” No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop - the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important - or earlier in the journey, with The Glass Trunk’s visceral song cycle or The Magic Bridge’s sombre revels, devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work. Peasant is that album. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse’s dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson’s work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance. Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, Peasant’s eleven tracks sustain a momentum worthy of the lyrics’ urgent subject matter. Dawson describes the themes of these songs as “Families struggling, families being broken up by circumstance, and - how do you keep it together? In the face of all of these horrors that life, or some system of life, is throwing at you?” The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich - “any time from about 450AD to 780AD, after the withdrawal of the Roman Empire”- only makes their contemporary relevance more enduring and vital. Dawson’s objective was to create “A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn’t take responsibility – blame going in all the wrong directions”. But encountering Peasant’s captivating sequence of occupational archetypes (‘Herald’, ‘Ogre’, ‘Weaver’, Scientist’), listeners might find themselves wondering if these multitudes could somehow be contained with one person - surely we all have a ‘Shapeshifter’ and a ‘Prostitute’ within us?

Even in the increasingly crowded field of electronic music, Kelly Lee Owens’ debut album arrives as a wonderful surprise. An album that bridges the gaps between cavernous techno, spectral pop, and krautrock’s mechanical pulse, 'Kelly Lee Owens' brims with exploratory wonder, establishing a personal aesthetic that is as beguiling as it is thrillingly familiar.

1997 reissue of collection of demos, 1985 live recordings, the first ever Coil recordings, live tracks from a festival in Berlin and five live tracks from Zoskia. 10 tracks total.World Serpent release in a slipcase sleeve with a 12 page booklet featuring photos & interviews. Slipcase with inner sleeve. A Threshold release.

P.K.14 第七张专辑《当我们谈论他的名字时我们在谈论什么》由兵马司发行。 试听与无损数字版本购买地址： Bandcamp: Apple Music: 网易云音乐： P.K.14 是许波、 施旭东、雷坛坛和杨海崧。所有歌曲由 P.K.14 创作并由 P.K.14 和欧阳汉客共同演奏。 欧阳汉客 制作，迈克尔·帕迪斯出品。 2017年10月24日至11月5日在德国柏林汉莎录音棚录音。 尤娜录音并担任磁带操作员，朱利安·赫尔姆斯和菲利克斯·舒巴担任录音助手。 米盖尔·伊伯特在德国柏林汉莎混音室混音。亨里克·扬森在瑞典斯德哥尔摩音频母带棚制作母带。 来自仙女座大管弦乐团的法比亚娜·丝特里弗勒(小提琴), 约翰纳斯·史莱因马赫(长笛， 低音和次中音萨克斯), 丹尼尔·格莱策尔(黑管和低音黑管)以及理查德·科赫(小号) 参与了《影子的秘密》,《二十分钟的路程》以及《因你之名》的演奏，由丹尼尔·格莱策尔编曲。 特邀打击乐:托马斯·赫伦德。特邀小提琴:弗里达·约翰松。 《因你之名》中的长笛由尤纳 斯·库尔哈玛演奏。特邀模块合成器:大卫·容格。 图像设计:查吟，三维图像部分由尤目工作室制作。 摄影:雷坛坛和王路阳。 图案设计来自Dedar, NLXL、Wall&Decò、Cole&Son、Calico、Pierre Frey 以及 Designers Guild。 封套设计和排版:候鸽。歌词翻译:潘佳朗。 谢谢 !

Now Only, written shortly following the release of A Crow Looked At Me and the first live performances of those songs, is a deeper exploration of that style of candid, undisguised lyrical writing. It portrays Elverum’s continuing immersion in the strange reality of Geneviève’s death, chronicling the evolution of his relationship to her and her memory, and of the effect the artistic exploration of his grief has had on his own life. The scope of Now Only encompasses not only hospitals and deathbeds, but also a music festival, childhood memories of conversations with Elverum’s mother, profound paintings and affecting artworks he encounters, a documentary about Jack Kerouac, and most significantly, memories of his life with Geneviève. These moments and thoughts resonate with each other, creating a more complex and nuanced picture of mourning and healing. The power of these songs comes not from the small, sharp moments of cutting phrases or shocks, but the echoes that weave the songs together, the way a life is woven. The music, fully realized by Elverum alone at home, is fleshed out texturally and seems to react to the words in real time. In a moment of confusion, dissonance abruptly makes itself known; in a moment of clarity, gentle piano arises. On the title track, the blunt declaration of “people get cancer and die” is subverted by a melody that can only be described as pop. As Elverum reinvents his lyrical process, he is also refining his musical vocabulary. Elverum’s life during the period he wrote Now Only was defined by the duality of existing with the praise and attention garnered by A Crow Looked At Me and the difficult reality of maintaining a house with a small child by himself, as well as working to preserve Geneviève’s artistic legacy. Consumed with the day to day of raising his daughter, Elverum felt his musical self was so distant that it seemed fictional. Stepping into the role of Phil Elverum of Mount Eerie held the promise of positive empathy and praise, but also the difficulty of inhabiting the intense grief that produced the music. These moments, both public and domestic, are chronicled in these songs. They are songs of remembrance, and songs about the idea of remembrance, about living on the cusp of the past and present and reluctantly witnessing a beloved person’s history take shape. Time continues.

