劳动之余 何以解乏 很久以前做过一次西南巡演 当时的巡演主题名就叫劳动之余 ，那还是更早些年的一首歌 ，到今天也没能完成它，记忆深刻的是歌词的第一句 《回家的路上我有些疲倦 毕竟辛勤工作了一天 才挣回一点属于自己的时间 ，该怎么花？》现在还能不时会闪回黄昏回家的小路上的饭菜的香味，安全帽，臭水沟，小茶馆，那里离市中心也就几公里，后来的快二十年 ，城市就像一个不断膨胀的迷宫。可笑的是那时的我虽然还是会感到迷茫和孤独，但依然觉得自己有花不完的时间，而且还不上班，所以接下来的矫情和纠结就这样粗糙青涩的留在了硬盘上。 这次的专辑里最后完成的那首歌是临了倒计时才定稿了最后一版歌词，反复的斟酌也许是因为只有自己能懂和喜欢已经不重要了 ，就像做菜，如何能和别人分享才是我最想要的 ，用了二十年方才明白音乐于我的意义，如同烈日下耕作的农夫，土地已然是他唯一的救赎，而我局限于自己的世界，差一点忘记了仰望星空。

Ever since SPIRIT OF THE BEEHIVE released their self-titled debut in 2014, they’ve developed a reputation for being your favorite band’s favorite band. Theirs is the music of immersion, of confrontation, the kind that makes a listener stop and wonder, “How are they even doing that?” And as the years wear on, that sense of bafflement has made room for SPIRIT OF THE BEEHIVE to quietly but steadily ascend, with their most recent album, 2018’s Hypnic Jerks, leaving them poised on the precipice of wider recognition. On April 9th, SPIRIT OF THE BEEHIVE will release their fourth album and Saddle Creek debut, ENTERTAINMENT, DEATH. The album signals new chapters for the band on multiple fronts, being the first to feature their new three-piece lineup, as well as the first to be entirely self-recorded and produced. Guitarist/vocalist Zack Schwartz and bassist/vocalist Rivka Ravede are now joined by new member Corey Wichlin, a multi-instrumentalist who relocated from Chicago to the band’s home territory of Philadelphia last year. In the spring of 2020, the trio began to write their new album at a distance by emailing files back and forth. “The process of making this album was basically the exact opposite of our experience creating Hypnic Jerks,” Schwartz explains. “We had to record that in seven days, because that was the studio time we had, whereas ENTERTAINMENT, DEATH was made over the course of three, four months.” An abundance of time wasn’t the only difference. Recording remotely offered the band an incentive to experiment with new possibilities for their sound, resulting in an album that is unlike any SPIRIT OF THE BEEHIVE has released before. Once the band finished recording and mixing the album digitally, they mastered it to tape, lending the collection a textured, dimensional quality. “We knew we wanted to use some new instrumental elements on this album,” Wichlin says. “We're not going fully electronic,” Schwartz adds, “But guitar, bass, drums just get kind of monotonous.” Though ENTERTAINMENT, DEATH doesn’t cohere in a single, unifying theme, the band samples old obscure commercials throughout, many of which guided the process of writing a song instead of serving as an appendage. Schwartz describes his songwriting process as a stream-of-consciousness, while Ravede asserts that she doesn’t typically write vocal parts with any specific intention in mind. “When I write, the narrative usually doesn’t present itself until after the song is done. And even then, it depends on how the listener interprets the words,” she reflects. Regardless of how dreamlike SPIRIT OF THE BEEHIVE’s lyrics can be, reality rears its head throughout ENTERTAINMENT, DEATH. The album isn’t a metamorphosis, it’s simply the newest iteration of a longstanding project. “There’s a line in the Bee Gees documentary that I think applies to us. I’ll paraphrase: ‘We may not have always connected, but we always stuck around,’” Ravede says. Schwartz jumps in, “SPIRIT OF THE BEEHIVE: we’re still here.” written and performed by SPIRIT OF THE BEEHIVE produced and mixed by zack schwartz and corey wichlin mastered by andy clarke cover artwork by rivka ravede insert artwork by nico trevizo design & layout by corey wichlin

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others. On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

The hip-hop collective’s sixth album refocuses on melody and economy, resulting in the group’s most focused and impressive record yet.

On their collaboration with the Alchemist, ELUCID and billy woods drag postcolonial wounds onto the examination table. They don't just embrace the darkness; they wear it as a protective cloak.

