封面中几位男女在蓝天绿野苍穹间赤裸的奔跑着，像开始着一段美丽梦幻的旅程，更像是一次向纯粹灵魂的回归。在聆听Sigur Ros这张新作品的时候，我一直在思考它究竟在表达着什么。音乐截然不同的节奏明快，显现出了风格上的重大转变。Sigur Ros已经从以往阴冷的氛围中走了出来，开始展示出他们明媚的一面。我像这张专辑也许正是通过这种明亮的感觉传递着一种纯粹的回归吧。听完这张作品之后，突然感觉内心的浮躁仿佛随着音乐彻底消散了。第五首和第七首是专辑中最打动我的曲子，依然带着他们Sigur Ros以往作品的影子，空灵般的感觉引得人心中涌出一段段回忆般思绪。让我们经历着Sigur Ros带给了我们又一次灵魂般洗礼的感动，随着他们开始一段盛夏之旅吧！ 专辑原名为《Mee Sue í Eyrum Vie Spilum Endalaust》，英文翻译名为《With a Buzz in Our Ears We Play Endlessly》，被充译作：苍穹耳语无尽无垠。封面选自纽约视觉艺术家Ryan McGinley名为I Know Where the Summer Goes摄影系列，欣赏过这组摄影作品之后，也深深的震撼了我。Ryan McGinley,他是纽约国际摄影协会最年轻也是最杰出的摄影师奖项得主。他的作品离不开青春这个主题，拍摄对象往往是社会上的边缘分子，构图直接，用色简单利落。Ryan McGinley代表了在Youtube和Myspace环境下成长起来的新一代年轻人，他们将自己的私密生活制作成视觉日记给大家观看。I Know Where the Summer Goes拍摄于2007年夏天，带着16个模特，三个助理，弄了4000个胶卷。 Ryan McGinley作品：

这支乐队是在偶像团体泛滥,有许多所谓实力派的英国乐手也罢因看不惯偶像团体"降低"英国乐界水准的背景下,由Blur主唱Damon Albarn为主并隐身幕后代言,与知名卡通人物Tang Girl的作者漫画创办人Jamie Hewlett一起创作的四个具强烈城市HIP-HOP色彩的小鬼组成的. 而他们的制作班底还包括制作人－旧金山日裔Hip-Hop当红名师Dan“TheAutomator”Nakamura（曾与PrimalScream、DepecheMode、DeLaSoul等乐队合作）。纽约独立乐队CiboMato日裔女主唱MihoHatori、美西Rap好手DelTheFunkyHomosapien、古巴爵士唱将IbrahimFerrer、后庞克先驱乐队TalkingHeads主力团员TinaFrantz。 音乐风格主要为音乐的曲风为Hip-Hop, Alternative Pop/Rock, Alternative Rap,当中某些曲子还揉合了牙买加的 reggae、古巴传统情歌以至英伦punk rock 几位成员虽是卡通人物,但都具有自己的性格特征:

At the turn of the twenty-first century, the New York City music scene floated in a surfaceless orbit of samplers, shoegazers, and delay pedals. The city's guitars lay choked by a digital fog, or else they lay dustily forgotten. Then, in 2002, an unbridled five-song EP by an unknown band brought noise, sex, passion, and mayhem back to the stage and to the stereo. The band's name evoked the kid who knows that whoever's in charge is full of s**t -- "yeah, yeah, yeah" -- but it also rang with the affirmation of pure rock and roll: F**k yeah! The Yeah Yeah Yeahs' first full-length album, Fever to Tell, was simultaneously filthy, infectious, sloppy, and brilliant. You could dance to it, and you could probably die to it. "Maps" was nominated for a Grammy, and the record went gold in the UK. The Yeah Yeah Yeahs spawned a new breed of power trio. They work together as a single organism, but each member maintains their own personality and contributes their own strengths. Think of them as a three-piece Earth, Wind, and Fire. On second thought, it's probably better if you didn't do that. Brian Chase's drumming couldn't be tighter or more precise, even as the band descends into the pitch-dark caves of noise he frequents in his free-jazz spare time--and one can hear rigor and experiment behind even his simplest, no-frills (or -fills) rhythms. Nick Zinner's guitar pushes back--hard--against Chase's formalism, grounding the group in rock and roll at its ballsiest, dirtiest, and most shredly. His soaring, sometimes grinding lines are wires connecting Chase's drums to the psychologically kaleidoscopic vocals of Karen O, who, as the New Yorker has noted, would have been a success "had she appeared with nothing more than a microphone and a pair of maracas." The band developed an itchy and unshakeable aversion to repeating itself. It would have been easy enough to record another spastic, live-sounding garage album after the success of Fever, but their next full-length, 2007's Show Your Bones, added acoustic guitar and more serious compositions that picked up on the direction suggested by a song like "Maps." Rolling Stone called the record a "textural triumph," and the group honed their legendary stage performance -- one cannot understand the Yeah Yeah Yeahs without seeing Karen O writhing and thriving onstage. A handful of great songs that didn't make it onto Bones became tour staples (and fan favorites), and the band sat down with the celebrated PiL/Slits/Gang of Four producer Nick Launay to record 2007's EP Is Is. Last year, the Yeahs shook their Etch A Sketch® clean to start work on a new record with producers Dave Sitek and Nick Launay. "We usually go into these things totally blind," Karen O said. "We have no idea what's going to happen when we sit down." This empty page feeling was helped by geography: they began writing the record in the middle of a snowstorm, in a hundred-year-old barn in rural Massachusetts. "You looked out the window and it was just pastures and pastures of snow-covered fields," she said. Zinner had brought along a synthesizer to work with during the writing session, not expecting it to end up on the album. "That was an old keyboard I bought on eBay," he said. "Literally, it was the first day we were setting up, plugging things in. Ten minutes later, we'd written that song 'Skeletons.'" The song--and the whole record--have a new feeling of space and atmosphere that's unusual for the band. "Obviously, synths have been in rock music forever," Zinner says. "But to us it feels new, which is all we really care about--that excitement." It's Blitz! signals both a glance backward and a step forward for the Yeah Yeah Yeahs. Zinner's vintage Arp--the same model used on records by The Cars, Joy Division, and Kraftwerk--contributes atmospheric washes ("Skeletons"), disco wiggles ("Dance till you're dead!" Karen sings on "Heads Will Roll"), and New Wave melodrama ("Soft Shock"). The first single, "Zero," combines all these elements to create a dance-floor anthem that sings directly to the listener. "We've got a death grip on the adolescent way of feeling things," O said. That's something I'll never be able to shake in the music I write. It's almost feels like a John Hughes 80s movie." But acknowledging the past in this way doesn't sound make for a nostalgic-sounding album. "I think there's a cool stability reflected in this record," Brian Chase says. "It reflects our transformation, and how we've developed as people."