豆瓣小站： Perfume Genius - Learning 香水天才 - 心灵习题 。Antony & the Johnsons后最痛彻心扉的亲密自白 。Drowned In Sound 9/10，MusicOMH★★★★含泪推荐 。NME★★★★盛赞“毫不夸张地说，在Perfume Genius音乐里渗透出的无助、慌张的强烈情感爆发面前，什么Bright Eyes听起来也就跟Black Eyed Peas差不多。” 你听见了吗？那是心碎的声音。 那微微颤抖的澄澈琴音背后，26岁西雅图男孩Mike Hadreas化名Perfume Genius，将自己禁锢于母亲华盛顿州的房子，赤裸裸地展示着自己破碎的心，娓娓道来他那段交织着毒品、自杀和伤害的晦暗岁月，那里头装载的，是将不愿 面对的往事或情绪硬生生连根拔起的痛楚，是可以清晰看见鲜血从见骨伤口里冒出的锥心痛楚。 “在咽下最后一口气前，没有人会听见你啜泣。” 专辑同名开场曲〈Learning〉短短两分钟，完美地勾勒着Perfume Genius身上那股孤寂而绝望的低迷气质，不论〈Mr. Peterson〉〈Write to Your Brother〉钢琴Ballad曲里气若游丝的吟唱，或〈When〉〈Gay Angels〉搭载着合成音效推展出Sigur Rós般几近圣洁的偌大迷离空间感，好似Antony & the Johnsons或早期Elliott Smith音乐里那种锐利深沉的情绪，Perfume Genius那种透彻而无暇到令人难以承受的坦率，会随着时间的累积往你心里头钻，揪出那些多年来用麻木埋进心底里的纯粹情感。 随着那美得令人心痛的音符落下，《Learning》深不见底的迷惘无助，让人被沉重的无力感紧紧束缚，近乎失去求生本能持续沉沦；然而，在残破脆弱之外，却蕴含着某种成长的可能性，“我觉得自己的心是真的碎了，但是以一种充满希望的方式，因为如此一来，我就能重新来过。”那彷佛从留声机传来的遥远声响，沾惹着模糊而熟悉的黏稠感，当你静下心来，将会惊觉那种埋藏在记忆角落的青涩苦楚，或许是自己曾经心碎的声音。

