Luis Vasquez never intended for The Soft Moon to reach the public’s ears; for him, music has always been about self-actualization rather than self-aggrandizement. Nevertheless, the bleak, hushed sounds he created years ago in his small Oakland apartment bubbled to the surface and 2010 saw his debut LP, The Soft Moon, released on Captured Tracks rise to critical acclaim. Pitchfork’s 8.1 review stated that Vasquez made “oblivion seems like an enticing prospect” and, indeed, listeners were immediately drawn into his murky musical wasteland, swathed in the moody atmospheres of jagged dark wave and wayfaring postpunk. For them, and for Vasquez, there was no turning back. The Total Decay EP and Zeros emerged soon after, and now Vasquez returns with The Soft Moon’s most introspective and focused album to date: Deeper. Following live line-up changes and a lull in the The Soft Moon’s constant touring schedule, the year 2013 found Luis Vasquez lost in the void. Though he fatalistically stated that 2012’s Zeros would be the last album where he was the sole songwriter, Vasquez realized that The Soft Moon has always been one man’s vision. Over time, it’s been the one place where Vasquez can express himself, totally and singularly, on his own terms. Thus, in July of 2013, Vasquez decamped from Oakland, CA to Venice, Italy, unsure of where The Soft Moon would land. While Zeros was written and recorded between long days on the road, Deeper was begat from an almost primal urge to recoil from the world and experience total solitude. During the writing process, Vasquez pushed himself to discover the reality and nightmare of living with yourself, in entirely foreign surroundings with nothing and no one to fall back on. Stepping back and letting inspiration fall where it may, Vasquez only had one goal in mind for his third album: to pen his most emotional record yet. Between frequent visits to Berlin, Vasquez retreated to Venice’s Hate Studios, located in the mountains near electronic guru and spiritual anchor Giorgio Moroder’s hometown. At Hate, he worked for almost a year with producer Maurizio Baggio to piece together Deeper, only completing the album in August 2014. While maintaining the stark sonic formula so indicative of The Soft Moon’s music — that bass that reeks of chorus, those unrelenting, mechanized beats, that wailing synthesizer and those eerily, angular guitar lines that worm into your ears and never leave — Baggio also worked to refine the album’s gothic palette, leaving Vasquez to concentrate more intensely on songwriting and singing than ever before: “I’ve never worked so closely with someone before. Working with Maurizio felt right and I completely opened up to him during the entire process. I finally felt the urge to express myself more verbally with this record and I was able to focus more on songwriting rather than just experimenting with soundscapes.” The voice of The Soft Moon has never been more clear and honest than it is on this record. With eerie, immersive tracks like the dogged “Far” and slow, beautifully melancholic “Wasting” (the first track written for Deeper), the album is a penetrating portrait of Vasquez as he wrestles thoughts of suicide, vulnerability and what it means to heal. By facing the most hopeless parts of himself without illusion and putting his past demons to bed, the creation of Deeper was an intense personal exploration of existence for Vasquez — old wounds were forcibly opened, deep anger and paranoia were manipulated into song — and he did not emerge unchanged. Deeper may have delivered Vasquez back to the waking world, but it willingly drags us further into The Soft Moon’s dark, euphonic universe once more.

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.

On his first album in two years, the New York producer applies an exploratory approach to ambient techno, utilizing elements of dub and post-punk to sculpt a record that feels meditative but never maudlin.

Tame Impala may have been forged in the familiar fires of guitar-driven psych-rock, but Kevin Parker began expanding that brief almost immediately, shifting from dank, distorted solos to widescreen, synth-swept fantasias. By the time <i>Currents</i> arrived in 2015, the Fremantle home-studio whiz had made his grandest leap yet, offering his particular take on outsized, club-ready pop. That meant mostly sidelining guitars and ramping up the lead role of those synths.<br /> Parker had always made Tame Impala records as a solo endeavor, using a proper band primarily to realize songs in a live setting. Yet this third album saw him applying more painstaking control than ever before, not just playing and writing every single part but recording and mixing the entire thing as well. Even fans who had noticed Parker’s increasing pop sensibilities across 2012’s <i>Lonerism</i> were somewhat taken aback by <i>Currents</i>’ bravura opening statement, “Let It Happen,” an ambitious dance-floor epic that foregrounded glitter-bomb synths and alternately dipping and peaking rhythms. The band’s trajectory changed over the course of a single track, which stretches out over nearly eight minutes and indulges in remix-style record-skipping and lengthy stretches without vocals.<br /> Between the disco grooves, Parker still finds time for Tame Impala’s sonic signatures—floaty vocals, soul-searching lyrics, fleeting interludes. As lush as the production is (which you can hear in the joyous vocal layering and panning on “The Moment”), the increased scope of these songs is matched by the same rich emotional content, making it feel like Parker is sharing his most private moments. From the vulnerability displayed on “Yes I’m Changing,” which muses on growing older against unironic soft-rock motifs, to his interrogations of masculinity and romance on “'Cause I’m a Man,” Parker is still committed to airing intimate, almost diary-like sentiments. Meditative album closer “New Person, Same Old Mistakes” says it all.<br /> Still, Parker doesn’t have to distance himself from formative heroes like Todd Rundgren and The Flaming Lips in the name of artistic growth. Evoking the mirror-ball dazzle of roller rinks and discos, here he continues to cherry-pick from the past in order to imagine a sophisticated musical future that’s appealing across multiple fronts but still strikes directly at the heart. And the risky decision to shelve guitars clearly paid off: <i>Currents</i> took Tame Impala to the big leagues, where he could now collaborate with Lady Gaga, get covered by Rihanna (a version of “New Person, Same Old Mistakes” appeared as “Same Ol’ Mistakes” on 2016’s <i>ANTI</i>), and headline Coachella. It also provided a natural progression to 2020’s <i>The Slow Rush</i>, an even more immersive and personal synth-funk odyssey.

