CD:DISC1全13曲 DVD:｢8UPPERS FEATURE MUSIC FILM｣「DIRECTOR'S GIFT」 封入特典：CLUB8オリジナルグッズ（デザインステッカー・イメージフライヤー）

Blur have announced that they will release 'The Magic Whip', their first album in 12 years, on April 27. The band – Damon Albarn, Graham Coxon, Alex James and Dave Rowntree – made the announcement at press conference hosted by outgoing BBC Radio 1 presenter Zane Lowe at Chinese restaurant The Golden Phoenix in London's West End, which is ongoing at present. The album's producer, Stephen Street, also attended. Blur recorded an album's worth of material in five days in Hong Kong in May 2013. However, in an interview published by NME in July 2014, Damon Albarn said that because he likes to work in shorter, more concentrated periods of time he feared that he would never return to the tracks the band made while in Asia. "There are about 15 songs we recorded in Hong Kong," he said at the time. "The annoying thing is, if I'd been able to write the lyrics there and then about being there, we'd have finished the record. But sometimes, if you can't do it all at once, it dissipates really and I don't know what I'd sing about now with that record. There's some great tunes on there, but it may just be one of those records that never comes out."

Richie Furay has written and sung some of Americanas biggest songs including Buffalo Springfield s Kind Woman, Sad Memory, Good Time Boy, Sit Down I Think I Love You, and Do I Have to Come Right Out and Say It; Poco s Pickin Up The Pieces, C mon, and A Good Feelin' to Know; as well as Souther Hillman Furay s Fallin' in Love. After leaving Souther Hilman Furay, Richie went on a spiritual journey which led him in 1983 to became senior pastor of the Calvary Chapel in Broomfield, Colorado, a non-sectarian Christian church in the Denver area. Richie continued to tour with his own band and also carved out a very successful career in Christian Music. Today Hand In Hand finds that Richie back is to his Americana routes, as he was just elected into the Colorado Music Hall Of Fame. His new album features the lead single We Were The Dreamers, which takes the listener back to Richie s days fronting Poco. The album also features Keb Mo on the song Someday, with guest vocals by Neil Young and Kenny Loggins on Kind Woman.

関ジャニ∞初のベストアルバム『8EST（エイテスト）』、10月17日発売！ 2004年のデビューシングル「浪花いろは節」から大ヒット上映中の映画「エイトレンジャー」主題歌「ER」までのシングル表題曲をすべて収録。お馴染みのヒット曲に加え、8周年を記念して8/4、5幕張メッセ、」8/10～12インテックス大阪で5日間に渡って行なわれたイベント「∞祭～ぼくらも8っちゃい、8っちゃけまつり～」の「ガチンコまつり！センターは俺だ！！」で優勝した横山がセンターの新曲「クルトン」を収録（作詞横山、作曲安田）。 通常盤には、2009年のクリスマスに3日間連続でリリースした今では入手困難なシングル「GIFT」三作（白、赤、緑）をすべて収録。 8年間の彼らの歩みとこれからさらに飛躍を遂げようとする彼らの姿をこのベストアルバムを通じて是非一度体感してみてください！ 通常盤（2CD） ▼2CD 23曲＋下記収録（通常盤のみ計30曲） 冬歌 / 君の歌をうたう / I wish / マイナス100度の恋 / 雪をください / One day in winter / Snow White ▼仕様 ・52P歌詞ブックレット

澀谷昴是日本的歌手、演員，原為傑尼斯事務所旗下團體「關西傑尼斯8」成員之一。在團體以樂團形式演出時，澀谷昴負責演奏吉他及擔任主唱。

Blur宣布时隔12年的新专辑The Magic Whip将于4月27日发行。 首支单曲Go Out。

■関ジャニ∞ オリジナルアルバム「JUKE BOX」発売決定! 前作「FIGHT」以来約2 年ぶりとなる本作はロック、ポップス、フォーク、ダンス等々バラエティ豊かで多彩な音楽がちりばめられたアルバムに。シングル曲「あおっぱな」「へそ曲がり」「ここにしかない景色」「涙の答え」の他、ISEKI from キマグレン、Skoop On Somebody、童子-T、前山田健一(ヒャダイン)など多彩な作家陣の書き下ろし曲に加え、錦戸亮・安田章大共作曲も収録! 初回限定盤AのDVD には、BBQ を楽しみながら、アルバムについて、ツアーについてなどメンバーが真剣に語りつつ笑いの絶えないドキュメンタリー映像と、「ここにしかない景色」発売時に実施したキャンペーンで各メンバーがそれぞれ全国各地の名所やグルメを堪能したロケ映像を収録。初回限定盤BのDVD には、アルバムリード曲となる「TAKOYAKI in my heart」のMusic Clip と、アルバムからコンサートへとつながる新企画の序章となる映像を収録。通常盤には、ユニット曲2曲と、安田が楽曲を書き下ろし、メンバーそれぞれが作詞を行った新曲「All is well」を収録。 聴きごたえ見ごたえたっぷりの「JUKE BOX」! お楽しみに♪ ■アルバム&コンサート連動企画実施! 関ジャニ∞が4人と3人に別れ、ガチンコ対決! 11月より始まるコンサート「関ジャニ∞ LIVE TOUR JUKE BOX」で披露されるユニットのパフォーマンスを見て、どちらのユニットが魅力的かを来場者の皆様からの投票で競う新企画! 負けたユニットには過酷な罰ゲームが… アルバム「JUKE BOX」封入のユニット投票券とコンサートチケットでご投票頂けます。詳しい投票方法や投票期間等の詳細はユニット投票券記載のURL にてお知らせいたします。 ※複数のコンサートチケットをお持ちの場合、ユニット投票券1枚でチケット枚数分ご投票頂けます。

Released in February 2014, it was Vega's first album of new material in seven years. The album features contributions from Larry Campbell and Tony Levin (bassist from King Crimson and for Peter Gabriel). Although Vega's music had been sampled by various artists in the past, the album contains Vega's first own attempt at sampling with the track "Don't Uncork What You Can't Contain" including interpolations from 50 Cent's 2005 song "Candy Shop".