五年前的作品「My Life Will…」发行后深受好评「宝贝」温暖了许多人的心金曲奖最大遗珠之憾　张悬说：评审是要我更努力… 五年前录制好的专辑，却因为许多现实的问题始终无法顺利问市，五年之中，张悬选择在Live House的舞台上作最忠於自己的表演。2006年，张悬以一个新人的姿态终於在纷乱的国语唱片市场发行了这张五年前的作品「My Life Will…」，没有喧哗的操作手法，没有铺天盖地的艺人曝光，这张专辑凭着独特的音乐气氛和真诚而温暖的感染力感动了许多人。 浑然天成的创作「宝贝」成了2006年最具感染力的单曲，张悬的官网上陆续有人写下从这首歌得到的感动和安慰，不论是亲情。友情。爱情…，「宝贝」这首歌成了许多人2006年夏天中某段时光的主题曲，也让张悬在2007年的金曲奖中开出漂亮的四项入围成绩单。 虽然张悬成了今年金曲奖最大的遗珠之憾，但在金曲夜，她的脸上却没有失落之情。她带着兴奋开心的心情和许多长久以来一起以独立精神作音乐的朋友一同出席颁奖典礼，为他们出色的表现而喝采，典礼结束，她赶往录音室继续进行新专辑的录音工作，工作结束后她来到唱片公司准备的聚会现场，发表的感言中尽是对所有工作人员的感谢。 张悬说：我很开心，今天我见到了所有我想见的人，包括爸爸妈妈，我的朋友，所有的工作人员…这是我五年前的作品，我知道，评审要我更努力… 新专辑所有歌曲自己创作。编曲。制作… 所有的努力。嚐试。摸索　只为作出一张活生生的专辑专辑名称「亲爱的……我还不知道」　来自对音乐的信心和尊敬 金曲奖项全数落空，张悬不觉失落，但在新专辑的制作过程中，张悬却经历了无数次期待。嚐试。挫败。重新再来…，失望与惊喜，高低起伏不定的心情。 最新专辑「亲爱的…我还不知道」是张悬遇到李寿全老师后第一张正式的作品，爱才的李寿全老师，即使明明知道张悬对音乐的执拗会辛苦了她自己，却仍给予她创造理想音乐的空间和时间，以及支持和陪伴。 这张专辑中除了全数都是张悬自己的创作之外，她更自己担任了所有歌的编曲并参与制作的工作。在国语音乐已经发展成有如生产线般制式流程的今天，她仍坚持回归即使明知吃力不讨好，但她认为最理想的录音方式。她寻找愿意一同和她创作音乐的乐手，在练团室和录音室中重覆和乐手们琢磨呈现音乐的方式，她说一首歌中，所有的乐器都是活的，有他们自己的角色，有乐手们弹奏时的表情，而不仅仅止是歌声的伴奏而已。於是在她的理想之下，这张专辑的每个乐器都是Live录音，每个音符都是她和乐手们经过一再的讨论。实验创造出来的，每一首歌都在这样的过程中重新诞生一个样貌，於是成就了这样一张活生生的专辑。 然而成就这样一张活生生的专辑，代价就是要付出比一般专辑更多的时间和心力。录音过程中，许多同时出入录音室的歌手已经录完了一张专辑都发片了，唱片公司的工作人员承受着已经开始预购却还担心无法准时发片的时间压力，而张悬却还在录音室中一次次的重覆说着「再来一次」。 创作迷人和折磨人之处，是你总会相信，最好的那一次会出现在下一次的嚐试中。