Drawing on funk, Afrobeat, and spiritual tradition, two beautifully crafted albums from the elusive UK group passionately consider the entirety of the Black experience in this moment.

在他三十八岁生日那天，他要发行自己的第八张专辑Modern Guilt 专辑中的Orphans和Walls这两首歌是feat到了Cat Power，并且由Danger Mouse制作 囍欢这张专辑中低沉的鼓声 这张专辑应该是值得反复听的那种

'Asunder, Sweet and Other Distress' is the forthcoming fifth studio album by Canadian post-rock band Godspeed You! Black Emperor, to be released on 31 March 2015. The album marks the group's first single LP-length release since their debut, F♯ A♯ ∞. The album was recorded with Electrical Audio engineer Greg Norman in studios in North Carolina and Montreal. The album was announced on 24 February 2015; the group also shared an excerpt of "Peasantry or 'Light! Inside of Light!'" on SoundCloud. On March 24, 2015, Constellation Records streamed the album on their SoundCloud.

如果说有什么比1977年伦敦街头的朋克们更加虚无的话，那一定是新世纪之初所有 妄想回到那个时代的人。 这4个醉鬼用美妙的三和弦点燃了混合着酒精，尼古丁与荷尔蒙的危险气体。这群 不和时宜的懒家伙们将音量调到最大，在酒醉后醒来的每个星期天早晨--或者所有混帐 的日子。 这不是政治，不是乖巧的宝贝宠物，它甚至不是又一个乌托邦。这是纯正的 1970年代朋克摇滚音乐，而他们不是什么狗屎明星，他们只是摇滚乐的婊子和狂欢着的 美丽酒鬼。

Like master painters exploring a subject over a lifetime’s work, Kevin Martin and Dylan Carlson – The Bug and Earth, respectively – have each been mining and defining their genres for more than 20 years. They’re united by an interest in – really an obsession with – heaviness. They search for, examine and break the boundaries between beautiful and ugly, minimal and maximal, light and dark – but The Bug and Earth always make music that is heavy in the most thrilling of ways. Earth, and its founding member Carlson, first appeared in the early ’90s, and came to prominence with their Sub Pop release "Earth 2". An exercise in SLOW distorted droning minimalist riffage, their debut was the blueprint for what Dylan coined at the time "ambient metal,”– a style still being pushed forward on his latest Southern Lord release "Primitive And Deadly.” Kevin Martin's career spans the same timeframe. Techno Animal, Ice, God, Razor X, King Midas Sound, and of course the The Bug moniker. All of which explore(d) the fringes of experimental and heavy music. With his recently released "Angels & Devils" LP receiving high praise across the board, he once again put his sonic stamp on the here and now with his collaborators Liz Harris (of Grouper), copeland, Miss Red, Gonjasufi, Flowdan, Death Grips, Justin Broadrick (Godflesh/Jesu), and Warrior Queen. These two uncompromising outsiders met via the visual artist Simon Fowler (Angels & Devils.) Simon arranged for Dylan to come to a King Midas Sound gig, but Martin’s trademark use of a powerful strobe light meant that the epileptic Carlson couldn’t enter the room. Undeterred, Carlson featured King Midas Sound’s music in a podcast, and the pair eventually decided to collaborate around “Angels & Devils.” The anglophile Carlson had long admired Martin, and other British sonic experimenters like Spacemen 3 or Pentangle. In turn, Martin understood the genius in Carlson’s deconstruction of metal, and Earth’s boiling down of the genre to its core, elemental riffs. Martin saw that he and Dylan were both “wanderers,” and “misfits in the world we live in.” They were both huge fans of dub and the Velvet Underground, and they discussed how those influences could provide a combined template for something entirely new. When they finally began to record, it quickly became apparent that the music they made together needed room to stretch out and “drone,”– to be its own thing. Two tracks eventually emerged, "Boa"&"Cold," and were released as a standalone EP, with Dylan's signature guitar sound weaving seamlessly around some of Kevin's most destructively heady bass explorations. Martin had decided to exclude those songs from ‘Angels & Devils’, as he felt “They had developed a singular life of their own, outside of the identity of that album.” Ninja Tune asked The Bug and Dylan Carlson to perform live in LA around the label’s 25th anniversary, and Martin and Carlson took the opportunity to further the recording project in person. So The Bug vs Earth project holed up in Daddy Kev’s legendary LA studio, with DJ Nobody engineering, for two very long days. Those recording sessions have resulted in the masterpiece that is “Concrete Desert.” Inspired by J.G. Ballard’s urban dystopias, and the Californian dream capital’s sordid, fragmented underbelly, Martin says that the album is in some ways a Los Angeles-set companion piece to “London Zoo.” The record’s beautiful, chiming melodies are like shards of sonic light, glowing in currents of heavy bass darkness. There are pulsing soundscapes, ambient pinks and whites, and irresistible grooves. This is music that grips you entirely, and catches you in its lava-flow – an astonishing, primal album of vast depth. In making it, Martin decided to break from The Bug’s obsessive study of groove, tone and texture, and think more cinematically. The result is a wondrously visual album, akin to finding oneself wandering amongst the rocky red hills of the Californian deserts. In fact, he says, the album could be understood as reflecting a ‘mistrust of “Hollywoodisms,” and the shadow of Hollywood fantasy that looms large over life in LA, and the USA in general. “Dylan’s a master at amplifying the flavour of America,” he says, “but not the side we see in this Trump climate.” For Martin, the “American dream is like a nightmare under Trump” but Dylan captures the “best side of that dream, a utopian openess.”“I hear the writing of Cormac McCarthy in his music. His playing conjures deserts, and wide open spaces.’ In “Concrete Desert,” Earth’s sonic landscapes, its far horizons and vast spaces, are underpinned and propelled by Martin’s ear-worming rhythms and percussive genius. With live shows for The Bug and Dylan Carlson planned for April 2017, this is just the beginning of The Bug vs Earth project. The record might be one designed to ‘document alienation,’ but one listen is enough to show it, equally, to be a brilliant meeting of two kindred musical souls.