Over the course of two astonishing albums, Perfume Genius, aka Seattle native Mike Hadreas, cemented his place as a singer-songwriter of rare frankness, creating songs that, while achingly emotional, offered empathy and hope, rather than judgment or handwringing. Sparse, gorgeous and with Hadreas’ quavering vocals often only accompanied by piano, 2010’s Learning and 2012’s Put Yr Back N 2 It told uncommonly beautiful tales of a life lived on the dark side – Too Bright, however, is something else altogether. Less self-conscious, and less concerned with storytelling and easily-digested melodies, it is a bold and unpredictably quixotic exploration of what Hadreas calls “an underlying rage that has slowly been growing since age ten and has just begun to bubble up”. This sharp U-turn came early in the writing process, when Hadreas grew creatively frustrated and uninspired writing what he thought people might want to hear – as he describes it, “mid-tempo Adele songs, carefully plotting each chord and lyric like math” –and focused instead on writing what came naturally, 100% visceral and unfiltered, no matter what the potential reception might be. “I looked to PJ Harvey,” he recalls, “how powerful and raw she can be, and thought, ‘what is my version of that?’” The resultant album is a stunning about-face which brings to mind audacious career-shift albums like Kate Bush’s The Dreaming or Scott Walker’s Tilt, records which walk the tightrope between pure songwriting and overt experimentation. Here, Hadreas is aided in his efforts by not one, but two unlikely conspirators – John Parish, who plays drums on several tracks, and Portishead’s Adrian Utley, who, as producer, brought the physical resources to flesh out the songs ininnovative ways. According to Hadreas, Utley was the key to unlocking unexplored terrain on the album, using both synths and organic instrumentation to push the tracks to darker and more unreal heights. The album is also rounded off with key contributions from longtime touring band members Alan Wyffels and Hervé Bécart. The fragile yet defiant “I Decline” opens the album, draped in hushed, languorous beauty, but it is an outlier. On the following track (and first single) “Queen”, the line “Don’t you know your queen?” booms out over ominous guitars, not so much a genuine question as a rhetorical one, as Hadreas proceeds to deconstruct gay panic with relish. Even with a wordless (albeit soaring and cacophonous) symphony of a chorus it sounds huge and anthemic, a gleeful kiss-off. He says, “I sometimes see faces of blank fear when I walk by...if these fucking people want to give me some power – if they see me as some sea witch with penis tentacles that are always prodding and poking and seeking to convert the muggles – well, here she comes”. That mischievous sense of defiance runs rampant through the album. A surreal threat hangs over songs like “My Body” and “Grid”, with piercing screams, tribal drums and electronic stabs highlighting disturbing lyrics of self-destruction and temporary respite from the darkness. On “Fool,” meanwhile, deceptively swinging doo-wop rhythms disguise a story of social mutiny, with Hadreas tearing into the stereotype of “a walking, talking candelabra”, and rejecting it for something much more volatile and dangerous. “I've met people that laugh at EVERYTHING I say,” he muses. “I could be talking about OJ or Munchausen’s Syndrome or bloody stool – I am still just the cutest thing. Here only to enrich their lives, not have one of my own. Make their dress, tell them how great their boobs look and then peace. Isn't he the best?” Which is not to say that Hadreas has completely abandoned the shimmering, exquisite piano ballads that he is so known for. “No Good” is a heartbreaking meditation on a difficult life lived on the outside but “spent looking in”, while the somber closer “All Along” is a resigned yet firm rebuke to acceptance and reassurance from external forces, preferring instead to find refuge from within – “I have my love,” Hadreas asserts, “and I apply it where I need to”. This, in fact, is the overarching theme of Too Bright; the connective tissue loosely joining up these 11 stunning, weird and wonderful tracks – the discovery of strength and power where previously he felt he had little. As he puts it, during the making of the album, it felt “like I had woken some ancient beast which began to rattle and threaten to rise.” With this record, consider the demon awoken.

Put Your Back N 2 It is the sophomore album from artist Perfume Genius.