当工作人员询问专辑名称定为「亲爱的……我还不知道」的原因，张悬笑说，因为在这样不断实验的创作过程中，她最常说的三句话是「对不起…再来一次…我还不知道…」。 一个让人有勇气生活下去的声音听张悬的歌　好好心疼自己 经过了这五年多的生活历练，张悬觉得自己多少摆脱了青春期急於彰显自己的心态，也对生活和周遭所有的人充满了感恩的心情。这张专辑蕴涵了许多人与人之间的关系，爱的给予和失落，不被瞭解的时刻，冲撞和摩擦，感激和珍惜… 随着五年的时光过去，张悬的声音也充满了和上一张专辑不同的表情。那不再只是一个敏锐易感而又才华洋溢的女生对所有细节的体会和感受，更多的是在走过一段之后，对现下这一刻的明白，和带着诚意往前走的心情。 张悬，其实和我们每个人都一样，只是一个在时光中迈步前进的人，有时感受到自己和外在的世界格格不入，有时找不到陈述自己的字眼，有时渴望爱、渴望去爱，有时需要自己一个人安静一下… 於是在她的歌声中，我们终究跌入了自己的内心世界，想起那片刻的美好或艰辛。或许正因为如此，她的声音才充满了让人生活下去的勇气。比起心疼张悬为生活，或为音乐经历的一切，更重要的是：听张悬的歌，好好心疼自己。 「在所有人事已非的景色里，我最喜欢你」 最新发表创作「喜欢」…歌迷心目中最美好的经典曲目ＭＶ呈现时光流逝中的感伤之情 张悬五年多持续在Live House表演，听众对她的许多创作早已如数家珍，新专辑首支发表的单曲「喜欢」就是众多听众心中张悬的经典之一，其中的两句歌词「在所有人事已非的景色里，我最喜欢你」被许多人在网络上引用或作为签名档而广为流传。 专辑的录音版本中，张悬自己担任了古典尼龙吉它的演奏，钢琴则由曾为刘若英、许茹芸、蔡依林、李玟等人写曲，为几米「地下铁」音乐剧及「微笑的鱼」动画短片、电影「艳光四射歌舞团」、「十七岁的天空」作配乐，甚至获得金马奖入围肯定的陈建骐弹奏，呈现了感伤却又不失温暖的音乐氛围。 张悬不喜欢为自己的创作多作解释，她总说每个人只要在歌里找到自己需要的情感就好，无关乎她原来想说的是什么。 「喜欢」的音乐录影带由年轻的导演游绍执导，导演在听歌时想起了自己在时光流逝中的改变，於是将「在所有人事已非的景色里，我最喜欢的是最初的自己」作为拍摄的主题。为了呈现时光流逝的感觉，ＭＶ的对嘴大多在行进的火车厢中拍摄，ＭＶ的结尾导演安排让现在的张悬遇见了昔日的张悬，尽管时光流逝，两人之间不变的是对音乐的眷恋。 专辑预购创佳绩　巡回演唱门票热烈抢购珍惜来自网络的支持　「模样」ＭＶ选择在网络上独家首播 去年的「My Life Will…」专辑在发片前仅开放网络预购，却创下惊人的预购佳绩，唱片公司在这张专辑开放实体通路和网络的同步预购，希望方便更多支持张悬的听众朋友。 张悬的现场演唱充满感染力，去年发片时在北中南各地Live House举办的巡回演唱都出现开放售票后一周内门票就销售一空的状况，因此唱片公司这次特别增加了演出场次，希望更多人能有机会到场聆听，然而定在发片日将在台北THE WALL举办的演出仍然在开放售票一周内就门票售磬，唱片公司正积极洽询更多可容纳较多人数的户外场地，预计在发片后每周到各地举办演出，详细场次将在张悬官网随时更新。