The new Yo La Tengo CD/2XLP/digital album Popular Songs (OLE 856-1,2) could be the bravest musical statement to date in a career full of them. Recorded in Hoboken and Nashville in early 2009 with longtime associate Roger Mountenot, Popular Songs finds the trio of Georgia Hubley, Ira Kaplan and James McNew at the height of their creative powers, fashioning an epic work that’s cooly confident as it is wildly adventurous. Even for longtime followers of Yo La Tengo, the stylistic range encompassed on Popular Songs is startling ; the band aren’t merely conversant with rock & pop subgenres stretching into the double digits, but their unselfconscious mastery of such is simply uncanny.

田原自述：跳房子就是某种游戏 关于这张专辑，存在着太多的巧合。就是某种游戏，我是一只在一个轨道上定时出现是鸭子，在某个游乐场。那里有人来来往往，有人会偶尔停下来在旁边看一看，也有人会停下来玩这个游戏。我还是一样定时在轨道上出现，我还在想着自己有多大的机率会被打中，我还在绞尽脑汁地计算着，我还在抱怨在不停的运动之中这太难计算，我还在看着前面一只鸭子掉色的尾巴，我还在听着无数种莫名其妙的声音…… 而就在这个时候我被人打中了，我一点准备都没有，我还陷于一种恍惚的状态，我就那样被打中了。我觉得我还没有准备好，我觉得我还没有经历足够的磨难和失望，我甚至觉得我还没有开始为我已经达到的这个愿望奋斗，这一切就都成型了。 我就在这种状态下加入了跳房子，成了主唱。而我当时还并不完全清楚作为一个主唱应该做一些什么，我就这样在配器中加入了人声。我不知道自己做的是否正确，是否让大家满意，我有些不安也有一点沾沾自喜。 我们用了一个月的时候录制完这张专辑。一个月里，我们白天睡觉，晚上工作。我一直抱着一种尝试的心情写完了旋律，写完了歌词，也把它们唱了出来。一切都很快，就在当我还不知道我是否会做这些事情的时候，我就做完了。歌词是最有戏剧性的，在半夜的地下，几乎都是在这种环境下，我写完了歌词。我就好象在原来听过的东西里游泳，那些花花绿绿的印着歌词的纸张都发疯了，它们聚到一起，打着转，最后都变成液体了，而我就在那种颜色怪异的液体里游着。不停地呛水，吞进一个个字母，然后把它们吐出来，吐到我的纸上。 我想这张专辑里存在着太多的巧合，太多的情绪。对于我来说，有太多的不成熟和太多的不稳定而且还有一些怀疑，对自己也对大家。但是我毕竟完成了我需要做的，之后便是等待。现在已经过了一年了，现在听起来总有一些错位的感觉，但至于错在哪里自己也不是很清楚。