Pure Comedy, Father John Misty’s third album, is a complex, often-sardonic, and, equally often, touching meditation on the confounding folly of modern humanity. Father John Misty is the brainchild of singer-songwriter Josh Tillman. Tillman has released two widely acclaimed albums – Fear Fun (2012) and I Love You, Honeybear (2015) – and the recent “Real Love Baby” single as Father John Misty, and recently contributed to songs by Beyoncé, Lady Gaga, and Kid Cudi. While we could say a lot about Pure Comedy – including that it is a bold, important album in the tradition of American songwriting greats like Harry Nilsson, Randy Newman, and Leonard Cohen – we think it’s best to let its creator describe it himself. Take it away, Mr. Tillman: Pure Comedy is the story of a species born with a half-formed brain. The species’ only hope for survival, finding itself on a cruel, unpredictable rock surrounded by other species who seem far more adept at this whole thing (and to whom they are delicious), is the reliance on other, slightly older, half-formed brains. This reliance takes on a few different names as their story unfolds, like “love,” “culture,” “family,” etc. Over time, and as their brains prove to be remarkably good at inventing meaning where there is none, the species becomes the purveyor of increasingly bizarre and sophisticated ironies. These ironies are designed to help cope with the species’ loathsome vulnerability and to try and reconcile how disproportionate their imagination is to the monotony of their existence. Something like that. Pure Comedy was recorded in 2016 at the legendary United Studios (Frank Sinatra, Ray Charles, Beck) in Hollywood, CA. It was produced by Father John Misty and Jonathan Wilson, with engineering by Misty’s longtime sound-person Trevor Spencer and orchestral arrangements by renowned composer/double-bassist Gavin Bryars (known for extensive solo work, and work with Brian Eno, Tom Waits, Derek Bailey).

ＴＨＥ　ＰＫ１４乐队签约地下唱片公司ｅｍｐｔｙ　ｅｇｇ；乐队将在年中发行专辑。先将部分放到网上让大家试听（版权归empty egg公司所有，请勿转载和做任何商业用途） 试听地址：

在成军的第十九个年头，超级市场乐队带来了第七张正式专辑《有限无限》，以一张唱片的有限时长，去论证电子乐所能包蕴的无限可能。 老乐迷们一定有所察觉，去年的回归之作《Blackeclipse墨蚀》已呈现出和以往不同的创作思维和听觉质感。它更偏向笔记本音乐，数码音效大量取代模拟音效，音色和节奏从而更易操控，犹如解放了的生产力，令整张专辑生长出更大的包容空间，迸发出愈加灿烂的气象。新专辑《有限无限》可谓这一探索的自然延伸，手法则愈发精当纯熟。 若将《Blackeclipse墨蚀》看作超市对以往作品的提纯和结晶，《有限无限》便是这一晶体折射出的多彩光谱和细密纹理。或者用主创羽伞的话说：前者是一个有形的固体，后者是它向外发射的信号和辐射。开场曲清寂寥落的钢琴声过后，便是《生机》中令人屏息凝神的Glitch和Minimal射频，仿佛向耳膜发射出密集的针尖。 之后的曲目有着更深的下潜，但无论是Trip-hop和Downtempo基底上的深沉律动（《我们人类》），还是Techno舒适的动感八拍（《我》），音色和结构上的独到匠心都清晰可辨，也因此能以轻盈灵动之姿突破根源风格的沉与重。而那些氛围化的曲目，如《有限》和《最后一千》，则彷若对太空旅行的声响描摹，宇宙空间中飘荡的物质实体和电磁辐射凝成声波被我们听到，有限的声音形态构筑了无限的想象空间。超级市场做到了举重若轻，却并不晦涩艰深，美好的旋律一如既往地前卫而又动听。 相较以往，新专辑中的歌词更加“有限”了，情绪片段信口一舒，音乐中的感情倾向随即暧昧不明，只有那首《我们人类》犹如一个勘破世事者的失望独白，将摇滚乐的力道化入电子乐节拍——在超级市场向更纯粹的电音世界转型的路途上，这是一个值得纪念的背影。

《超级市场SUPERMARKET繁荣的PROSPEROUS》超级市场乐队，再创中国电子乐新顶峰，国际水准制作团队，中国电子乐班霸年度巨献！作为中国第一支真正意义的电子乐队，超级市场乐队用独特的视角，将创作的焦点集中于科技与人文、数字与情感等相互对立的因素之间的关系问题，这种相互磨擦、而又相互融合的现状，正是中国现阶段社会形态的真实写照。《繁荣的》这张专辑的整体色彩是偏于明亮的，阴暗和轻松愉快之间的过渡也比较自然。感觉是在带给你一定的欣赏性之后，又不忘抓住轻松娱乐的一面。所有的曲子歌词都很简朴，制作却都非常细致，甚至可以说是复杂，其目的都是为了要营造一个更大的整体氛围——你可以完全把这张专辑作为背景音乐听着解闷儿，同时也可以钻进每一首歌中仔细体会它独特的感性世界——这也是超级市场我行我素的精妙之处。 01 Super 02 Market 03 最后一天 04 激光时代 05 家 06 Beautiful 07 奢侈 08 玩具大兵 09 怀念 10 DoDoBia