她的歌．她的人．她的表演，给了许多人温暖和力量 有些人，注定离不开音乐,他们因为音乐而受苦，却也因为音乐而快乐，而发光发热…

2009 release from Rock 'N' Roll Hall of Famer Neil Young, who is stirring things up again. This time, he is rolling on down the road not only with an auto-centric concept album, but with his own electric ride. Fork In The Road, whose largely eco-car-themed songs he debuted in concert during the past yeare, will get a promotional push from the 1959 Lincoln Continental Young has converted to hybrid technology and which he plans to drive to Washington, D.C. With Fork In The Road as current as today's headlines, the controversial and mad-as-hell Neil Young is still rockin' the free world and once more is taking the road less traveled.

George Harrison MBE was an English musician, singer, songwriter, and music and film producer who achieved international fame as the lead guitarist of the Beatles.

这张用时一年，耗资一万元做成的专辑《消失的光年》大乔30岁，小乔10岁。大乔是设计师，小乔是学习委员。大乔小乔——30岁的男人乔小刀和10岁的女孩乔木楠合作了一个乐队（他们是叔叔和侄女的关系），他们的一首《消失的光年》风靡整个网络。 大乔：这个东北人现在住在北京近郊昌平，他把版画画在帆布上，并做些深有所指的玩具布偶；他平时热爱LOMO，并PS出怪诞的人物特写，他的照片本身就以抓特写见长；他被筝友们传为奇人；他还擅长用诗歌纪录生活——那种深受朦胧诗影响，又把第三代诗歌学到手的折衷诗体。 小乔：俨然活宝，躺在白云里睡觉是小姑娘9岁时的理想，她的叔叔会在安静的早晨听钟立风，而她还抱着她的玩具熊在睡觉。她梦见了白云和风筝，而我们正在忙碌。大乔是二叔，小乔是侄女。两人前不久出了张唱片专辑，办了第一次个人演唱会，来了1000多观众，绝大多数都是自己掏钱买了40元门票进场的。 “出专辑是件不务正业的事，记录下我们的成长却是正经事。”平时嘻笑惯了的大乔一本正经地说。演出当天，穿着粉色吊带裙的小乔，头上戴着4只颜色各异、会煽动翅膀的蝴蝶发夹，七八根细细的发辫垂在胸前，用一堆缀着彩色塑料小猪的头绳绑得严严实实。她对奶奶给设计的这个“造型”相当满意，不顾一个漂亮阿姨的劝说，又硬把一个紫色的发箍推到自己的前额上。没人知道另一个主角大乔在哪里。开场前一个小时，乐队才正式进场，随即被告知因为供电的原因，现场随时可能停电。主唱兼经纪人大乔在此期间处理了至少20件事：调音、接嘉宾、做突发停电预案……直到嘉宾已经开唱，穿着T恤衫、满头大汗的大乔才出现在后台。至此，他已经一天没吃东西，干瘦的外表不由让人感叹“小身体，大能量”。 大乔为首场演出设计了一个“花絮”：谢幕时乐队成员在台上，用布制封套的纪念版CD玩个“天女散花”。和时下唱片公司出一张专辑动辄数十万甚至上百万元的制作经费相比，大乔小乔的这张同样获得正规“出生证”的唱片成本低得惊人，连同录音、包装、制作，总共只花了一万元。“很多都是哥们儿帮忙，没花钱。”布制的封套是大乔亲手印刷，小乔和奶奶踏缝纫机做出来的。 1998 年3月，大乔从黑龙江老家来到北京，他中学没毕业，连在老家呆着都常有自卑感。“我当时想，既然都是受苦，何不到全中国最好的地方受苦？”大乔最初的工作是焊灯箱，一个月挣一两百元钱。“我发现如果我能学会电脑刻字，一个月可以挣500元。学会后发现如果能用Photoshop,一个月能挣700元，我又去学。”两年后，大乔已经穿着西服在网站工作，月薪到了3000元。这个时候，他开始“想当艺术家”。于是，北京三环路上多了一个穿着T恤、骑着破旧二八自行车乱跑的大眼睛男孩。他在建筑垃圾堆里寻找别人扔掉的三合板、废布、胶水，和上广告公司用剩下的颜料作画。几个月后居然捣腾出一个小型画展。一帮朋友来参观，最后大家把自己看上的画拿走，皆大欢喜。 2002年，大乔回了趟老家，侄女小乔已3岁，家里却穷得要挖野菜。“既然都是受苦，不如一家人一起受苦”，大乔把父母和小乔都接到了北京。他专心地做设计师、开公司，赚了点钱，在北京著名的经济适用房小区给家人买了一套房子。生活安定了些，内心却又躁动起来。大乔决定“不做公司，做回自己”。他买了吉他，自己尝试写歌，居然还能谱出个完整的曲子来。这个时候，他已经是知名乐队 “二手玫瑰”的老友，负责他们所有专辑的设计，在京城地下音乐圈里，也混了个脸儿熟。大乔弹的古筝一度让这些专业人士觉得不错，直到和他一起排练，大家大呼上当，“原来他连什么是音节也不知道。” 连音节也不知道的大乔，却打算做一个自己的乐队，还要拉上侄女小乔做主唱。这个想法被朋友们劈头盖脸一顿臭骂：“小姑娘不满8岁，你还让不让人上学了？晚上12点还在酒吧唱歌，对孩子影响多不好！就你那点水平，都把孩子带走了调！”不过最终，乐队办起来了，小乔也没耽误上学，还当上了班里的学习委员。上台唱歌也不跑调，人气比大乔还旺。 “我的很多歌手朋友，依靠唱片公司，花了十几年时间才出第一张专辑，我只用了一年时间，我在时间上赢了。”大乔甚至已经策划到了自己第四张专辑的主题，每张都会是不同的风格。到2009年，他将解散“大乔小乔”。“小乔应该有自己的生活，她要学会自己做选择，不能一直依赖二叔。”小乔也从不把当明星当回事，同学和老师都不知道她还是个小歌手。她的理想是当翻译。大乔，这个自称“一直自卑”的设计师，动用一切手段记录自己的成长：文字、图画、照片、视频、音乐。在他后面是一串影子：种地的农民乔守民，设计师乔小刀，歌手乔西和专辑《消失的光年》。在他前面，是一长串的梦想。 曲目： 1、星座 2、小乌龟 3、消失的光年 4、小草 5、黑光 6、采花 7、凤求凰 8、电传 9、黑光曲 10、凤求凰古琴曲 制作：口袋唱片 北京声音文化传播有限公司 出版：九洲音像出版公司 发行人：崔忠鹏 网站： 电话：010-68479037/13426117374 ISRC CN-A65-07-561-00/A·J6 首发现场纪念版 手工布包装。 限量600盘