这些是2015-2016年编曲和录音的，那时候还住在水边的小村子。我长期合作的鼓手飘走了但是留了一台钢琴在我的房子，所以我在用它做一些配乐。后面我都是用预置钢琴的方式来弹，因为发现了一个不错的加料偏方。材料，位置，摆法都尝试了很多样子，最后就弄出来了这个很好玩的乐器。我跟钢琴从来都是作曲者／制作人的关系，绝对没有演奏家的水平，但这个加料法几乎让它变成一个采样器，或者一个合成器。但是又是原声，而且共鸣很大，细节很丰富，靠近它里面就变的很丰富，每个震动都非常长，再加上那么多弦是不同的音色，而对力度等都很敏感，就很爽。原声机械工具还是比数码的有意思多了（从听觉上，当然很多人喜欢一个音乐不是因为听觉或者声音）。 后面我做了一些混音，采了一些自己的弹奏，也加了一点效果器，跟那些直接弹奏的地方融合在一起。只有一首是钢琴大提琴二重奏，其它声音都是钢琴。听这张专辑好像适合睡觉，我睡这张专辑的时候会睡到法国印象派的标语在一个巨大的山谷里被宣布给周围的恐龙，尤其是庞大的古琴龙和古筝龙。山谷的河比大海还深，为了上面照下来的光有更远的地方可以走。 ——李带菓

International edition of the highly anticipated 2003 solo album debut from the Destiny's Child front woman includes the hidden bonus track, 'Daddy', which appears on the US version as well, plus two additional bonus cuts, 'Work It Out' (Top 10 solo single from 'Austin Powers In Goldmember') & '03' Bonnie & Clyde' (feat. Jay-Z). 17 tracks. Columbia.

Big Thief's music, rooted in the songs of Adrianne Lenker, paints in vivid tones "the process of harnessing pain, loss, and love, while simultaneously letting go, looking into your own eyes through someone else's, and being okay with the inevitability of death," says Adrianne. Masterpiece, Big Thief's debut album, is filled with characters and visceral narratives, songs that pivot in the space of a few words. Adrianne's voice and guitar playing speak of rich emotional territory with grace and insight. In her words, the record tracks "the masterpiece of existence, which is always folding into itself, people attempting to connect, to both shake themselves awake and to shake off the numbness of certain points in their life. The interpretations might be impressionistic or surrealistic, but they're grounded in simple things." Adrianne met her longtime musical partner, guitarist and singer, Buck Meek, in Brooklyn a few years ago, and they quickly formed a creative bond tempered by the experience of traveling and performing for months on end in old dive bars, yards, barns, and basements together. They recorded a pair of duo albums (A-Sides and B-Sides), and Adrianne showcased her songs on a solo album, Hours Were The Birds. Now, as a full rock and roll band, with Buck on guitar, Max Oleartchik on bass, and James Krivchenia on drums, they bring a steady wildness, giving the songs an even deeper layer of nostalgia. "These guys feel like a pack of wolves at my back," says Adrianne, "they make the songs howl and bark with a fierce tenderness that gives me courage." After spending last July in an old house that they turned into a studio on Lake Champlain with producer Andrew Sarlo, the resulting collection soars on what Big Thief fan Sharon Van Etten calls "...a real journey, with intelligent stories and twist-and-turn melodies."

The Knife re-release their critically acclaimed album 'Deep Cuts' following the release of the single 'You Take My Breath Away'. An album that has already become a best seller & Grammy winner in Sweden, and is picking up plaudits across Europe. Joining the CD is a bonus DVD of Videos. V2 Records. 2005.