It’s that same fervent rawness that Shake brings into “Modus Vivendi.” The album title is a Latin phrase that translates to “way of life,” which can most obviously be understood as a reference to the revelatory nature of Shake’s writing. “Modus Vivendi” is far from a musical diary entry though, as Shake’s personal candor saturates her tracks with resonance. In an interview with Vogue, Shake spoke to what she hopes her music can do for listeners: “I just want to make people feel something. Open people’s minds, save people. Do what I’m supposed to do. I need to reach people; I’m not really doing this for myself,” she said. Through production and vocal transparency, “Modus Vivendi” reflects upon the inharmonious relationships that seem to haunt many. The opening track, “Don’t Break the Silence,” serves as a sort of audible sunrise to the album. Shake’s enchanting, guttural voice climbs atop an optimistic synth as she speaks to an assumed ex-lover, “I need your love (I need your) / Need your love / Say she miss me / But she sayshealso need time.” The act of desire makes it so that human relationships can’t help but be inclined to tumultuousness. So, the lover is elusive for Shake — always in sight, but slightly out of grasp.

秘密行动豆瓣音乐人小站： 首支单曲 “Hook" MV: itunes: Spotify: ========================= 独立摇滚乐队秘密行动 (Stolen) 来自成都，由五位乐手和来 自法国的 VJ FORMOL组成。虽然乐队成员大多数都是刚刚从四川音乐学院毕业的大学生，作为一支乐队，秘密行动已有颇长的 历史：乐队从高中开始就初具雏形，主要成员几乎都是发小好友， 并在2011年曾获得迷笛主办的BUD ROCKS乐队大赛冠军。不可动摇的默契和专业的训练让秘密行动的音乐显得一气呵成，自然自信。2013年，乐队联手成都小酒馆和 New Noise 厂牌发行首张 EP《奇怪的老式娱乐》，他们肉感而充满活力的声音及极具感染力的现场演出一直在为他们赢得越来越多的关注。 确切地描述秘密行动的音乐并非一件容易的事，乐队所受到的音乐影响颇为多元：从 Joy Division 式的生冷后朋克到 Kraftwerk 式的未来主义 Krautrock，还有 Nine Inch Nails 工业黑暗与 Portishead 的万种风情……秘密行动将来自摇滚乐与电子乐的元素融合出一种充满现代感的独特味道，同时也展示出无限的发展潜力。正如乐队的名字所暗示的，秘密行动的音乐带着一种粘稠的阴暗气质。主唱梁艺极具辨识度、强有力而神经质的演唱为乐队的音乐带来无限的紧张感。更为可贵的是，秘密行动的“黑暗”并无刻意与乏味——他们蓬勃的节奏组、精彩的吉他和合成器段落都保留了一种属于年轻人的危险与性感。 2014年，乐队正式签约大福唱片 (D Force Records)，并于同年年末前往台北著名独立音乐大本营 112F Recording Studio 录制首张全长录音室专辑。唱片制作人由 P.K.14 乐队的吉他手许波担纲。新专辑收纳了乐队过去两三年内创作的作品，既有 “Electric Echo”, “No Replay”, “Suicidium Morbus” 这些已在网络和现场演出上耳熟能详的曲目，也包含 “Aamir”, “Hook ” 等之前从未公布、令人兴奋的全新曲目。在乐队、制作人和录音师大半年的忙碌之后，这张新专辑《 Loop 循环》将在 2015 年 8 月和大家见面。主题 “loop” 一方面代表了电子乐中惯常使用的 loop 手法，一方面也象征着日常生活中无处不在的周而复始。唱片封面的设计师，乐队VJ说：“Loop 充满各种可能性，有些可能过于理性甚至无聊，有些则充满惊艳和意外。” 毫无疑问，《Loop 循环》这张唱片，属于后者。