入列告示牌「史上最成功的百大熱門榜藝人」、時代雜誌「20世紀百大最具影響力人物」、滾石雜誌「史上最偉大藝人」名單的經典樂團The Beatles，其中擔任主奏吉他手的George Harrison，在2004年以個人身份進入「搖滾名人殿堂」、滾石雜誌「史上百大吉他手」第11位。1974年創立Dark Horse Records音樂廠牌，1978年打造HandMade Films電影公司，2001年11月29日因癌症過世，享年58歲。 就在全球樂迷不捨The Beatles解散之際，George Harrison於1970年發行第三張個人大碟【All Things Must Pass】，他邀請昔日The Beatles戰友Ringo Starr、吉他之神Eric Clapton、創作奇才Gary Wright聯手，齊力獻出搖滾史上首套以三張唱片型式發行的專輯【All Things Must Pass】，標題名稱意味著拋開昔日榮光、一切從零開始，創造屬於自己的輝煌。果然，引起廣大迴響與好評，佔據英美兩地排行冠軍，美國狂銷600萬張，入選滾石雜誌「史上500張經典專輯」名單，其中主打“My Sweet Lord”雄霸英美冠軍！此張雙碟紀念盤，特別加收4首珍貴曲目。

2009年3月18日よりスタートし、全24公演のライヴ音源を終演後、最短24時間でiTunesストアにて配信し話題にもなった、“Ryuichi Sakamoto Playing the Piano 2009”のライヴCD。全公演の演奏曲500曲以上の中から、教授によるベスト・セレクションを収録。

Recorded June 16–17, 1964 CBS 30th Street Studio, New York City Dave Brubeck - piano Paul Desmond - sax Eugene Wright - bass Joe Morello - drums

When Bernard Butler left the band all those many years ago, few would have guessed that with him left the dangerous, romantic noir vibe that fueled Suede's first two albums. After all, Brett Anderson was supposed to be the Byronic prince of darkness, and without Butler around, it only made sense that he would indulge his taste for the theatrical. It didn't turn out that way, of course. The band hired young Richard Oakes and refashioned themselves as a glammy, fizzy guitar pop band whose elegantly wasted ballads were tales of love found, not love lost. Suede's fifth album, A New Morning, confirms that this band isn't about to release another Dog Man Star anytime soon, or even turn out a "Whipsnade," since they're now all about "Positivity," as the opening track and lead single crisply announces. Once that disappointment fades -- Suede did tragic romantic better than anybody, and it's hard not to wish they still did it -- it's easy to appreciate A New Morning as another solid, succinct collection of tuneful, stylish modern-day glam pop, nearly the equal of Coming Up, whose blueprint this follows to a tee. Song for song, it's better and more consistent than Head Music -- whose dabbling in vague electronic now seems mildly dated and whose songwriting seems slight -- thanks partially to Stephen Street's focused, flattering production, but also due to a sharp set of songs, highlighted not just by "Positivity," "Lost in TV," "When the Rain Falls" (where the piano sounds lifted from a Vince Guaraldi Peanuts special), and "Lonely Girls," but a triptych of songs that inexplicably borrow their titles from classic rock songs ("Beautiful Loser," "Street Life," "One Hit to the Body"). Plus, there's no denying that Suede does this music better than anybody else (and they sound both loose and muscular here), and that Anderson's voice is aging marvelously, sounding quite fetching with a slight hint of booze and tobacco wear. So, A New Morning isn't a new beginning, nor does it take many risks, but it does find Suede in top form with good songs and an appealing record. You might wish that it was a little more than that, but you'll be satisfied by what it is.

