小红与小小红的第二张全长专辑，它记录了《黑羊》之后小红与小小红的全部转变：选择另外的乐器组合，对过去完全抛弃，重新来过。有关这张专辑的音乐组成包括：贝斯和鼓接近混乱的演奏，扭曲暴乱的人声，大音量的噪音与短小的歌曲。2012 年录制于 Pschic Kong Beijing，刘一可录音/混音/制造，宫保鸡丁 2013 年 5 月出品。

ADOY, a South-Korean self-dubbed 'commercial indie' band released their first EP about a year ago and have been doing nothing but produce good music. Both their debut album and their latest album centre around the theme of 'Youth', taking inspiration from their own youths spent in different careers and bands.

狂人农场的往事分三部分发行。 第一部分集中体现了我们在器乐上对超长曲目的掌控力，对于管弦和双吉他编配更娴熟有力的运用，在迷幻实验音乐领域的进一步探索，从音乐性的角度来看我个人认为是代表了现阶段整个团队的最高水平，也是我最喜欢的一部分。 第二部分中有半的歌恰恰是在隔离期间写好的，另外一半是在珠海的实时创作，这些歌像散落的星群，同一时间掉在距离我不远的地方，并不是很费力，它们找到了各自在唱片中的位置。 第三部分我们尝试了一些小品类的作品，类似于甜点，其中有都市疯客迪斯科，当代古典乐融合JJ Cale式的乡村吉他，法式小调嫁接悬疑短篇小说，具有印度风味又光怪陆离的演奏类曲目。 奇迹之光照耀着我们，音乐从来都是为了交流而存在。在不满一年的时间里我调度了几乎是身边所有音乐家资源，每天跟不同的时区时差作战，下午写完晚上录，见缝插针的干活，上路演出， 日复一日殚精竭力。现在终于到了要端上台面的时候，我却只想像一名普通乐迷样好好听一听， 好好感受一番。

A sonic collage of feeling and thought, an inner folding of outer. Composed, mixed and mastered on the stolen land of the Wurundjeri people of the Kulin Nation. All funds from sales donated to the Sisters Inside Children's Fund. credits released April 15, 2020 Music and lyrics by Hyphira Produced by Anna Durham Additional Production and Mixing by Robert Downie Mastered by Simon Lam Artwork by Beatrice Whardall license

The DVD side of disc one contains a ‘making of the album’ documentary video and an enhanced stereo version of disc one. The DVD side of disc two features a hi-res DVD audio surround sound version of disc two.

Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds – towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume – and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics (“Coolverine”), church organs as chariots of existential fire (“Brain Sweeties”), tremulous, foreboding bleeping – possibly from a dying android (“aka 47”). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, “Party In The Dark,” a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's “directionless and innocent, searching for another piece of mind”. This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal “Every Country's Sun,” its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.