《6600万年以前》是为益鸟文化传媒策划的PNSO古代海洋生物复原展览所创作的环境音乐，它的创作出发点是尽可能削减音乐本身所带有的“侵略性”，从而使其能作为展览空间中既定的组成部分，循环播放中不对长时间处于展馆内的人造成听觉上的疲累。这种空间感的营造对装置展览本身也非常重要，在观展者踏入展馆的那一刻，就能明显感受到一个气压和凝聚力都截然不同的地域；但在观赏的过程中，这种隐匿的压迫感却会融入观展者的意识和耳压习惯中，让观展过程始终处于一种带有底噪的舒适状态。这种舒适感在他离开这个空间时会又一次被突然打破，就好像潜水许久的人终于浮上水面后的轻松感一样。 专辑中所有曲目均于2016年间在磊落声音艺术工作室内录制。 工程：Wang Yile, 张彧 tr 1 的小号于Zoo Music Studio录制，录音师：萃Ming。 tr 1, 2, 3, 5由张彧混音； tr 4, 6 由The Push Music 推音乐混音。 母带师：李游 本专辑由益鸟文化传媒出品，特别感谢PNSO的科学艺术家赵闯创作的专辑油画封面。

林忆莲这张酝酿三年的国语专辑《呼吸》，从收歌、录音到整张专辑的概念形成，Sandy 都一如以往一样亲身参与。而首波主打歌则打破大家对 Sandy 既有的印象，选择翻唱自澳洲的新秩序合唱团 (New Order) 的一曲“Bizarre Love Triangle”为新曲“一个人”，大胆地挑战歌迷们对 Sandy 音乐的习惯！ 感情路上兜兜转转的 Sandy 继去年11月推出唱片《本色》和举行的《夜色无边演唱会2005》演唱会，全面复出歌坛；除了推出国语专辑《呼吸》外，十年没有在台湾开唱的忆莲将于8月中旬及月底在上海大舞台及台北小巨蛋举行演唱会，以新歌及演唱会回报歌迷多年的支持！

幽怨少女、烈性女子，都市女性是林忆莲转变的驿站，而从专辑《不必在乎我是谁》开始，走上了做个真正女人的道路。专辑由谙晓人们内心世界、尤其是女性心理的音乐鬼才李宗盛和小虫、许愿倾心制作。“几次真的想让自已醉，让隐藏己久的渴望随风飞” 。不但词、曲演译有新意，打破以往束缚，把渴望被爱的女人的心态刻划的维妙维肖。“纠缠的脚步有你就会有我，此刻你眼睛有我未来的缩影” 。细腻的笔触，配以林忆莲柔婉的歌声几乎是天衣无缝与李宗盛对唱的“当爱已成往事” 有万种风情。林忆莲并不漂亮，但最有女人味，一个能与你彻夜长谈的女人。

林忆莲加盟华星唱片后的第一张专辑。收录了她在台湾的大热国语歌曲《当爱已成往事》，以及《不必在乎我是谁》的广东话版本：《假如让你吻下去》。其中翻唱Babyface、林夕填词的《天大地大》表现了忆莲对快歌出众的掌控能力。《滴汗》、《不如重新开始》等也是值得聆听的作品。

纸醉金迷 意乱情迷的城市 迷惘的人群模糊不清的面孔 在朝九晚五的社会齿轮下运转 茫茫然向不知名的方向移动 都市的跃动反映出 人们心灵蠢蠢欲动的不安全感 我们住的都市之中…… 拥有甚么样的心？ 综合《Faces And Places》和《梦了．疯了．倦了》的歌曲而成，《都市心》好像是【都市触觉】的外一章。虽然所有歌曲都能找到粤语版本，这张唱片的制作并不马虎。所有歌曲皆经过重新混音，录音效果亦比粤语唱片为佳。 〈破晓〉的那份空间感是两个粤语版也没有的，歌词亦更能写出那份感觉。优质录音使〈我的夜生活〉及〈危险关系〉等快歌更有活力；〈灰色的逃脱〉把混音版的音效加进原装版里去，使编曲更丰富，效果亦更吸引。〈匆匆〉屏弃了原版较沉闷的编曲，采用重新剪辑过的混音版本，把那句莫明其妙的英语和过多的重复段落抽起，感觉好多了，忆莲在歌曲末段的ad libs更是歌曲的灵魂所在。

