Just a month after The War On Drugs’ ‘A Deeper Understanding’ received the 2018 Grammy for Best Rock Album, the core of Granduciel, bassist Dave Hartley, and multi-instrumentalist Anthony LaMarca retreated to upstate New York to jam and cut new demos, working outside of the predetermined roles each member plays in the live setting. These sessions proved highly productive, turning out early versions of some of the most immediate songs on ‘I Don’t Live Here Anymore’. It was the start of a dozen-plus session odyssey that spanned three years and seven studios, including some of rock’s greatest sonic workshops like Electric Lady in New York and Los Angeles’ Sound City. Band leader Adam Granduciel and trusted co-producer/engineer Shawn Everett spent untold hours peeling back every piece of these songs and rebuilding them. One of the most memorable sessions occurred in May 2019 at Electro-Vox, in which the band’s entire line-up — rounded out by keyboardist Robbie Bennett, drummer Charlie Hall, and saxophonist Jon Natchez — convened to record the affecting album opener “Living Proof.” Typically, Granduciel assembles The War On Drugs records from reams of overdubs, like a kind of rock ‘n’ roll jigsaw puzzle. But for “Living Proof,” the track came together in real time, as the musicians drew on their chemistry as a live unit to summon some extemporaneous magic. The immediacy of the performance was appropriate for one of the most personal songs Granduciel has ever written. The War On Drugs’ particular combination of intricacy and imagination animates the 10 songs of ‘I Don’t Live Here Anymore’, buttressing the feelings of Granduciel’s personal odyssey. It’s an expression of rock ’n’ roll’s power to translate our own experience into songs we can share and words that direct our gaze toward the possibility of what is to come.

Jlin's new EP "Embryo" marks a key point in the multi-platform artistic growth of the Indiana-based producer. The title track "Embryo" features a bold and fiery sound palette recalling the futurism of nineties Detroit techno and British IDM without succumbing to their cliches. The track was written for the Chicago-based new music ensemble Third Coast Percussion who are set to release their version of the composition on Cedille Records in May 2022. The bumping "Auto Pilot" takes her mutant techno stance even further. With faint echoes of classic Model 500, it sounds like music for automated cars, robot cop junctions and virtual freeways in the air. A fifth wave techno? "Connect The Dots" is one of the standouts from her recent lives sets, with the kind of rhythmic complexity only Jlin can bring, underpinned by a glitch reborn and transmuted into something utterly of the here and now. Its final segment will catch listeners by surprise with it's changing time signatures effortlessly rendered. Looking back on the new EP Jlin comments "I was just writing trying to get out of my own head. I wrote all these pieces in between commissions and trying to stay afloat mentally." She singles out final track "Rabbit Hole" as a highlight for her - describing it as "a track I truly enjoyed making. It made me feel nostalgia yet connected me to my own evolution." "Rabbit Hole" is the most laidback track on the EP. Its sound palette is one people know her for but the delivery is like a new kind of supercomputer live rendering of a panoramic widescreen landscape of pluto. The new EP is of course only one aspect of her ever-prolific continued growth and despite lockdown she managed to record a live set for The Met museum in New York earlier this year. She's also undertaken remixes for Jazz musician Steve Lehman, Depeche Mode's Martin Gore, rising star Marie Davidson and violinist Galya Bisengalieva amongst others. She also created a remix of Beethoven for BBC Radio 6 as well as being commissioned by the Kronos Quartet to create a composition for their '50 For the Future' series. In addition, this past August, New York based dance company A.I.M by Kyle Abraham revealed a new work “Requiem: Fire in the Air of the Earth” featuring her music. Jlin is currently working on a new full length album for Planet Mu.