Almost two years after the release of Marry Me, St. Vincent, aka Annie Clark, is back with her sophomore album this May: It's called Actor and she co-produced it with the pAper chAse's John Congleton (Modest Mouse, Thermals, Smog, Polyphonic Spree, etc). Clark wrote/arranged the 11 songs and sings, plays guitar, bass, and keys, but brought on some additional players like Hideaki Aomori (Sufjan Stevens), Alex Sopp (Björk, Phillip Glass), and increased the rhythm section with Midlake's McKenzie Smith and Paul Alexander. There's also French horn, violin, sarongi, bass, and percussion. Still, really, she's front and center, which is why the cover art makes sense. It also carries on the tradition of Marry Me and confirms something Amrit said to me earlier today: "She loves closeups of her face." Yes she does. I guess she's assuming you do, too.

漂流出口「O Fafahiyan No Riyar 海女」2020 專輯 「海女」，這一張專輯從2018年10月，漂流出口開始籌備進行漂流尋聲計畫。漂流尋聲計畫意指在五個不同 空間裡，各錄製12首歌曲(整張專輯)。12首歌，整張專輯都是樂器同步錄音。其目的在於—能錄製出創作者 的心跳、旋律、情緒、能量。歌曲挑選是以最合適的音色及張力的空間作選定方向。音樂製作過程，從寫歌 、練團、阿美族傳統樂器採集、樂器音色探索、樂器收音軌數制定、五間錄音室錄製、歌曲版本選定、人聲 錄製、混音、母帶，歷時近兩年，漂流出口終於做出了這一張音樂作品。 這張作品的題材與我們海洋文化生活相關。我們是出生在資訊時代的部落孩子，傳統生活文化隨著時間，一 直從我們身邊轉變。儘管我們很難重建過去的模樣，不變是我們仍有母語(語言)，而我們用最擅長的方式-即 音樂，來表達我們對於阿美族海洋文化的呼吸與力量。現代科技，人類對海的了解遠遠不及對宇宙的了解。 探索生命永遠不會停止，我們一起享受這一切過程。向海，孕育我們並讓我們推向未來的母親致敬。 單曲介紹 1.Milaklaw 採集 “Ina, 我要坐船遠洋，為了改善我們的家境。忍著依依不捨的心情離開，還沒細數童年時光，就被大浪打回來 岸邊，我被人們救起，當我醒來時候，已經融入了他們的群體，幾過多少歲月，才發現自己想要的只是想要 開心的跳著阿美恰恰，在海洋純粹的採集。” 自由自在地從大海中取得當日所須的漁獲，珍惜大海的恩典，是阿美族文化與海的親密關係。然而，了解遠 洋漁業的作業方式才發現，事實並非如此。然而，以追求產量及投資報酬率為目標的遠洋漁業使得漁船上的 阿美族長輩們，與海洋的關係是如此地近，卻又如此地遠。 2.‘Emet 腦袋控制狂 住在我腦袋裡的人啊，是不是因為我只有在有喝有抽的時候才愛您呢？您一直在罵我，控制我的去向，改變 我的感官。獻給您的那些快樂您一下子就燃燒殆盡，讓我們合為一體吧，因為我只有您了。 3.Patireg to Talo‘an 搭寮 這是漂流出口的山歌。Talo'an,是族人外出狩獵或工作普遍在山上都建有的工寮，就地取材，就可以住在那 裡一兩天，一兩個星期，甚至一兩個月。