国际巨星“Lana Del Rey” 2座 格莱美提名 2座 全英奖BRIT Awards 2座 EMA 最佳另类艺人 2016 ELLE年度女艺人 GQ奖项 年度女艺人 Q award “Best New Thing” Lana Del Rey，本名：Elizabeth Woolridge Grant，2005年正式从纽约出道，并且借着EP【Kill Kill】闯出名号之后，瞬间爆红的"Video Games"、电影《大亨小传》主题曲" Young and Beautiful"、"Summertime Sadness"，让正式成为了乐坛新星，并在接下来的【Lana Del Ray】、【Born to Die】、【Ultraviolence】、【Honeymoon】四张专辑中，缔造了超过三千万张销售纪录。她独特的“好莱坞悲核式”嗓音，受到50年代到60年代流行音乐的文化，其音乐流露出的“悲情浪漫”与“忧郁感”让Lana Del Rey在这个超时代的音乐疆域中“独树一帜”。发片至今，lana Del Rey已经横扫16座奖杯，入围54项提名，包括格莱美、公告牌、全英奖、Echo，MTV等多项音乐大奖。 2015年10月，Lana宣布她将筹划全新专辑的计划，区别于前两张专辑中的“加利福尼亚式之音”lana自述道要将“纽约式”味道增加到新作品中，用轻快，乐观的节奏“削弱”梦幻的感觉。自上一张空降公告牌专辑榜第二位的《Honeymoon》发行仅仅几个月之后，2016年初，Lana及其经纪人公开了她筹备第五张个人专辑的消息。期待着能够在新作中突破自我的框架与限制， 超过400个日子的淬炼， Lana交出了全新专辑【Lust For Life】。 【Lust For Life】除了Lana Del Rey本人担任制作之外，还请到了旧金山传奇制作人Rick Nowels(Madonna、Adele、Sia)、超级制作人 Max Martin（Taylor Swift、Maroon5、Britney Spears）、热单制造机Benny Blanco ( Justin Bieber、Katy Perry、Rihanna )等多组人马，共同注入时代之下的前卫声响。主打同名单曲"Lust For Life"，由格莱美奖新生代天王The Weeknd入阵献声，以两人绝对的合作默契，并结合R&B和Dream Pop为基底，唯美唱出了流行乐未来的雏形。空降公告牌摇滚榜亚军的"Love"，全球串流突破7000万人点听，与略带复古韵味的Baroque Pop风格，被滚石杂志盛赞“音乐上的赞美诗”。已故音乐传奇John Lennon之子Sean Ono Lennon，在"Tomorrow Never Came"中以前卫摇滚的声响，替如梦似幻的节奏，增添了更为超凡入圣的气息。

继2015年发布了处女作全长录音室专辑《Loop》之后，时隔两年，来自成都的秘密行动乐队即将在全球范围内发布最新单曲和全新EP，这些记录了他们的成长轨迹又充满他们独特气息的作品邀请到旅居德国柏林的英国籍制作人Mark Reeder来担纲制作，中国新锐和横跨摇滚世代传奇音乐人的心力合作，会制造出什么样的声音，不可说不值得期待。 由骑鼓唱片的倪兵先生牵线，秘密行动的音乐吸引到了Mark Reeder的注意，受到乐队邀请后Mark很快就确定了中国的行程。在成都，Mark与乐队共同生活工作了数日，从排练室到录音棚，从想法沟通到技术实现，这位老资格的摇滚乐制作人为秘密行动提供了一切可以提供的帮助，他们一起完成了3首单曲，目前Mark正在柏林进行后期制作，在9月15日集结成EP在全国范围内发行也将于9月25日在欧洲发行上线。