-2：57的人声需要再大点吗？ -2：13秒的clean颤音吉他，需要小点吗？ -3：07那一块，会不会有点太凶？ -结尾的部分，呼吸的声音是不是可以更清楚。 -bridge地方的吉他solo还是听不到。 -尾奏808 bass可以音头再凶一点。 -2分05秒的voca l fx没有，麻烦检查一下分轨。 -最后一遍的"偶尔堕落一纵"的"一纵"应该是"25（DG），现在"一"在缝里。 -shaker帮我在prechorus1去掉，其他部分shaker整体可以小一点。 -bridge段落，只是beat保留filter，但真鼓，尤其是rim，可以露出来。 -1：55的"啊啊fx"，混响拿掉吧，再大一点。 -2分44秒的"拥抱"，需要声场再大，在"宇宙中"，因为他死了。 感谢音乐。 出品/经纪公司 Presented by/Artist Management：十一音乐 Elevenz Mu-sic.(Beijing)Co. 专辑发行：环球音乐（中国）Universal Music China 总策划 Chief Planner：胡楠 Hu Nan、荒井十一 Arai Soichiro 制作人 Producer：荒井十一 Arai Soichiro 企划统筹 Marketing Coordinator：任孝恒 Shawn Ren（Elevenz Music） 平面企划 Marketing Planner：米丰 Mi.（UMG） 平面摄影 Photographer：王海森 Haisen Wang（SENSPACE） 化妆&发型 Make Up & Hair Stylist：杨紫惠 ZiHui Yang 服装造型 Stylist：孙艺菁 Sua.Sun 包装及平面设计 Graphic & Package Design：SPES 神鸦社鼓 影像创意制作公司 Creative & Production Company： SPES 神鸦社鼓

Straight from the depths of an unused Boston-area concrete laboratory comes the debut of Sweeping Promises. Written and recorded with a patented 'single mic technique' just before quarantine, 'Hunger for a Way Out', is a post-punk leaning gem of unpolished DIY sound. The title track kicks things off in absolutely classic fashion, full of spirited hooks that echo the early Rough Trade sound. Angular guitars and sharp synth notes float atop a raw rhythm section, while Lira Mondal's effervescent vocals truly define Sweeping Promises's sound. There's something simple yet otherworldly about these tracks - you have the DIY prowess of Kleenex/LiLiPUT and Girls at Our Best!, a brooding new wave-y minimal synth sound woven in, and an undeniable pop-leaning appeal captured in vibrant monaural glory. It's hard to mistake these ten tracks of naturally urgent and driving post-punk for anything other than sheer brilliance. Sweeping Promises deliver in spades on 'Hunger for a Way Out'.

Black Country, New Road return today with the news of their signing to Ninja Tune, who will release their much-anticipated debut album "For the first time" on February 5th 2021.Recorded with Andy Savours (My Bloody Valentine) during the early part of this year and then finished at the end of the nationwide lock-down, the album is the perfect capturing of a new band and all the energy, ferocity and explosive charge that comes with that whilst also clearly the work of a group who have no interest in repetition, one-note approaches or letting creative stagnation set in. Featuring six new songs including reinterpretations of early tracks "Sunglasses" and "Athens, France", "For the first time" is a sonic time capsule that somehow manages to bottle the past, the present and the future. “We wanted it to sound exactly how we love to sound live,” says saxophonist Lewis Evans. “This is basically representative of our first 18 months”, continues frontman Isaac Wood. Indeed the band found they had to stop themselves running too far ahead in order to document this album in a way that felt as truthful as possible. “We see this as being a stop in the road” explains Isaac. I've always been interested in a really honest portrayal of what a band is and what they've been working on. I think it's really nice if people can see an artist like: this was them in the early days, this was their next phase and that they're quite clear and honest about genuine progression as people and musicians.” The band have today also shared the new track, "Science Fair", alongside an interview with The FADER. Minimalist and foreboding, "Science Fair" opens around their rhythm section, precise percussion and bass locking in to allow a residual build from the rest of the band, viola and sax loop and layer over fits and squalls from dual guitars, a synth break and an ever-anxious narrative laid down by Isaac Wood. Climbing towards his desperate exclamation of - "it's black country out there!" - the song caves in on itself during a blistering, caustic final breakdown. Already a live favourite, "Science Fair" is paired to a video directed by Bart Price who said the following about its themes: "When developing the music video for 'Science Fair', I was thinking about fictitious worlds that we visit through our screens, such as the American high school. Despite our lack of direct experience, these worlds become a universal means of communicating about and understanding things like what it means to grow up, or what it means to be in a friendship group, or to be in love. I wanted to create such a world around Black Country, New Road, placing their music at the heart of a small American town, that in a sense we’ve all been to and lived in." Despite having just those two early singles to date, Black Country, New Road - their name originally found on a random Wikipedia generator - have made an impressive impact on fans and critics alike. Declared “the best band in the world” by The Quietus, with glowing reviews from The New York Times to The Guardian, a cover feature for Loud & Quiet, a live BBC 6 Music session, selling out shows across the country (including 1700 tickets in London), being invited to festivals around the world including Primavera and Glastonbury, and finding themselves on French TV sandwiched between Sonic Youth’s Kim Gordon and Radiohead’s Ed O’Brien. Their live performances gaining legendary status among fans of the emerging scene that coalesced around vaunted south London venue The Windmill, and which gave rise to many of their peers and contemporaries such as Fat White Family, black midi and Squid, artists with whom they have variously supported, toured with and collaborated with over the years.