郭顶2009个人全新创作专辑《微微》 就像微小的事物也有耀眼的美丽 平凡的人生也有独特的精彩 把音乐当作唯一方向，打开全身的触角与天线，发现生活，发现美丽。2009，郭顶邀你一起，在平凡生活中开启发现美丽的奇妙旅程。 没有华丽的包装，只有诚恳的音乐；没有动人的词汇，只有平实的语言。蛰伏四年所累积的音乐理想在2009年夏天绚丽绽放。 这也许不是最华丽的唱片，却一定是最诚恳的创作，它也许是你在本年度第一张想要买来仔细聆听的专辑。 《微微》－送给生活中每一个平凡的你 第一波强势主打：《幸运大门》 即使小如尘埃，也能用自己的色彩为世界增添不同的风景。只要勇敢坚持，只要坚定相信，幸运大门就会在这一刻为你打开！ 第二波抒情推荐：《情歌两三首》 2009最真挚情歌，对感情的温柔坚定，唱给想爱，在爱，曾爱的人。 第三波动感震撼：《微微》 最适合夏季的舞曲风潮淹没你的耳朵。安静的歌词，动感的节奏，郭顶从生活里微小事物中发现的美丽，也正是平淡生活中我们需要的态度。歌词取材于泰戈尔的诗篇，世界美丽无边，只等待你我的体会与发现。 第四波真实感动：《我们俩》 你在左边，我紧靠右。偶然翻出的照片中，清涩的我们俩，却是我已丢失的最美好。 个人包办全部旋律创作 追求朴实极致 专辑之所以命名为《微微》，当中的意义在于郭顶想通过一个微小平凡的普通人的所见所感来歌唱出生活中那些不为人所注意到的美好事物，更富含了小人物也可以成大器的深层含义。自定义为偌大世界中微小个体的郭顶，也想把这张凝结灵感与真实的唱片送给每一个微小的你，共同分享生活体验。 同首张专辑一样，执意用自己创作、自己演绎的方式来唱出眼中世界的郭顶包办了《微微》中所有旋律创作，以求更好地传达出自己的生活体验以及真实心情。早在五年前，郭顶的好声音就曾得到业内前辈的肯定，在《微微》中，郭顶回归了歌唱的本质，优质的歌者不再作技巧的奴隶，当声音作为传达真实感受的桥梁，也就成就了声音和歌唱最原始的意义。在造型上，《微微》同样突出真实自我的理念，干净的衬衣，简单的帆布鞋，普通的眼镜，以最为真实的一面来呈现自己。如今的郭顶，抛弃了做作的眼神，扔开了鲜艳的华服，走出喧嚣的城市外再回首，一切都是豁然开朗，更何况心情？ 再次出现在歌迷面前，郭顶不再如四年前那般青涩，长期远离公众视线的他在这几年中一直过着最普通的生活，随着时间的推移与内心的成长，一个心怀音乐理想的年轻人想要的创作方向也愈发明朗：用最真实的视角唱出自己眼中的世界。这也使得《微微》成为郭顶追求朴实极致的一张作品集。 在速食文化的冲击下，能一直坚持自己创作理念的音乐人越来越少。郭顶虽然经历了生活上的种种压力和挑战，但对在音乐上的追求从没有松懈。《微微》这张唱片在旋律的创作上精益求精，郭顶在四年中为这张唱片创作了许多歌曲，此次收入专辑中的则是当中最出色的十首。四年的成长使得他声音中增添了一份对生活的感触和体会，令每一次的聆听经历都多了一份愉悦和被感染。 任何微小事物都能成就震撼画面 坚持终将带来收获 从窗台到相框，由列车到大海，郭顶歌声所表现的美丽画面贴近生活又向往自由，既取材于日常场景但又不脱离现实，更多地表现出的是一个平凡人对普通事物的重新审视与观察，同时也是对专辑名称《微微》的契合与呼应，他对自己成长的感触也在作品中表露无遗。 用心聆听完这张《微微》，也许你会发现，许多被我们习惯忽略的微小事物实际上无比美丽。

在线播放 Late Troubles 是 Snapline 乐队的主唱陈曦的个人计划，这曾是他私人卧室音乐项目，使用尤克里里与电子乐器，创作一些更具流行音乐潜质的中文歌曲。在搬家到美国成为西雅图郊区的新移民之后，在繁忙的工作与琐碎的家庭生活之间，Late Troubles 逐 渐成为陈曦更为主要的音乐出口——2018 年，Late Troubles 发行了第一张全长专辑《月亮人》，第二张全长专辑也早已开始着手准备。不过在新的专辑发行前，他决定先行带来一些不一样的作品： EP 《Language Barrier(语言障碍)》。 《Language Barrier》是一张全英文作品，某种程度上这是一次对于 Late Troubles 这个“中文歌曲项目”的刻意背离。陈曦希望捕捉到一个初到美国的中国移民在新的环境里有意无意中感受到的错位与疏离，非母语的英语是很好的工具。有趣的是，在 Late Troubles 这个中文歌曲项目之前，陈曦早已为 Snapline 写下了几十首英文歌词。在《Language Barrier》里，陈曦究竟是出走还是回乡？这真的有些微妙。 《Language Barrier》包括四首歌曲：《Slow Day》和《Language Barrier》是献给城市的情歌，前者是陈曦工作生活的西雅图，每个夏日的周末它都是无比的缓慢；后者是纽约，陈曦从未去过，但他像很多人一样对这座城市有着丰富的想象。《Headache》是关于自己的莫名头痛，《A Fan Letter》是一封写给偶像的信，“我们终于累了，失去传达语言的能力”“我害怕讲出含蓄的语言”，关于“语言障碍”对主题在这些歌词中一再呈现。 《Language Barrier》也是一次北美中国新移民的远程合作产物。制作人左玮（WISEFAKE）住在多伦多，他和陈曦来来回回的发送音频文件讨论细节，却从未有机会见面；混音和母带则是由住在洛杉矶的罗可居完成，唱片设计来自西雅图市里的设计师朋友周百谅。 陈曦也在为 Late Troubles 的第二张专辑创作歌曲。从只言片语中透露出的信息显示，似乎这会是一张颇具野心的作品：关于近一两百年来北美中国移民的历史碎屑，宏大的主题却会是水墨画一般化繁为简的歌曲制作，此外他也会回归到中文歌曲创作主线中。毫无疑问，这会是一个极度耗费心力的项目，我们还需要为此等待很长的时间。所以在此之前，我们不妨在“语言障碍”中，多沉浸一会儿。 2020 年 5 月 18 日，《Language Barrier》由美丽唱片发行，实体磁带同日开售。 编曲/制作：陈曦 左玮（WISEFAKE） 和声：陈徵因 混音/母带：罗可居 设计：周百谅

