这张专辑的主题是围绕在一个二十岁年轻人的心情，所以大家将会听到比上一张更露骨，更前卫的专辑曲风。 张震岳最新专辑《秘密基地》强烈的速度、迷幻的青春、爱情至上、坦白直接，纯粹的年轻，充满乐趣 、充满想像、充分拥有自我的音乐，像呼吸一般的自然，那是一种会让你 自然High的音乐。 听张震岳的音乐，其实不须要深层的思考，而是一种瞬间的理解，如果你 跟他一样年轻。当你听见张震岳，会发现你的影子，也许正在街头游荡， 也许正在家中看无聊电视，也许正在唱KTV，也许跟着朋友在某个角落厮 混、也许正抱着枕头大睡，也许正跟身旁恋人热情拥吻。那是行进中的青春。 或许"大人"们认为年轻人很难理解、到处充满秘密，可是对年轻人来说， 这是再简单不过的事，不需要沟通彼此就很了的状况。如何看待爱情、看 待朋友、看待金钱、看待一切....这不是什么秘密，可是对来"大人"们来 说，这是他们一直想突破的代沟问题。在这张专辑里，我们可以分享新世 代想法。 这是一个属于年轻人的、一个公开的秘密基地。 ⊙二十岁年轻人的心情 张震岳自己掌控 “这张专辑的主题是围绕在一个二十岁年轻人的心情，所以大家将会听到比上一张更露骨，更前卫的专辑曲风。”不仅如此，在音乐走向上也更为"商业"除了制作由自己掌控外，在视觉设计上，张震岳也全程参与。 ⊙张震岳对歌迷的"小小回馈 “我还特别设计了一款很"酷"的贴纸，在禁止标志里写上一个"睡"字，就是"禁止入睡"的意思，到时候将会随CD附赠。”，所以这一次在CD的包装上特别超值，除了附赠贴纸之外，还会另外收录“爱的初体验”舞曲版，算是张震岳对歌迷的"小小回馈"。

蛋堡無疑將以這張專輯改寫饒舌音樂所能達到的高度。 蛋堡＆Jabber Loop 饒舌與爵士淬鍊融合顛峰之作 月光 2010 10/8 正式發行 2009年甫以兩張專輯分別獲得十大專輯（收斂水）和金曲獎新人入圍（winter sweet）的蛋堡，以獨樹一幟的輕饒舌與SOFT HIP HOP不但重新定義了華語音樂圈對饒舌歌手的認識，更成功吸引了各種族群的樂迷，在蛋堡場場爆滿的Live house演出，你可以看到大波浪長髮粉領族和韓流女學生討論蛋堡嘟著嘴唇的樣子有多可愛，也會瞥見立領馬球衫的青年新貴帶著千金LOOK女友在一角瞇著眼隨著音樂點頭，更不乏包柏頭樂癡與憋褲文青振振有詞讚嘆蛋堡神乎奇技的押韻方式。 他們都說：我本來不聽饒舌和嘻哈音樂的，但是蛋堡的音樂實在太棒了。 2010年的夏天蛋堡去了一趟日本，與日本樂壇彗星般崛起的爵士五重奏Jabber Loop攜手合作，帶回了一張將饒舌與爵士/放克元素進行了核融合的野心之作。蛋堡散文般的文字更發深刻洗鍊，漫遊在Jabber Loop狂放不羈又透出和風暖意的爵士長流裡，在你聽到前奏豪快迸發的瞬間，滿以為Jabber Loop的演奏能量已是極限，然而一當蛋堡開始饒舌，不但沒有讓能量過載，而是替每一首樂曲構築了引人的敘事畫面，爵士與饒舌的融合至此已臻化境。 這不是一張饒舌專輯，而是一張前所未有的爵士六重奏，而加入的那把樂器名叫蛋堡。 而在這迥異且華麗的六重奏之下，蛋堡的歌詞寫作更加老練圓熟，如果你喜歡少年維持著煩惱裡憂鬱又深刻的人生剪影，這張專輯裡的很多歌曲，你會驚訝於蛋堡的敘事功力已經超過那些個文青系樂隊一昧地氛圍堆砌，每一首歌詞都能激起人們對過往人生經驗的強烈映射，繁複的層次以及洗鍊的表現手法猶如短篇的卡夫卡，混亂又精準的刻劃著你熟悉的痕跡。