For nearly two decades, Xiu Xiu has made music for the moments when life’s harsh realities meet its existential mysteries. A profound sense of emotional vulnerability weaves its way throughout the dozen albums the group has made, but also a spirit of openness and experimentalism as they peer into the sonic unknown, creating moments of catharsis by harnessing bursts of noise and other uncommon sounds. They have collaborated with confessional songwriters like Mitski and avant-garde composers like Charlemagne Palestine, displaying an uncommon fluency in both worlds. Singer and songwriter Jamie Stewart’s lyrics are often veiled in layers of metaphor, but his delivery always suggests urgency and intimacy, that there’s a universal truth that cuts deep. Xiu Xiu makes beautiful music for hard times. OH NO, the group’s newest album, is an album of duets, with Stewart sharing the spotlight with an array of guests who have made an impact on him personally and musically. Sharon Van Etten’s tentative musings open the album, and from there vocalists from across the musical spectrum, including Circuit des Yeux’s Haley Fohr, Liz Harris, Alice Bag, Chelsea Wolfe, Owen Pallet, and Twin Shadow’s George Lewis Jr., all drift into Xiu Xiu’s distinctive soundworld. OH... NO was written and recorded in Xiu Xiu’s home studio in Los Angeles throughout 2019 and 2020, and produced by Xiu Xiu’s Angela Seo, experimental musician Lawrence English, and Deerhoof’s Greg Saunier, who also sings on the incisive, noise-laden song “Goodbye For Good.” The album was born out of anguish and isolation, but exists as it does because of a profound rediscovery of community and friendship. It is the sound of finding one’s place in the world after the destructive powers of jealousy and mistrust make any map seemingly unreadable. As Stewart began writing the songs that would end up on OH NO, a series of long-standing friendships and musical partnerships were abruptly and unilaterally severed after surprising acts of betrayal and disrespect. Stewart was thrown into a deep pit of dull isolation, unsure of how he got there. He cancelled tours, and spoke publicly about mental health issues that prompted his closing off to the world. But as he did, people he had not talked to in many years reached out offering support. Xiu Xiu fans wrote expressing how his music had helped them through their own personal tragedies, offering reciprocal care as he faced his own intense darknesses. In a way that was new and unfamiliar, there was a critical mass of people showing him how much he meant, and had always meant. Their words and actions provided the rope he needed to leave that pit behind and emerge with a newfound appreciation of those around him, and humanity at large. And so Stewart, along with Seo, decided to have this collection of songs, many of which speak directly to the experience of dissolution and abandonment, as well as the shared reality of environmental devastation, represent the combined expressions of love and humanity that so effectively vanquished that darkness. There is no shortage of severity and shadow, this is a Xiu Xiu album after all, but here it is a burden shared. On “The Grifters,” Haley Fohr’s full-bodied wail bolsters Stewart’s wavering falsetto over stark acoustic guitar. Alice Bag’s defiant chiming of “Knock Out” provides a perfect foil to his tentative singing of “hey hey.” Chelsea Wolfe helps Stewart turn The Cure’s “One Hundred Years,” a favorite of his since high school, into pulsating industrial music that radiates intensity. And Liz Harris provides gorgeous beds of harmonizing vocals to “A Bottle of Rum,” one of the hookiest songs Stewart has ever written. “The guest stars of OH NO reflect the types of people, and many of the very same, who helped remind me that the ratio of beautiful humans to shitty humans is more like 60/40 rather than what I have always assumed was 1/99,” says Stewart. “Although there is an ‘I HATE PEOPLE’ pin on my guitar strap, I hate them less now.” His revelation, and the music that has come out of it, is a reminder of the power of Xiu Xiu’s music to surprise and connect. Listening to the songs on OH NO, it is hard to feel truly alone. Instead, it is a reminder that even when we’re alone, we’re alone together. All songs by Xiu Xiu, except for “One Hundred Years” by The Cure. Instruments by: Angus Andrew – vox Alice Bag – vox Jherek Bischoff – double bass John Congleton – optigan, granular sampler Zachary Dawes – double bass, bass guitar Deb Demure – vox Valerie Diaz – vox Haley Fohr – vox Liz Harris – vox David Kendrick – drum kit, bongos, percussion Charlie Looker – guitar, bass guitar Jonathan Meiburg – vox, animal calls Owen Pallett – vox Fabrizio Modonese Palumbo – vox Susanne Sachsse – vox Gwendolyn Sanford – vox, experimental vox Greg Saunier – vox, guitar, bass guitar, cymbals, synth, sampler Angela Seo – vox, piano, harmonium, gongs, percussion, bass synth Jamie Stewart – vox, bass guitar, guitar, organ, drum box, autoharp, viola, stylophone, xylophone, bajo quinto, mandolin, synth, banjo, percussion, sampler Twin Shadow – vox, saxophone Sharon Van Etten – vox Chelsea Wolfe – vox Recorded by Jamie Stewart at NURSE. Additional Recording by Angus Andrew, Paul Beauchamp, Ben Chisholm, Dirk Dresselhaus, Dan Duszynski, Haley Fohr, Justin Higgins, Brandon Jay, George Lewis Jr., Owen Pallett & Greg Saunier. Produced by Lawrence English, Greg Saunier & Angela Seo. Mastered by Alan Douches at West West Side Music. Design and Packaging Layout by Janelle Abad & Xiu Xiu.