Fiddlehead’s debut LP Springtime and Blind is an exploration of grief both introspective and through the insight of others. Following the release of their Out of the Bloom EP on Lockin Out Records, the Boston-based band have created a debut LP that shares an anguishing, relatable story of love and loss through the catharsis of spirited, loud indie rock. Consisting of guitarist Alex Henery (also of Basement), vocalist Patrick Flynn and drummer Shawn Costa (both of Have Heart), Fiddlehead explore musical styles different from their other projects while bringing a familiar energetic and emotional core to the collaboration. Springtime and Blind stemmed from Pat’s loss of his father. Flynn looks at how his mother coped with the situation- losing her spouse, her center of gravity -writing the lyrics as an emotional catharsis for both of them. Like the pain both he and his mother experienced, “a wild grief so well hidden,” the songs on this album hide the pain of loss beneath a layer of punchy, energetic instrumentals. As the title "USMA" explains, the song is about the United States Military Academy where Flynn’s father was buried. It is a refreshingly energetic song from the album, that explores love not only for a person, but for a beautiful place and how that place grows up with you. The first single to be released from Springtime and Blind, “Lay Low,” opens with a slow guitar riff that seemingly explodes with the first beatof the drum. “Lay Low” pushes Flynn’s vocals to their breaking point ashe cries out. Flynn has self-described the song as the concept that “lifecontinues on,” even when it seems to be too difficult to handle. It’s an overwhelming sense of change that brings with it the feeling of dread, a feeling that as the song says is “too much for me.” At the center of the album is “Poem You,” a boldly personal song. Embedded between the vulnerable “I’ll see you again” of the chorus is a rather-loaded sound clip of Flynn’s father speaking on voicemail; “I’ll get back to you as soon as I can” the electronic voice seems to reply. The final track of the album, “Widow in the Sunlight” finishes the album on a lighter note. The line “sunlight, moonlight, this life, next life” evolves into a mantra throughout the song - a cyclical look at things constantly fluctuating but perhaps eventually improving. There’sa taste of hope for what the next life brings, a feeling of reunion. While the process of writing and recording helped Flynn cope with his personal loss there’s no doubt it carries a universal message that can help ease others’ loneliness. A contrast to itself, Springtime and Blind is a multidimensional and relatable journey through its cathartic message and spirited instrumentals.

Fiddlehead’s second album doesn’t stray far from the band’s foundational qualities: gruff but approachable, intense without being aggro, emo but not emo.