1986年出版的《生命中的精灵》，是李宗盛的第一张个人专辑， 恐怕也是他迄今最好的作品。这张唱片灌注了他毕生累积的所有生命经验，每首歌都是一个小小的世界，简练浅白的歌词背后，是一则则暗潮汹涌、 五味杂陈的故事。李宗盛后来尽管扬名立万，从「小李」变成了「大哥」，却再也没能回到《生命中的精灵》这么义无反顾、坦荡诚实的境界了。 从「开场白」玎琮的木吉他前奏，到「一个人」波澜壮阔的结尾， 李宗盛在这张专辑里已经展露出超凡的创作天赋，从头到尾绝无冷场。整张专辑的编曲，以木吉他为基调，偶尔缀以简约的乐团伴奏，凝炼、集中、张力十足的音场，是台湾流行音乐前所未闻的创举。 现在市面上的CD版专辑，连带把李宗盛在《生命中的精灵》问世之后才发表的五首早期创作也收录进去，可以听出他流行歌曲创作能力的急速成长，但也更加强烈地对照出《生命中的精灵》那种诚挚、自省的气质是多么珍贵难得。这绝对是台湾流行音乐史上，最重要的创作专辑之一。

The luminous 3rd album from the acclaimed Korean multi-instrumentalist and composer. A gorgeous meditation on the intersection of music and light. "The beauty of Jiha’s work lies in the spaces she leaves" - The Guardian ----------------------------------------------------------- How often do we consider light? We revel in the soft wonder of a sunrise or the majesty of a glorious sunset, but all through the day its quality and texture is continually changing, second by second, in ways we rarely register. That beauty is the inspiration for The Gleam, the third album from Korean composer and instrumentalist Park Jiha. She distils light into sound, from the first flicker of morning on the horizon in “At Dawn” all the way to the moment when full darkness falls again in “Nightfall Dancer,” capturing the essence of it in notes and silence. The album had its origin with the piece “Temporary Inertia,” she explains, which was created for a performance as “a meditative improvisation in a bunker designed by the architect Ando Tadao, where the ceiling had an open light way going across the room, it slowly moves during the day and leaves a very special... impression when inside. I thought I could capture the emotions light gives me being just as an observer, the textures, intensity, warmness... the constant movement of light itself seems to look inert at points and needs time to be seen, to reveal things and angles you wouldn’t realize otherwise.” Like its predecessor, Philos, The Gleam is a completely solo work, all the music composed and played by Park Jiha on the piri, a type of oboe, the saenghwang, a mouth organ (shown on the album cover art), the hammered dulcimer known as the yanggeum, and glockenspiel. There’s a stark clarity to the sound, yet it’s never spare or empty. There’s a searching warmth to what she does. It’s minimal without being minimalist, occasionally presenting itself with the formality of traditional Korean music that is her background, although she feels that the distance she’s put between herself and that teaching is “really what made my music what it is now.” At other times her playing is an improvisation that spirals free into the sky. It all comes together into a beautiful whole and it always flows with a natural rhythm. Like everything, it breathes. “Breathing has been an essential part of all my work since day one,” she notes. “It definitely is intertwined within the music, as we need breathing to feel music. I tried taking my time as much as possible with this album trying to express what I felt at the moment.” Breathing is an act of constant repetition, of course, but “repetition is essential to keep a certain focus and create enough ground for the atmosphere of the track to develop and create feelings, music is very similar to nature in a way.” The music on The Gleam often surprises, as instruments take on different colours and shades. Nowhere is that more evident than on “Sunrise: A Song of Two Humans,” a composition created as a live soundtrack for a movie of the same name, a silent black-and-white film. “It made me think a lot on the role of light and gave me the opportunity to re-imagine this black and white canvas with a sunrise of my own,” Jiha explains. “I also divided the piri melody into two parts so it sounded like two choirs that would assemble and transition together.” The effect shimmers, both intimate and quietly flickering, like light itself. Across The Gleam, the music patiently shifts moods, from the soft serenity of “At Dawn” to the playful, sparkling dance that marks “A Day In…” as the rhythm carries it along. Nothing is rushed. As Park Jiha says, “things take time and the layers of events end up creating something.” Much of that sense is due to the way she composes. “There is absolutely no formal writing process, once I start feeling something that really strongly inspires me to start working. It is very instinctive. This is very emotional work for me as well and can take me a long time to get it right, but I try to focus on textures and layers of sounds I create with time to build up a piece that sounds complete to me.” Working with it until it breathes, until it’s ready. However, there was another, inevitable factor involved in the creation process of The Gleam: Covid-19. The global pandemic has affected everything, put lives in limbo, and it was no different for Park Jiha. It meant that the performance of “Temporary Inertia” was pushed back until Oct. 2020. “I did prepare for this a while ago, it just kept on being moved because of Covid regulations. They made it hard to have much in the way of performance happening, but Covid also gave me enough time to focus and give life to this new album.” The music had already been gestating for a while, with some pieces written a couple of years earlier, but the long break offered her more chance to “slowly shape the album with a strong representation of the kind of work I am doing at the present.” A chance for it to breathe and for the light to shine, growing from a glimmer. The Gleam shimmers and dazzles. Let it carry you. ---------------------------------------------------------- The Gleam: liner notes The inspiration for this album originates from the concept of light - in its different forms, and in the way in which it interacts with us throughout the different parts of the day. It takes a certain focus to appreciate the textures and emotions light can bring. A faint gleam of light piercing through the darkness, evokes a signal ready to be awoken in ‘At Dawn’. Changing environments and feelings are expressed throughout the album, conjuring atmospheres from the crack of dawn to nightfall. Part of ‘The Gleam’ project was conceived for a special performance in the Meditation Hall created by Ando Tadao at Museum San in Wonju, Korea. Light is an integral part of the architecture of this space. Whilst feelings are instantly captured, the constant movements within, allow us the sensations of observing the unreachable. For the meditative performance we had there, sound was a way to carry the light further giving it a sensation of being expressed aurally. This resulted in the realisation of the final track of this album, ‘Temporary Inertia’. Light is in a constant race towards time. Repetitive, yet constant, it only leaves temporary feelings behind. This being exactly what I want to picture for my own music. – Park Jiha more