2078-HappyWheel The mist rose and the waves rolled Grey, black, red Chains, rust, flutes Echo, surprise, rise, fall Bones, perception, mathematics Right-click on the mouse and occupy 67% of the CPU Carp, dragonflies, emergency lane There is no evil in droves Catch an insect as afternoon tea Cement, gravel, healthy rest Glass, smoke, reflection Vector graphics, bubbles, transparent liquid Vitamin b2, loratine, methadone Ropes, fertilizer, knuckles Silence, candor, the mist rose, the waves rolled Low saturation, sweet, hidden mystery Sofa, beer, time and opportunity Clouds, ellipses, melanin Open the door of the dead man in the room Take another sip of his last poisoned wine 编曲：海皮威尔 录音/混音/制作人：Melvin Wong 录音棚：Purple Sound Beijing/录顶技 母带工程师：Ken Lee 母带工作室：Ken Lee Mastering 封面设计：余润泽（吾序设计）

“大时代”过去，浪潮也已被打破，脱胎于AV大久保的白纸扇（Hardcore Raver in Tears）今天带着首支单曲《Take Her to Wanda Plaza》（带她去万达广场）重新归来。 《带她去万达广场》是白纸扇即将发行的新专辑中的首支单曲，如同专辑中的其他歌曲，在创作上以一种暧昧与黑色幽默的方式展现，既有客观而充满画面感的描述，也有隐喻和象征等修辞手法的频繁使用。延续着主创陆炎一以贯之的叙事性，歌曲像一部可看性十足的Cult电影，在日常中展开，随着剧情的发展层层递进，愈渐离奇，流窜其中的则是清晰的意识和流畅的编曲。如果非要说歌曲有所隐喻和表达的话，你可以看成这是对商业资本的异化的描述，同时也对这一异化作出了充满娱乐精神而又不乏严肃的反思。 从AV大久保到白纸扇的道路不仅是形式上的集体乐队向独立制作人的转型，也包含能指与所指这两方面的改变——从沉湎往昔转向了对当下乃至未来社会政治文化的感知和理解；更包含对这一语境下人的生存境遇的揭示，经由个人化的独特视角，扬弃了以往对“典故”的大量使用，走向一种充满未来感的整体性文化批判———当然，是通过音乐的手段。

アニメ「BANANA FISH」の劇伴集。大沢伸一による楽曲を収録。 セルフライナーノーツ付き。 ※仕様・収録内容は告知なく変更になる場合がございます。

Khruangbin is an American musical trio from Houston, Texas, with Laura Lee on bass, Mark Speer on guitar, and Donald Ray "DJ" Johnson Jr. on drums. The band is known for blending global music influences, such as classic soul, dub and psychedelia.

Tame Impala is an Australian psychedelic rock project led by multi-instrumentalist Kevin Parker, who writes, records, performs, and produces the music.

红色沃特加女孩是一张集电子，迪斯科为一体的摇滚专辑。瑞士乐队stevans提供了六十首歌曲让我选择，我选择了一些比较接近流行的能被大众所接受的作品来演唱。在stevans的音乐里我感受到了一种不一样的摇滚风格独特迥异于很多的摇滚乐队，而且非常适合我来演绎！符合我心中对摇滚的期待！-----张蔷

2008 sophomore album by Metronomy; the discerning music aficionado's favorite Electronic band. Joseph Mount writes and records music using the name Metronomy. Oscar Cash, Gabriel Stebbing and Joseph Mount perform that music live and still call themselves Metronomy. Joseph Mount lived in Devon for a time, moved to Brighton and has finally settled for a while in London. Nights Out is a timely, thrilling Pop album, a future Electro-Pop classic - a wholly original mashup of electronic, falsetto-laden brilliance, and a thoroughly modern, freakishly danceable record to be listened to from start to finish. 12 tracks. Because.