2015陈珊妮全新创作专辑 如同悲伤被下载了两次 陈珊妮全制作/作曲/编曲 + 10位创作人跨界填词 骆以军 x 鲍鲸鲸 x 蔡明亮 x 丁丁张 x 聂永真 个人意见 x 韩松落 x 七堇年 x 鲸向海 x 欧阳应霁 那些安静优雅的影响力, 经常来自最单纯的喜欢 一首诗, 一个封面, 一部电影, 一碗面, 改变一个人的世界。 我们终究会习惯的, 网络世界清晰载明那些一去不返的时间, 极恶的文字啊, 都会被遗忘在时间的缝隙里。我们会在温暖的假想中重读记忆里的书, 再适切的安排自己流连于某种心动。 是聪慧和刻薄的人一下子变多了? 还是那种极傻的浪漫变少了? 还是我们始终离不开标准答案? 以前学速读, 尽可能看得快一点多一些, 现在却老是执着于旧书里的几行字, 就是非得找出来, 在心里大声重复读个畅快。就是很怀念那些短短的, 诗一般的文字。那些自以为是高傲自负和断章取义, 全都兴高采烈的和麦田捕手一样被印成书, 被我无所谓的摆在一起, 如此靠近。 现在每天上网阅读, 大量文字常伴随着压迫与孤独感。17岁困扰我的存在主义 , 今晚随机出现的笑话与音乐, 都像热天午后错身的乘客们, 带着酸味与汗渍下车离开, 杀掉丢进垃圾桶清空, 没什么胜过爱情需要被察觉。 所有曲子在某个寒冷冬天的两个星期内, 莫名其妙的写好了, 也想过不假思索一口气写完歌词。总之就和多年来持续删除的书稿一样, 当那些疗愈自己的小心翼翼, 换个角度显得一点也不要紧… 于是我找了一些喜欢的人, 我想知道文字和音乐还有什么秘密, 我想知道那些特殊的心灵藏着什么重要的事, 就这么做着音乐的人生太渺小浅薄了, 我只是想知道更多。

預購豪華加贈“如果有一件事是重要的”全球限量 之“What If It Matters” 全英文專輯完整呈現！ 數量限定！售完不再加贈！！ 6/24唯一首唱就在Legacy 時間：2011年06月24日 (五) 睌上20:00 一個玩音樂的外國友人突然接到母親過世的消息。他看起來心情很平靜，並且說這幾年是他和母親最親近也最快樂的時光。 起因於母親七十多歲的某個平凡早晨，朋友接到她的電話，整個對話都是關於“皇后合唱團”～他們究竟是哪裡來的？ 當然那早已不是皇后合唱團活躍的年代，主唱 Freddie Mercury也過世了。總之七十多歲的母親突然變成皇后合唱團的歌迷，想擁有每張皇后合唱團的專輯，想瞭解每首歌背後的故事，想知道過去的演唱會上發生過什麼。自有記憶以來從未特別喜歡過什麼音樂的母親，從此瘋狂的愛上皇后合唱團， 每天聽的都是皇后合唱團的音樂，開始參加皇后合唱團的歌迷聚會。 母子倆開始相約喝咖啡一起吃晚餐。“你應該也跟我一樣很想知道，她為什麼在七十多歲的某一天迷上皇后合唱團吧？”～朋友說：“於是有一天我問了, 你知道她怎麼說的嗎？” “我從電台聽到他們的歌。你不覺得皇后合唱團很棒嗎？”～這是一個直率又自然的理由，只是我們都沒想到而已。 他說母親的晚年過得很開心，因為皇后合唱團的音樂，因為開始對他的工作感興趣，因為那些愉快的電話和約會。 我們是從幾歲開始不再關心流行音樂了呢？ 幾歲開始不再參加搖滾演唱會？？何時開始討厭年輕人的裝扮和語彙？卻又希望自己看起來仍然像個年輕人。 人生需要有多少的自省與妥協？大人的規則真的適合每個看似大人，但有可能還是小孩的你我？對於一切事物的期待與喜愛，難道無法找回無需理由的單純？ Sandee的全新專輯「I Love You, John」，要跟你一起找回的，就是那種無需太多理由，單純對於流行音樂充滿熱愛與瘋狂的青春心情！ 詞/曲/製作/編曲/演唱 創作女王陳珊妮 暌違三年　全新清爽暢快大碟" I Love You, John" 給你2011夏天的 城市輕電音 勇敢說大膽做 6/17 個性發行 歌曲介紹: I Love You, John-- 這首歌,要獻給這個世代的可愛美眉。 靈感來自宅神朱學恆某日噗浪寫了: 學習正妹網路語言中:"幹嘛John!" 美眉們慣用的可愛語氣, 竟然變成了一首歌... 年輕人都很愛John, 所以 I Love You, John. 雙人體操-- 靈感來自國民健康操。 良好的人際關係, 需要更多快樂的肢體互動。 青春-- 音樂記憶了關於青春的種種美好, 我們藉由對音樂的熱情, 繼續對青春的嚮往。 美好人生-- 如果人生是一首歌, 我們期待它的副歌是什麼樣的呢? 要夠流行容易傳唱又好記, 還是只留給知心的人反覆聆聽... B級動作片-- 層出不窮的罷凌事件, 新聞中的家庭悲劇不停上演, 很多時候, 我們不須要使用那麼多暴力來解決生活上的所有問題。