阿美族老人認為，出門聽到綠繡眼鳴聲，出外狩獵或做任何事情都 會很順利。但不知什麼時候，獵場變成侵略者的娛樂場造成生態失衡。 4.Kahengangay 紅色的 這是兒時的記憶，一個新來到都市生活的原住民家庭的孩子，正在適應著陌生的文化跟觀感，而在學校人群 裡被壓迫，被排擠。”就讀國小的某天，中文老師不讓大家放學，把我書包裡的書全部倒在地上，只因為我一 個人有口音，還有在黑板的字上少寫了一撇，我已經忘了自己是怎麼回到家的，但永遠記得那天回家的路途 ，陽光把空氣照成了美麗的紅色，穿透每一條街巷，每個角落，每個視線。“ 5.Tafokay A Kitakit 沙漠星球 在2019年的夏天，巫尚和美國孟加拉裔的藝術家Anika Ullah一起寫“沙漠星球”這首歌的初形，以表達夥伴的 共同經歷，跨文化的認識並交織在一起，了解氣候變遷的時代影響台灣沿海地區和孟加拉國社區的當前的環 境和社會的狀況。第一段主歌”沙漠的世界“是基於2019年春季在巫尚的比西里岸部落發生的土地權案件，一 家遊樂建設公司在未經許可的情況下進行建築動作和廢棄物處置。影響靠海為生的沿海部落社區、水質、海 洋生態與傳統領域的健康運作。”第二段主歌“海的世界”則是基於是基於Anika的在孟加拉國沿海土地的現況 ，因海平面上升，加上極端天氣事件（超級氣旋風暴安攀）和“開發案”的問題，她的家人以耕種/捕魚為基礎 的傳統生活方式正漸漸失去。巫尚的部落正在旱災，anika的土地正在氾濫，所以我們開始以挖掘逃生，直 到我們在地下世界中偶然相遇。 6.出生者 我們出生在少子化的世界，依賴著時代的科技、方便隨手可得的資源、多數人只需要在乎當下，或只需在乎 自己的感受，不再需要去準備新生命的誕生，在這慾望城市，各種不同的地方有不小心生在錯誤時間裡的嬰 兒被丟棄，有的用盡力氣哭喊，有的靜靜的歸回塵土。丟棄孩子的父母或許原諒自己的行為。但那夢裡傳來 的哭聲卻一直沒停止。 7.O Fafahiyan No Riyar海女 這是這一張專輯的出發點。海，是我們的母親，我們的故鄉，孕育了各種不同的生命並以無限的型態持續在 變化; 海女，她是隨著時代變遷都市討生計離鄉背井的第二代族人，對著家鄉海有特別的悲苦回憶與幸福的 憧憬交織在一起，然而對故鄉的連結不是這麼密切，對母系社會產生矛盾與衝突。海女不斷地尋找自己的歸 屬，卻像個浮游生物隨著海流漂流，到不了那深海，也摸不到天空的盡頭。但是她跟海有最遼闊的連結，因 為在那她得到了最平靜也最恐懼的經驗。 8.比西里岸的畫 眼看著美麗的部落歷史與老人的記憶一點一滴的消失，後接著又是各種權力爭鬥、家庭分散、樸實卻又激烈 ，又有夥伴為著自己的文化傳承正在努力付出著。在巫尚這是化為鉛筆、阿妞跟林肯則成為顏料，決定要在 時間洗去痕跡之前，畫出比西里岸的觀感故事。 9.Keter No Kawas 憤怒自然 阿美族泛靈信仰的核心稱為 卡瓦斯 （Kawas），泛指一切 神 、 鬼 、 祖先 （祖靈）、天、地、海、 動物 、 植物 和 人 的靈魂。Kawas 管理著宇宙的生命循環 ; 末日，像是人類渴望來到的日子，不斷的污染、欺騙、侵略、製 造、戰爭、自我毀滅等，我們應該對這活躍的自然運作給予尊重共生共存並在其中獲取更多知識，了解教育 與傳承的重要，因為自然給我們的回應是對等的。 10.Waco 狗 虛假的狗，不管怎樣在包裝自己，還是一樣不會改變的。我卻發現我跟你一樣是狗，因為我在批評跟抱怨的 同時，也是在講我自己。這種恨意跟同情，全部一起淹在混濁的臭水吧！不，還是回來吧！ 11.Takora 青蛙 在雨中，它們美麗的交響曲響起來，在夜裡，青蛙的眼睛被月光照成了森林裡的星空，一台砂石車把那交響 曲改變了進行，成了紅色的，漸進暗去的景象。 12.秘密 長期失眠的病患者唱這著原住民組曲，有時分不清早晚。夜晚，太安靜，會異常的煩躁。白天，太吵雜，會 異常的笨重。帶著身心疲憊的身體去應對身邊的人們，在時間失控錯亂的身體裡精神發生一些狀況。幻聽， 幻覺，有時會不斷做一樣的事。有時感覺耳蝸傳來那個人的聲音，像是在跟你說秘密一樣。