Elbow’s new album, their fourth, is reassuringly boring on initial contact. Reassuring because if Elbow fans know anything, it’s that the band they love make music that rewards revisiting, that slowly unfurls itself over time to reveal sonic and emotional depths inconceivable at the first glimpse. If The Seldom Seen Kid jumped out and stamped itself on the dancefloor or airwaves from the off, you’d know something was amiss. Because the joy of Elbow is in the details, both of Guy Garvey’s beautiful gutter poetry and his band’s wondrous arrangements. Their songs are completely bereft of platitudes and cliché, both musical and emotional, and this is the triumph that elevates them above the bands so often erroneously labeled as their contemporaries (most namely Coldplay): when an Elbow song repeats itself it is to build tension and release, not because it has nowhere else to go; when Garvey opens his mouth to sing it is to express the details of real human stories, not anonymous lines that anyone could project upon. It’s with a typical pragmatic emotion, and lack of moribundity, that The Seldom Seen Kid is titled in memory of a friend of the band who died two years ago. That pragmatism is extended to the record’s production: for the first time, Elbow have done everything themselves - recording, mixing, producing - without any outside help, a fact of which they are justifiably proud. Elbow’s albums have always been considerably better in pure sonic terms than their contemporaries, and there is no erring from this quality here; absolutely every element throughout the album is rendered beautifully, be it guitars, strings, any facet of a myriad array of percussion, or the microscopic sonic touches that paint life and dust into every sun-beam illuminated corner of the recording studio. Instruments and voices reverberate and decay in a way that enhances the songs by making them evolve inside your ears with every listen. ‘Starlings’ starts The Seldom Seen Kid with a bizarre squall of headache noise and then clockwork nothingness with gentle, gentle, padding percussion and gossamer harmonies. Huge swells of sound surround Guy Garvey in imperious cycles as he begins to sing (“so yes I guess I’m asking you / to back a horse that’s good for glue / if nothing else”); it’s not a new direction for Elbow – short of sounding like The Kooks there are few new directions they could travel – but it doesn’t sound quite like anything they’ve done before. They’ve also never done anything quite like ‘The Fix’ before; dappled, opalescent organ and guest vocals from Richard Hawley making for a Lynchian evocation of the crooner’s milieu. Over their last two albums Elbow have escaped the spooky, crawling claustrophobia that occasionally threatened to engulf them on their first records (think ‘Bitten By The Tail Fly’ and ‘I’ve Got Your Number’); something like ‘The Fix’, or even the European lilt and drone of ‘An Audience With The Pope’, laconic and pointed, which flits into Tom Waits-esque fucked-up dusty guitar licks, would have been outside of their capabilities five years ago. ‘The Bones Of You’ (which is supplicated bizarrely but beautifully into a lone piano and trumpet playing a jazz elegy of ‘Summertime’ while Big Issue sellers and pedestrians go about their business outside the studio) and ‘One Day Like This’ are the twin emotional high-points of the album, each deploying a soaring chorus or two; the former is a reminiscence though, of “five years ago and three-thousand miles away”, while the latter is a joyous, romantic celebration of right now (“holy cow I love your eyes”) that gathers, swells, and unfolds over six anthemic minutes. The creative peaks of The Seldom Seen Kid are numerous; the chiming delicacy, gentle swell and gorgeous touches of piano through ‘Mirrorball’ (“we kiss like we invented it”); the monstrous riff and subsequent bass-run that tear through the middle of ‘Grounds for Divorce’; the ethereal harmonies of ‘Some Riot’. If one was pushed to choose an absolute highlight it might just be the driftingly beautiful ‘Weather To Fly’; touched with elegiac horns and beautiful lyrics, its plaintive melody circling itself around and around, always finding its own beginning. Angrier politically and more contended emotionally than before, Elbow are no less beautiful and imaginative. A more evenly-distributed record than Leaders Of The Free World, which accentuated its internal dynamics by vacillating wildly from maximalist stomps to sparse elegies, the achievement of The Seldom Seen Kid is that Elbow manage to be both incredibly consistent and perpetually improving. It’s an easy phrase to utter, but Elbow are one of the finest bands in the world right now. - drowndedinsound.com -------------------- Epic post-rock tinged emotional indie stalwarts Elbow release their fourth album 'The Seldom Seen Kid', another staunchand anthemic collection of songs. The tense and emotional sound of previous records remains, but with a distinctly morecommercial riff-based template, particularly on lead single'Grounds For Divorce'. The band produced the record themselves, as with previous records, lending it a homespun qualitythat would be out of synch with any external influence. Revered by their peers as a reliably independent act, Elbow have created a subtly innovative extension of their sound and scope with 'The Seldom Seen Kid'. - amazon.co.uk source: drownedinsound.com Artist: Elbow Album: The Seldom Seen Kid Date Of Release: 2008 Genre: Indie Rock