Valentine was written and produced by Lindsey Jordan and co-produced by Brad Cook (Bon Iver, Waxahatchee). Written in 2019-2020 the album is filled with romance, heartbreak, blood, sweat and tears. The sonic leap forward can be heard from the first moments of the title track – the whispered voice and eerie synths erupting into a full-on stadium-sized adrenaline-rush of a chorus. From there it’s all go – with electronic anthems, baroque FM rockers, smoldering slow-jam R&B, and heart rendering finger-picked ballads. The star of the show however is Lindsey’s voice. Her vocals and words are rawer, deeper, snarlier, and more feeling than ever before.

arcels return for summer 2021 with an ambitious third studio album, Day/Night, a double record that spans impossibly catchy disco-soul, prog, pastoral folk, Laurel Canyon-era classic songwriting and cinematic strings. Made over the course of 2020, when the world was at a standstill, it’s the sound of a band growing up; five guys who’ve known each other since childhood and are finding their way together, in spite of all the major obstacles the last 18 months have thrown at them, when they were unable to return home to Australia and see their loved ones. Day/Night is huge in scope and sound, and its hopeful messages of perseverance through difficult times are a balm for these uncertain times.

Propelled by Valentina Magaletti’s masterful drumming and assisted by collaborators like Stereolab’s Laetitia Sadier, the London group ventures further into its utopian parallel universe.

暌违6年，Adele终于宣布全球瞩目的第四张专辑《30》将于11月19日全球发行，先行单曲《Easy On Me》10月15日全网上线！

Set in a tropical resort, it follows the exploits of various guests and employees over the span of a week.

Full press release: bit.ly/3hFSYyj credits releases August 6, 2021 Photo by Courtney Sofiah Yates courtney-yates.com Mixed by Tomu DJ Mastered by Vinny DeLeon MrMixAndMaster.com

那次最恣意的大笑 以最後一次的方式用力問用力唱 人生的大背板震動了幾下 然後發現人們還在問還在唱 甚至更用力 在歡呼雀躍盡興恣意的大笑和嬉戲裡 那種人生的震動微不足道 不同於傻白上一張專輯注重微妙音樂氛圍的精緻營造，這張專輯《Year of Fate》把注意力放到了音樂更內在的部分，那就是律動和聲音的動態掌握。所以我們聽到了一張紮實地根植於堅實易感的律動和趨向自然狀態的聲音本身的專輯，就像歌詞文本亦深深地沉浸於自然而然的日常本身一樣。 上述特質同樣非常鮮明地展現在新專輯主打歌《OY》裡。「OY」來自最平常的「人間三問」之中的oh，why（哦，為什麼）。有時候人對「為什麼」這個問題答案的渴求甚至大過「是什麼」，「為什麼」比「是什麼」更接近，更緊迫，更關乎情勢發展，更靠近人類習慣的因果邏輯。傻白在《OY》這首歌裡，反而拋開慣常的思維模式，用非常直接、近乎monologue（獨白）的方式展開單刀直入的傳達，同時又以一直貫穿全曲的「oh，why」提示一個發問物件的存在。於是讓整首歌在對話和自我剖白之間自如切換，順理成章地使歌詞裡的「我」和「你」完成了無縫接軌的人稱轉換，巧妙地實現了表達者和接收者的視角融合。畢竟在面對生活疑問這件事上，人的不解和困惑是相通的，而收穫答案之前先得提出問題。 《OY》這首歌在demo時，就以超凡的氣質脫穎而出，成為了主打的首選。Groovy到深入骨髓的旋律加上言簡意賅的歌詞和極抓耳的hook，在日常又萬能的「oh，why」疑問裡，重複、跳動、歡呼、行進。緊密的旋律走向，疊加chorus式的背景人聲，完美營造鼎沸雀躍的人群感以及方向明確的群體行進感。主唱人聲作為貫穿始終的主體，伴隨著不同層次的樂器和環境人聲逐漸加入，呼應開門見山的發問和直抒胸臆的陳述。以歡欣熱烈的姿態通過一次次重複一次次強調，肯定尋求答案的熱忱，發現提出問題的能力和勇氣。 如果整張專輯是一次對日常的反射和顯現，那麼《OY》就是返照現實時，最放肆且恣意的那次大笑。