YLT的第一張專集(1986年面世，這是CD-Reissue版)，充滿Jangle Pop影子。

Melina Duterte is a master of voice: Hers are dream pop songs that hint at a universe of her own creation. Recording as Jay Som since 2015, Duterte’s world of shy, swirling intimacies always contains a disarming ease, a sky-bent sparkle and a grounding indie-rock humility. In an era of burnout, the title track of her 2017 breakout, Everybody Works, remains a balm and an anthem. Duterte’s life became a whirlwind in the wake of Everybody Works. After spending her teen years and early 20s exploring an eclectic array of musical styles—studying jazz trumpet as a child, carrying on her Filipino family tradition of spirited karaoke, and quietly recording indie-pop songs in her bedroom alone—that accomplished album found her playing festivals around the world, sharing stages with the likes of Paramore, Death Cab for Cutie, and Mitski. In November of 2017, seeking a new environment, Duterte left her home of the Bay Area for Los Angeles. There, she demoed new songs, while also embracing opportunities to do session work and produce, engineer, and mix for other artists (like Sasami, Chastity Belt). Reckoning with the relative instability of musicianhood, Duterte turned inward, tuning ever deeper into her own emotions and desires as a way of staying centered through huge changes. She found a community; she fell in love. And for an artist whose career began after releasing her earliest collection of demos—2015's hazy but exquisitely crafted Turn Into—in a fit of drunken confidence on Thanksgiving night, she finally quit drinking for good. “I feel like a completely different person,” she reflects. Positivity was a way forward. The striking clarity of her new music reflects that shift. After months of poring over pools of demos, Duterte, now 25, essentially started over. She wrote most of her brilliant new album, Anak Ko—pronounced Anuhk-Ko—in a burst during a self-imposed week-long solo retreat to Joshua Tree. As in the past, Duterte recorded at home (in some songs, you can hear the washer/dryer near her bedroom) and remained the sole producer, engineer, and mixer. But for the first time, she recruited friends—including Vagabon’s Laetitia Tamko, Chastity Belt’s Annie Truscott, Justus Proffitt, Boy Scouts’ Taylor Vick, as well as bandmates Zachary Elasser, Oliver Pinnell and Dylan Allard—to contribute additional vocals, drums, guitars, strings, and pedal steel. Honing in on simplicity and groove, refining her skills as a producer, Duterte cracked her sound open subtly, highlighting its best parts: She’s bloomed. Inspired by the lush, poppy sounds of 80s bands such as Prefab Sprout, the Cure, and Cocteau Twins—as well as the ecstatic guitarwork of contemporary Vancouver band Weed—Anak Ko sounds dazzlingly tactile, and firmly present. The result is a refreshingly precise sound. On the subtly explosive “Superbike,” Duterte aimed for the genius combination of “Cocteau Twins and Alanis Morissette”—“letting loose,” she says, over swirling shoegaze. “Night Time Drive” is a restless road song, but one with a sense of contentedness and composure, which “basically encapsulated my entire life for the past two years,” she says—always moving, but “accepting it, being a little stronger from it.” (She sings, memorably, of “shoplifting at the Whole Foods.”) Duterte focused more on bass this time: “I just wanted to make a more groovy record,” she notes. The slow-burning highlight “Tenderness” begins minimally, like a slightly muffled phone call, before flowering into a bright, jazzy earworm. Duterte calls it “a feel-good, funky, kind of sexy song” in part about “the curse of social media” and how it complicates relationships. “That’s definitely about scrolling on your phone and seeing a person and it just haunts you, you can’t escape it,” Duterte says. “I have a weird relationship to social media and how people perceive me—as this person that has a platform, as a solo artist, and this marginalized person. That was really getting to me. I wanted to express those emotions, but I felt stifled. I feel like a lot of the themes of the songs stemmed from bottled up emotions, frustration with yourself, and acceptance.” The title, Anak Ko, means “my child" in Tagalog, one of the native dialects in the Philippines. It was inspired by an unassuming text message from Duterte’s mother, who has always addressed her as such: Hi anak ko, I love you anak ko. “It’s an endearing thing to say, it feels comfortable,” Duterte reflects, likening the process of creating and releasing an album, too, to “birthing a child.” That sense of care charges Anak Ko, as does another concept Duterte has found herself circling back to: the importance of patience and kindness. “In order to change, you’ve got to make so many mistakes,” Duterte says, reflecting on her recent growth as an artist with a zen-like calm. “What’s helped me is forcing myself to be even more peaceful and kind with myself and others. You can get so caught up in attention, and the monetary value of being a musician, that you can forget to be humble. You can learn more from humility than the flashy stuff. I want kindness in my life. Kindness is the most important thing for this job, and empathy.”