宇宙ネコ子がニュー・アルバム『日の当たる場所にきてよ』を9月29日（水）にリリースすることが発表された。 宇宙ネコ子はnemuko yamanaka（Gt. / Key.）とkano（Vo. / Key.）によるオルタナティヴ・ポップ・ユニット。2019年発表のアルバム『君のように生きれたら』以来およそ2年ぶり、通算3作目のアルバムとなる本作は、COVID-19の影響による自粛期間を利用して制作を開始。宇宙ネコ子メンバーとエンジニアの中村公輔によるファイルのやりとりで作られ、浮遊感とリラックスしたムードの作品に仕上がっているとのこと。 カバー・イラストはこれまで同様、著作『セッちゃん』でも知られる漫画家／映像作家の大島智子が手がけている。

⊙华纳新人方大同的新歌《妹妹》已播出一个月，昨日(7月17日)他到商台宣传歌曲时，还应邀为“叱咤乐坛”节目评歌，并选出Toby、Soler及林一峰3人的歌曲。原来他从小在当鼓手的父亲耳濡目染下，3岁已开始玩音乐，最擅长的是弹琴和吉他，还经常与父在舞台上组乐队，对舞台表演也甚有经验。难怪早于5年前，华纳已有意诚邀这位唱作全能歌手加盟旗下，可是拉锯数年，今年踏入22岁的他才肯动笔签约。连他也笑谓﹕“没料到这份合约由未成年谈到成年。”方大同此次一手包办的处男唱片，收录的全是国语歌，是唱片公司为他进军内地和台湾铺路的。原来未入行前，他已先后为内地歌手陈坤和台湾歌手张惠妹作过曲，现在最希望是能与孙燕姿合作。 ⊙方大同获唱片公司垂青 创作歌手方大同昨日应邀到「商台」为节目评歌，选出Toby、Soler、林一峰的歌曲，至于他的新歌《妹妹》则刚派台一个月。他透露今次整张唱片的国语歌都是自己一手创作和包办，因唱片公司除为他安排在香港发展外，还会打入内地和台湾，而他亦曾帮过内地歌手陈坤和台湾歌手张惠妹作曲，最想是为孙燕姿作曲。他谓，其实之前曾为对方作过一曲，但适逢对方暂休乐坛而没有了下文。 今年廿二岁的方大同虽然刚跟唱片公司签约，不过原来早于五年前，唱片公司已跟他接洽，难怪他笑言由未成年倾到成年才签约。为何唱片公司这么钟情他？原来其父是鼓手，他三岁开始玩音乐，经常随父在台夹BAND，对舞台演出充满自信，又擅长弹琴和结他。他透露父亲是夏威夷人，母亲是香港人，六岁到上海定居，十一岁才来港，坦言有百分之五十不懂中文。 ⊙05华纳新人--方大同 音乐与我──方大同 无论是什么时候，我满脑子都是音乐。因为爸爸是鼓手，所以家里经常都充满着音乐，而我4岁时便学习打鼓了。5岁时，爸爸妈妈带了我去看一出有关50年代Rock'nRoll传奇歌手RitchieValens一生的电影，打开了我的音乐世界，从此我迷上了50年代的Rock'nRoll，喜爱的歌手有BuddyHolly、JackieWilson、EddieCockran、ThePenguins、Elvis和RitchieValens；而若不是电影的启蒙，我也不会做我爱的音乐。 小时候我总爱扮着弹结他，也不时会在朋友的派对和社区活动上表演唱歌。有一天，爸爸妈妈带着只有5岁半的我参加歌唱比赛，我记得我唱了FatsDominos的“BlueberryHill”，意外地得到了少年组的冠军！不过那时候我还是不太明白发生了什么一回事，包括那个比赛、生平的第一个奖杯和500元奖金。 8岁时我迷上了MichaelJackson的音乐，于是我买齐了他的所有作品，也花了很多心机模仿他的舞姿；而因为每次公开表演时我总带着MichaelJason的影子，所以至今仍挂着“小MichaelJackson”的绰号。 90年代中期我听着BoyzIIMen和Babyface，唯一会听的R&B/Soul音乐是StevieWonder（我可买齐了他的CD呵）；同一时间我受到SlowHandEricClapton的影响而学习弹结他。 Babyface的音乐令我踏上了创作之路。开始时我尝试利用结他来写歌，可是发现钢琴比结他更能表达上一些音乐风格，于是又学习钢琴。另一方面，虽然我的第一首创作作品是一首英文歌，但想在亚洲发展的我也尝试写中文歌，17岁至今我已创作了不少华语音乐。 近年来我受到neo-soulmovement的影响，我的创作返回了我70年代的风格。这些伟大的Soul歌手有StevieWonder、MarvinGaye、DonnieHathaway、JamesBrown、EarthWind&Fire、IsleyBrothers、JimiHendrix、GeorgeClinton、TheFunkadelics等等。 当我在写歌时和编曲时，我脑里早已有一个完整清晰的影像，知道歌曲由头至结束时我想要的声音和感觉是怎样，而这些创作多是回到70年代我喜爱的synths和电子钢琴的音乐风格。