哪位音乐人忍心让歌迷们为一张专辑苦苦等候9年？ 出版了唱片《The Future》之后，沉迷于东方玄学的Cohen，在自己61岁的时候剃度出家，和音乐完全断绝了关系。《Ten New Songs》，正是他结束僧侣生活、修成正果之后，音乐和精神的回归。和早期那些唱片一样，它有一个简单而又纯粹的名字：《Ten New Songs》。这是一张弥漫着告别气息的歌曲集，充满了个人自白，挽歌式的感叹，一些轻微的抗议声，和禅意。它，看上去就像是个句号。 第一次接触这位老男人的音乐，是在电影《天生杀人狂》片头里的一段插曲《Waiting For The Miracle》。如今，这部电影已经不在，但是里面的歌还会经常响起。不再年轻的Cohen，被上帝赐予了一种极富吸引力、攻无不克战无不胜的声线。我曾经一直以为Cohen只是一位歌手，看过他的传记后才知道，他在诗歌和文学上的成就，丝毫不逊于他的音乐才华。 这张让歌迷们望眼欲穿的专辑，延续着Cohen特有的低沉、忧伤。他和齐豫不同的是，听齐豫的歌会让你陷入沉思，而Cohen能让你的思绪在音乐响起的一瞬凝滞，心如止水。 这是一粒止痛片，是一剂安神药，献给现代人游离躁动的灵魂。

这是帕蒂史密斯的第10张录音室专辑，完完全全的一张翻唱专辑，有Neil Young的Helpless，有Tears For Fears乐队的Everybody Wants to Rule the World，也有Stevie Wonder的Pastime Paradise。在这张翻唱专辑中你甚至可以听到来自Red Hot Chili Pepper的贝司手Flea，The Black Crowes乐队的Rich Robinson的精彩表演。

Cocteau Twins guitarist Robin Guthrie and legendary composer Harold Budd team to create a soundtrack of lush and atmospheric soundscapes to award-winning writer-director Gregg Araki’s critically-acclaimed new drama MYSTERIOUS SKIN. Guthrie and Budd’s sparse, tonal music reflects the contemplative journey of troubled boyhood friends Neil (Joseph Gordon-Levitt) and Brian (Brady Corbet), whose lives as young adults weave them down a slippery and dangerous path of self-discovery in MYSTERIOUS SKIN. The film, based on the Scott Heim novel, has been hailed by critics as writer-director Gregg Araki's finest film to date, and has been selected for the Sundance, Venice and Toronto Film Festivals. Araki’s career spans nearly 20 years, during which he has written, directed, and produced many controversial and edgy films, exploring and dissecting the strange currencies of sexual relationships. His credits include SPLENDOR, THE DOOM GENERATION and NOWHERE.