我最讨厌麻烦和等待，于是在完成这张专辑后让我彻底承受了这些痛苦。 我最喜欢激情和欢乐，于是在完成这张专辑的过程中让我完全感受到了这些兴奋。 "草莓声明"来自一本书名，我没看过，可我相信我会喜欢它。正像这张专辑一样，你没听过，可当看到这个名字的时候你也会自然喜欢上它的。 活这么大总想冲出重围，疯玩疯闹一辈子，可我发现（而且是个人就会发现）根本就不可能。没辙！所以我又开始幻想，自己就是一颗草莓，妈妈爸爸像园丁一样，喂我好吃的，没完没了的喂，让我迅速长成大个子。我觉得别人都没我夺目（至少是有时觉得），可真正长大后，却根本不清楚自己的未来该是什么样的。于是我开始挣扎（妈妈，书包太重！快要背不动啦！），想把未来画成一幅至少让自己看得懂的图画，可我总是找不到该从哪里开始。这就是我想说出来的，我不知道该怎么办。尽管我可以装着什么都不在乎、什么都不想，可在每个睡不着的夜里我又什么都会想、什么都在乎。所以我写了这些歌，让它们帮我思考。 《草莓声明》是首好听的歌，而且够猛，它也是我们的心里话（我想宣告独立，我手里握着笔，可我不敢签定）。《时间》差点被我给废了，当初觉得这种歌不够劲儿，后来录完了才听出点感觉（郭阳的贝司真帅），而且这歌好象暗示着什么，不敢细想。社会真复杂（对，真复杂！），即便在一个特别狭窄的空间里，也有令你生厌的东西大摇大摆的出现，你不知道该怎么办，只想拿一颗炸弹来解决问题，可你想着想着，它们又成群结队地朝你走过来了。于是当内心所有的压抑在一瞬间爆发的时候，随着音乐连你自己都被炸开了。《Punk Boy》写的是我们自己，歌词是萧玮帮着想的，可是真的当我们出现在电视上乱蹦的时候，我们已经不知道当初拿起吉他冲上舞台是不是就为了那么孤独的在水银灯下蹦。我们宁愿没有在那个寂寞的舞台上蹦，而是在一个嘈杂但是挤满了同龄人的Party上跟大家一起唱点什么，歌词忘了都没关系，王文博写那首《Party Song》就是这个意思，就是想让你们知道，我们想得其实特简单，只要你愿意张开耳朵听、放开手脚蹦，你就能加入我们。 看着日历一篇篇的翻过，自己本来没意识到已经是成年人了，后来发现有些新问题出现了，手足无措的，心里老觉着有个特别混乱的节奏（当年王文博录第一张专辑的鼓时，都没打出那么乱的节奏），经过归纳总结，才特不好意思地发现原来是那什么了，所以写了《糖》、《别针》这种一点都不"猛"的歌。 我老觉得一直不停地狂奔，不顾一切阻挡，是件非常酷的事，我做梦都想那样。只不过有的梦象《火星果冻》那种因为游戏玩儿得太多而产生的幻觉；也有的特浪漫轻松，能躺在月亮上唱歌，可是梦总会被什么惊醒，吓一身冷汗或是特失落地坐在床上发呆，想把梦里的一切都记住，好在我会写歌，我就把做过的梦给唱出来，唱得比梦里还热闹，唱得比梦里还短。 我有的时候特矛盾，老希望好多事情别人能帮我去忙活，自个儿多玩会儿，可是吧，什么人爱都管我，管那些跟他们没一点关系的事儿，所以就写了《管不着》，我想告诉他们"管不着"。社会的确很复杂，但没长辈说的那么可怕，我们自己慢慢都会明白，不用整天在耳边说，说多了反倒没用，要是我们遇到困难的时候能给点实际的帮助（一定是实际的帮助），比什么都强。 《我是破坏王》是唱给周星驰的，他演的角色就是那种老想突然变得特威猛去拯救世界和美女，可是运气比谁都坏。其实这种人在生活里特别多，我自己就是，玩游戏扮演天赋异能的大侠，可是刚把经验值练得差不多了吧，邻居家里随便用一超过标准的电器，我的电脑就在一阵乱闪之后自动重启，刚才那点成就感立刻被现实粉碎了。 《八月最后一天》对我而言充满了矛盾：即是我的生日，又是开学的前一天，从小到大的生日聚会没一次能痛痛快快地，都是虎头蛇尾地结束（你说我该恨谁呀）。