The collaborative album by Jay Som’s Melina Duterte and Palehound’s Ellen Kempner tells compelling and rarely heard stories, but doesn’t reach the same highs as their respective solo work.

Tomorrow, In A Year is an opera based on Charles Darwin's "On the Origin of Species". It is a collaboration between The Knife with Mt. Sims and Planningtorock. It was released digitally on January 28th through the bands own label Rabid Records prior to the physical release.

在柏拉图的「洞穴寓言」中，一堆火将万物的形迹投射在洞穴的岩壁上。被缚的面壁者们凝望着那些活动的影子，确信它们就是这个世界的真相。这是一种古老的仪式，一场奇异的电影——如果还需要配乐的话，就让「RUN RUN RUN」乐队为它作一次现场演奏吧：在摇曳的火光与潮湿的空气里，低音鼓与铃声被反复敲着，随山洞的空旷混响滞缓地铺开；一支吉他开始弹奏散漫邪幻的和弦，盘旋的旋律诱导着面壁者将眼睛与火合为一体。乐手的身形会不时被映照在岩壁上，他们的影子是低垂的。 沉默、潜行，这支乐队的存在一度曾比他们的音乐还要神秘。从2014年组建并签约兵马司唱片开始，「RUN RUN RUN」在很长一段时间里都难觅踪迹：很难说清他们是蛰伏在贵阳还是北京，以及除了吉他手窦朝以外又有哪些成员是确定的。直到5年后首作《HOON》的发行，一切似乎才变得清晰——小窦定居在了北方，先是和鼓手毛特组成了二人阵容，随后小文从乐队巡演经理转为合成器手，THE BEDSTARS乐队的赵凯也带着一本手记为他们加入了念白。在一年多半是聚众饮酒半是即兴排练的磨合后，这支乐队名字的意义似乎从对「地下丝绒」著名歌曲的致敬，回归到这个词语字面意义本身——跑，并且强调三次，并且成为他们第二张唱片的标题。《RUNRUNRUN》，一封写给洞穴的告别信，一则关于行进的宣言书。 冲出洞口的起跑以《引》开始。《HOON》中通篇离散飘忽的吉他，在这里被集结成规整的行进队列：行进，行进，沿着被强力低音轧出的路径，将西南中国的森林与湿气统统抛在了脑后。一路向北，影子会越来越暗淡，视野却愈发开阔光亮。在那里，习惯了洞穴微光的眼睛，或许会被《跑》中庆典般的旋律照射得晕眩，或许会在节奏暂歇时的电流与回授中稍作观望，但行进的脚步并不会拐进分岔小径去寻求「变化」的风景；当跳动的4/4鼓点再次响起，一切会被决绝地牵引向前，仿佛将无休无尽地去向永恒。 行进中，赵凯会摊开他的笔记本读上若干次。在《治爱丽丝》里，它们以一些由远及近却难以分辨的声音形态出现。朗读的口吻是笃定的，仿佛在宣告一些重大而不容置疑的事情。可是那些词句究竟在说什么？很难有人能解释清楚——在大部分时间里，它像一盘古旧模糊的垮掉派诗人街头宣讲录音带，抑或一次醉后本能般喷出的支离破碎的错乱言语。而此时关于洞穴的记忆似乎尚未远去：在《清道》中，它被合成器旋律再次唤起——仪式般的吟唱，飘渺迷离的回响弥散着来自街道车流的声音，幻觉与现实共舞，仿佛是「洞穴幻影」在行进中的一次回魂上身。行将出神之际，《电山》和《5G》骤然把所有游移的重新拽回Motorik规训的秩序中：脚步在连环往复的吉他节奏里越来越密集，间或的tambourine就像是行进者腰间撞击的钥匙。行进，继续行进。 就这样又跑出了很久，《逆行》的鼓机节奏与合成器不觉间铺满了路面。在和弦的延音里，在规整的击掌声中，那些与仪式或幻觉有关的事情似乎已恍若隔世。随后焦急的吉他和歌声出现了：它们在《余悸》中不安地涌动着，好像预示着什么行将发生。很快喧闹就在空气中弥漫开去，宣讲的声音从广播喇叭倾泻而出。强烈的和弦被前所未有地激扫，它与密集的RIDE敲击、闪耀的合成器旋律混合在一起，构成了名为《投机》的唱片结束曲，构成了在目力所及的终点到来前的最后一次欢庆。 炽热的气氛并没有持续太久。鼓声停了，一切渐渐消逝在电流的余波中。奔跑者的身影越过终点离开了视线，他们接下来要去的或许会是一个令我们都感到意外的地方。