1999新作品 我从来不是幽默的女生 > 陈珊妮 不会取悦你 也不用讨好她 自信轻松 大声唱歌 你需要这种女生 限量附送 来不及MTV 媒体未曝光版本收录 CD+VCD 原创本质的音乐听觉 引领潮流的影像视觉 跨世纪唯一大碟 只有陈珊妮可以超越陈珊妮 最自在的穿着 最自由的音乐 流畅崭新面貌 原创本质尽力作 欣赏陈珊妮的音乐时，由歌曲所带来的惊喜，每每令人赞叹。她那无法复制的创作风格，在音乐圈里，有相当高的评价。由她创作的“烦”，流传大街小巷，而她的独特性也渐露头角，近来更成为许多歌手的选歌对象。 这张专辑的陈珊妮，退去以往的酷异女生的疏离感，蜕变出一个自信轻松的崭新面貌。陈珊妮惯于表现的敏感诗意显得更加洗练，而更流畅丰富的音乐，让这次的作品和陈珊妮都更让人激赏。 不管你是不是陈珊妮的忠实拥护者，这张专辑都可以给你非常过瘾的欣赏历程。 来不及 > 与灵魂的迷幻对话，珊妮历年最深刻感人作品 监视 > 用耳朵满足你的窥视欲望，听过必爽 美丽的女生 > 充满浪漫，吉他，愉悦和声的城市女性狂想曲 夏雪 > 纽约，六月，下雪... 珊妮的异乡人手记，绝美酷异

仍然都是珊妮自己创作的歌曲，并且担任起﹝制作人﹞的角色，使得整张专辑 非常绝对的呈现了陈珊妮式的个人风格；多变的音乐型态、有趣的思考逻辑、诗化的歌词、趣味的细节处理正如珊妮自己说的，这张专辑的特色是“有点任性而令人难以置信”。﹝好玩又好听的十一首歌﹞编曲丰富，感受细微，词意写实而自然------珊妮的音乐创作，在她从纽 约接受专业的音乐课程训练后，不论是演唱技巧或是编曲，在这张专辑里都予人有意外的惊喜。

Xiu Xiu is an American experimental band, formed in 2002 by singer-songwriter Jamie Stewart in San Jose, California. Currently, the line-up consists of Stewart and Angela Seo. The band's name comes from the film Xiu Xiu: The Sent Down Girl and has influenced the sound of their music according to Stewart.

Working with Aaron Dessner, the English singer-songwriter trims down his compositions and expands his comfort zone, experimenting with elements of jazz and historical fiction.

Autechre return with their 14th studio album, SIGN. SIGN is comprised of 11 songs with a runtime of 65 minutes & 32 seconds.

我们只是为了寻找和父辈不一样的活法。 博山，在这个以厂矿企业为中心运转的小镇上，一切的建设和发展都与这个巨型产业机器所挂钩，单位分发的住房构成了厂区大院，单位各部门之间的职位更替形成了几代人之间感情的维系平台。 在厂区倒闭停止生产后，院儿里人们的生活习惯亦如同停滞的时钟一样，在飞速发展的当下社会中成为了一个缩小的真空地带，一个常年不变的《幸福之地》。 对于王磊来说，在上世纪九十年代初，他做出了一个撤离博山大院儿平稳厂矿子弟生活，在《他们称之为出走》、《与父辈不一样的活法》中，我们能听到执意出走的青年与周遭的冲撞，这样的决定看似一时冲动的火苗，实质上是在挣脱原生家庭的父辈纽带中出现的必然结果。 在成长的过程中，我们不可避免地面对着一次次的逃离，每一次作出离开的决定时，我们的心智都因为当下的撕裂和未来的聚合而更成熟一些。我们在与上一辈的世界观激烈碰撞时，恰恰都是在那荷尔蒙爆发的自以为是阶段；这也注定了我们不会去理智地比较上一辈曾经历过的斗争，也不会去尝试理解任何善意或是鲁莽的规劝。 直到王磊的父亲离世多年，他自己也成为一名父亲后，他才真正开始思考与父子之间的关系，开始缅怀那些曾经拥有的东西。 一天又一天，一年又一年。我们不能容忍的那些点滴造就了我们的现在，而我们所不能理解的那些人和事，却始终预言着未来的冲撞。 《厂矿子弟》可以说是一曲工人阶级家庭中，历经半个世纪寻求和解的平淡悲歌。