现在18岁了，离开学校了，再不用担心生日聚会的时候大家会在中途溜走，但是又特别怀念当年放学之后几个同学一起去消磨时光的"钢蹦儿聚集地"。我们每天放学都不回家，约好了去一个废弃的二层破楼里，从废墟里捡来仨破床垫儿、半拉茶几、漏着弹簧的沙发和一个没线的电话。我们就在那儿聊天，无拘无束。找个能聚会可以随便造的地儿多不容易呀，所以我特别喜欢那儿。后来它被一个大铁球砸塌了又被推土机铲平了，什么都没了，只有怀念的日记和这首歌。我知道当初的那些哥们儿都没忘了那块地儿，希望大家一直都是好朋友。 我们这一代的生活方式跟长辈们不一样，所以他们总是看不惯，其实他们也年轻过，也跟他们的长辈不一样，可是到面对我们的时候，他们就不愿意理解。也无所谓，反正有一天我们自己就不知不觉地长大了，闹不好也会对我们下一代指手划脚。《青少年俱乐部》记录的是我们这一代的生活，（我们有冰红茶，汉堡包，假睫毛，滚轴，滑板，星际争霸和Disco。它们整天围着我们，我们喜欢！）或许有一天我们会觉得那些都特傻，可是我们毕竟就是这样长大的。 说到《泡沫》这首歌，我变得严肃起来。真的很严肃，好象刚从一特美但是特凄惨的梦里哭醒。电影看多了就这样，老把别人的悲剧都往自己身上按，到后来都觉得自己也挺凄惨的，有时候都快崩溃了，可是第二天就会发现，一切都不过如同一个轻飘飘的泡沫，喜怒哀乐都特别虚幻地在梦里结束了。 录音是个微微有些艰苦的过程，我们仨都很用心，可这不够，由于技术和别的一堆破事，阻碍了顺利进行。哭、急都是瞎折腾，最后发现必须生磕，得耐得住寂寞。尤其在录《泡沫》的时候，我和郭阳都成了早期老年痴呆，一遍又一遍。因为我们对慢歌经验特别少，我也一直在心里抱怨怎么写了这么一歌，这不是给自己下套儿吗。可都录完时，站在一起一听，我们彼此都从心底露出了微笑，这……这还真是首好歌！对呀，虽然有许多困难，可每当完成后听到最后的声音时，兴奋就像马桶一样把那些艰苦一下都抽干了。录音时的饭特别好吃，不知道为什么，一进棚里我就特饿，我得吃多点这样能让我的心情有很大好转。专辑的声音比过去猛了很多，那些快歌都是同期录音，以前都不敢想，现在觉得同期录音实在太爽了，在录音棚里我们仨都被对方的声音震得异常兴奋。这是我们要的声音，我知道你也需要这种声音。（当然如果没有我们出色的录音师和制作人的辛苦工作，这些声音都无法传达给你们。） 这是一张充满着复杂情感和简单愿望的专辑，我们的生活也是由这些组成的。无论今后还要面对多少阻挡，我们都愿意用音乐记录下每一个值得回忆的心情。 对了，我们需要再一次深深感谢李军，这张专辑的录制过程剥夺了您太多的休息时间，可是您在录音棚里能够象我们一样兴奋，是对我们最好的鼓励；感谢王总帮我们安排好所有的工作，让我们更专心的录音；感谢肖姐在音乐上对我们的支持和帮助；感谢刘菲忙里忙外，还跟我们一起唱了《钢蹦儿聚集地》；感谢非鱼乐队的刘洋、吴磊在这几年的演出中帮我们客串节奏吉他，希望早一点听到你们的专辑，我们可是非鱼的歌迷呀；感谢小史（史振华）在2001年担任我们的客座吉他手，希望你在"新蜂"这个大家庭里迅速成长；感谢爸爸妈妈对我们的理解和支持，希望我们是你们的骄傲；感谢萧玮为我们的每一张专辑设计出那么漂亮的封套，并在创作上给予我们无私的支持；最后要感谢我们的制作人、经理人付哥（红枫），您为我们付出的心血，浸透着我们的每一首作品、每一次演出，除此还要承担着音乐以外的巨大责任，我们会用音乐来证明您的一片苦心没有白费。 当然，还有你们–这几年一直支持我们的朋友们，我们的每一张专辑都是过去时光的结束，也是新的开始，希望我们的音乐能够始终伴随你们的左右，陪你们成长，给你们的生活带去一点能量。我们都不愿意停留在过去的记忆里，每一次声明之后都该有实际行动来证实自己的能力，因为我们正是这样长大的！