On Hurray for the Riff Raff's new album 'The Navigator' (March 10/ATO Records), Alynda Segarra tells an interwoven, cinematic story of a wandering soul at a crossroads of identity and ancestral weight. It finds a street kid named Navita traversing a perpetually burning city in search of herself. 'The Navigator' is a thrilling call to arms that could not come at a more crucial time. It also finds Hurray for the Riff Raff at its own musical intersection, delving deep into the worlds of Latin rhythms, searing rock, and incisive ballads.

An artist of rare calibre, Aldous Harding does more than sing; she conjures a singular intensity. Her body and face a weapon of theatre, Harding dances with steeled fervor, baring her teeth like a Bunraku puppet's gnashing grin. Her debut release with 4AD, Party (produced with the award-winning John Parish; PJ Harvey, Sparklehorse) introduces a new pulse to the stark and unpopulated dramatic realm where the likes of Kate Bush and Scott Walker reside. Comprising a formidable clutch of songs, 2017’s Party sees Harding shape-shift through a variety of roles: chanteuse, folk singer and balladeer - all executed with her twisted touch of humour, hubris and quiet horror. In other words, she’s having a good time. Stretching her limbs with playful cunning; every note, word and arrangement posed with intellect and inventiveness. Created in Parish’s hometown of Bristol, Party saw Harding depart her New Zealand base in the antipodes for an intensive two-week immersion in the studio. Articulating her ambitions for Party to Parish was a galvanizing process for Harding, met with stunning results. The pair developed a near non-verbal shorthand, audibly evident in a raft of musical contributions from Parish. Alongside such special guests as Perfume Genius’ Mike Hadreas (having worked with Parish and toured with Aldous, it only took asking once), there is an exhilarating sense of risk throughout the record as Harding’s muscular wingspan extends. Teased out with inflections of experimental instrumentation and arrangements; Party is always anchored by Aldous’s intimidating command of her own songs. First single ‘Horizon’ is a lover’s call to arms, powerful for its brutal simplicity and rawness of feeling, love and loathing colliding to devastating effect. “Aldous Harding repeats the line as a mantra, as a truth, as a reality. It's as if the gift of life is right here, with all its beauty and its limitations”, said NPR. ‘Imagining My Man’ commands an air of delicacy as Aldous explores the curiosity of a lover’s idiosyncrasies; steering listeners into a state of intense intimacy laced with hyperactive shots, dirgey saxophone and Harding’s aching voice. The track is one of two that Mike Hadreas lends his inimitably sultry vocals to, the other being the intimate Party closer ‘Swell Does The Skull’. ‘Blend’ sensitively ushers the mood of Harding’s flourishment throughout Party. Its opening lines a nod to the mood of Harding’s last record; sameness is quickly quashed with an electronic drumbeat and the announcement of Aldous Harding as an artist of stirring ambition and trajectory. The album’s eponymous single ‘Party’ harks to Aldous’ earlier work; delicately pulling at the threads of a seemingly late-night love affair. Again, it’s not long until the rug is pulled out, with a searing chorus - Harding’s electrifying vocal accompanied by a choir of women and waves of percussive bass clarinet - piercing the balloon of expectations around Harding's new record with effortless vigour.

Lana Del Rey早期用May Jailer为艺名的Folk处女大碟。

The London art-rockers’ outstanding debut is a droll album full of surreal images, bizarre obsessions, and sense memories. The cumulative effect of Florence Shaw’s narration is inexplicably wonderful.