TuTu Duo首张黑胶唱片《智斗》将于近期由欧洲知名厂牌“NoBusiness Records”发行，这是我们的首张录音室专辑，我们用了最真实的激情和精湛的技术把它呈现了出来，对于我们来说这是一张极其重要的专辑，不管是内容还是形式上都充满了东方色彩，我们希望它会让更多的人听到，当然我们还会继续更多的尝试。 “突突”是中国部分乐迷对那种疯狂音乐段落描述所使用的隐语，这个词汇应该很少用于音乐表达，我们以此命名，表达着具有浓重中式色彩的疯狂举动。

Nisennenmondai means ''Year 2000 Problem'' and it is an instrumental Japanese girl trio from Tokyo.The visits to Tokyo by Lightning Bolt, Battles & No Age and others have unearthed these three girls with their mammoth sound. With song titles such as 'This Heat', 'Sonic Youth' & 'Pop Group', one understand which musical territory the band comes from, and if you add Black Flag, DNA, Neu! & Pere Ubu you are pretty close to Nisennenmondais sound. It's raw & repetitive (post) punk instrumentals, at the same time as they are wild groovy with a no wave/disco vibe to it. This is the first release outside of Japan & it contains the bands two EPs ''Neji'' and ''Tori'' released as one album with new cover design by Kim Hiorthoy.

Her Soundtrack (FYC Promo)

“这张专辑里的歌，大部份写于07至09年。那期间我从北京永安里搬家到了东直门。2010年9月，为了可以更踏实的录音，我又从东直门搬到了这张专辑的录音棚所在地，北京青年路。 2011年4月26日，这张专辑结束前期录音。秋天万晓利又为这张专辑工作了近五十天，结束它的后期混音。 五年过去了，我也从北京搬到了南方。时过境迁，当我听着这些歌的时候，我明白了它的意义：它记录了我生命中的一部份。 坎坷的乐手转型之路上，我迈出了个人的一小步。如今我迫不及待地想拿出这张专辑，因为这样我才能和它告别。下一步，山长水远。” ——张玮玮

Kieran Hebden (born 1977), best known by the stage name Four Tet, is an English musician. Hebden first came to prominence as a member of the band Fridge before establishing himself as a solo artist.

This record starts with "Don't Make Me A Target", a song that builds on Spoon's familiar minimal rhythmic piano/guitar vamp popularized on earlier hits like "Small Stakes" or "The Way We Get By". The album quickly moves into uncharted territory with the atmospheric "The Ghost Of You Lingers" and moves through several different stylistic changes from the explosive "You Got Yr. Cherry Bomb" to the wall-of-sound horns of radio single "The Underdog". Their most heartfelt batch of songs since 2001's "Girls Can Tell".

7 is our 7th full-length record. At its release, we will have been a band for over 13 years. We have now written and released a total of 77 songs together. Last year, we released an album of b-sides and rarities. It felt like a good step for us. It helped us clean the creative closet, put the past to bed, and start anew. Throughout the process of recording 7, our goal was rebirth and rejuvenation. We wanted to rethink old methods and shed some self-imposed limitations. In the past, we often limited our writing to parts that we could perform live. On 7, we decided to follow whatever came naturally. As a result, there are some songs with no guitar, and some without keyboard. There are songs with layers and production that we could never recreate live, and that is exciting to us. Basically, we let our creative moods, instead of instrumentation, dictate the album’s feel. In the past, the economics of recording have dictated that we write for a year, go to the studio, and record the entire record as quickly as possible. We have always hated this because by the time the recording happens, a certain excitement about older songs has often been lost. This time, we built a "home" studio, and began all of the songs there. Whenever we had a group of 3-4 songs that we were excited about, we would go to a “proper” recording studio and finish recording them there. This way, the amount of time between the original idea and the finished song was pretty short (of the album’s 11 songs, 8 were finished at Carriage House in Stamford, CT and 2 at Palmetto Studio in Los Angeles). 7 didn’t have a producer in the traditional sense. We much preferred this, as it felt like the ideas drove the creativity, not any one person’s process. James Barone, who became our live drummer in 2016, played on the entire record. His tastes and the trust we have in him really helped us keep rhythm at the center of a lot of these songs. We also worked with Sonic Boom (Peter Kember). Peter became a great force on this record, in the shedding of conventions and in helping to keep the songs alive, fresh and protected from the destructive forces of recording studio over-production/over-perfection. The societal insanity of 2016-17 was also deeply influential, as it must be for most artists these days. Looking back, there is quite a bit of chaos happening in these songs, and a pervasive dark field that we had little control over. The discussions surrounding women’s issues were a constant source of inspiration and questioning. The energy, lyrics and moods of much of this record grew from ruminations on the roles, pressures and conditions that our society places on women, past and present. The twisted double edge of glamour, with its perils and perfect moments, was an endless source (see “L’Inconnue,” “Drunk in LA,” “Woo,” “Girl Of The Year,” “Last Ride”). In a more general sense, we are interested by the human mind's (and nature’s) tendency to create forces equal and opposite to those present. Thematically, this record often deals with the beauty that arises in dealing with darkness; the empathy and love that grows from collective trauma; the place one reaches when they accept rather than deny (see “Dark Spring,” “Pay No Mind,” “Lemon Glow,” “Dive,” “Black Car,” “Lose Your Smile”). The title, 7, itself is simply a number that represents our seventh record. We hoped its simplicity would encourage people to look inside. No title using words that we could find felt like an appropriate summation of the album. The number 7 does represent some interesting connections in numerology. 1 and 7 have always shared a common look, so 7 feels like the perfect step in the sequence to act as a restart or “semi-first.” Most early religions also had a fascination with 7 as being the highest level of spirituality, as in "Seventh Heaven.” At our best creative moments, we felt we were channeling some kind of heavy truth, and we sincerely hope the listeners will feel that. Much Love, Beach House releases May 11, 2018

虽然灵魂人物佐藤伸治的去世宣告了FISHMANS的寿终正寝，不过对于他们一度所创造的音乐上的奇迹来说，却是很难让人遗忘的。 过去将近10年的时间这张作品听上去却依然感觉像是刚听到那样，有一种令人感动不已的感觉。听到《頼りない天使》、《いかれたBaby》等等这样时常在LIVE时期演奏的作品时还真的有些要流下眼泪的冲动……蓦地发现以前所听过的好的乐队现在仍旧继续存在的几乎没有，像fishmans、yellow magic orchestra、seagull screaming kiss her kiss her等等，都因为各种原因而停止活动，成员也或者进行solo活动，或者退出乐坛，这到着实让真心喜欢他们的乐迷倍感失落…… 推荐度：5！！！！！

有点无奈，有点意气风发，也有点愤世嫉俗，更有一分对这片地土的怜惜。虽然我们活在一个冰冷的“娱乐世界”里，却有个林强如此关心这个世界。

This is Pino Palladino’s first record of original music. All album material co-written and produced by Blake Mills. The album has no single sound – showcases various styles of playing with a strong emphasis on ambitious composition and listeners can trace homages to J Dilla, Fela Kuti, Roy Hargrove throughout. Other musicians include Chris Dave, Larry Goldings, Andrew Bird, Ted Poor, and more. This record is being released as part of Blake’s imprint “New Deal Records” in partnership with impulse! records under Verve Label Group.