When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes. The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here. The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too. Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness. 1999 年成队之初，MONO 带着一个简单的使命便踏上了旅程：抱持轻柔亦抱持轻狂，品味极乐亦品味极妄，无论前路何其艰长。他们的首张专辑《Under the Pipal Tree》为这则使命赋予了更多扭曲而迷幻的激怒面容。之后的几张续作中，MONO 韬光养晦地打磨着匠艺。为了更辉煌的梦想，他们最终抛弃了初始之路。之后的 MONO 游走于越来越宏大的交响乐团间，足迹远至纽约、伦敦、东京和澳洲，曾在一些最负盛名的音乐现场演出过。MONO 以交响乐的名义继承着摇滚乐的精髓，创造着极端感伤却又富有戏剧性的旋律。2012 年，当他们发行了 《For My Parents》后，MONO 终于结束了先前的风格。是时候整顿情绪，重树目标了。弦乐是该减少还是该放弃？氛围是更热烈还是更安静？风格是更开朗还是更阴郁？这一切都有可能。 《The Last Dawn》和《Rays of Darkness》是 MONO 的两张新专辑。这两张同时录制的专辑有着截然不同的创作理念，是一个故事的互补两面。MONO 作品中贯有的叙事特点在这两专辑中再次得到了体现：希望与绝望的转换、爱与恨的交织以及极乐与极悲的大起大落，这些听者熟稔的主题在 MONO 这两张作品中拥有前所未有的共鸣。 《The Last Dawn》是这两张专辑中的首发专辑，相较之下主题和旋律都更为“轻柔”。毫无疑问，这张受极简电影和复古自赏音乐风格影响的专辑包含了 MONO 几首最强有力的单曲。这时期的 MONO 是最纯粹的：往昔专辑中阵容庞大的管弦乐队不再喧宾夺主；成员间默契十足，仿佛在用一种神秘的无声语言进行精神交流。与极简曲风相得益彰的是专辑中一众高度表意的曲目。要知道，自 2003 年的 《One Step More And You Die》后，还没有哪张 MONO 的全长专辑能塞得进一张黑胶中。整张专辑也在这种从简的风格中获益匪浅。一直以来 MONO 都是讲故事的好手，毋需言语便能把精彩故事娓娓道来。这次他们终于证明了自己放下架子后，亦能将听众引入新的洞天。 《Rays of Darkness》是 MONO 十五年来首张放弃任何类似管弦乐配曲的专辑。单单这件事就可称神奇。要知道 MONO 那恢弘又充满戏剧性的编曲可早已享誉在外，出现在奥斯卡影片配乐中都不足为奇。然而 MONO 却反其道而行之。作为 MONO 最黑暗的一张专辑，《Rays of Darkness》听来更像在拥挤的小礼堂中起飞的小型飞机。专辑中充斥着焦灼的 riff 和末世般的旋律，以及一段与后摇先驱 Testsu Fukagawa （Envy 成员）的出人意料的联袂。整张专辑在郁积而扭曲的吉他变声和不详的嗡嗡声中收场，仿佛在对过去那个于无边黑暗中放出万丈光芒的 MONO 唱着挽歌。

When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes. The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here. The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too. Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness. 1999 年成队之初，MONO 带着一个简单的使命便踏上了旅程：抱持轻柔亦抱持轻狂，品味极乐亦品味极妄，无论前路何其艰长。他们的首张专辑《Under the Pipal Tree》为这则使命赋予了更多扭曲而迷幻的激怒面容。之后的几张续作中，MONO 韬光养晦地打磨着匠艺。为了更辉煌的梦想，他们最终抛弃了初始之路。之后的 MONO 游走于越来越宏大的交响乐团间，足迹远至纽约、伦敦、东京和澳洲，曾在一些最负盛名的音乐现场演出过。MONO 以交响乐的名义继承着摇滚乐的精髓，创造着极端感伤却又富有戏剧性的旋律。2012 年，当他们发行了 《For My Parents》后，MONO 终于结束了先前的风格。是时候整顿情绪，重树目标了。弦乐是该减少还是该放弃？氛围是更热烈还是更安静？风格是更开朗还是更阴郁？这一切都有可能。 《The Last Dawn》和《Rays of Darkness》是 MONO 的两张新专辑。这两张同时录制的专辑有着截然不同的创作理念，是一个故事的互补两面。MONO 作品中贯有的叙事特点在这两专辑中再次得到了体现：希望与绝望的转换、爱与恨的交织以及极乐与极悲的大起大落，这些听者熟稔的主题在 MONO 这两张作品中拥有前所未有的共鸣。 《The Last Dawn》是这两张专辑中的首发专辑，相较之下主题和旋律都更为“轻柔”。毫无疑问，这张受极简电影和复古自赏音乐风格影响的专辑包含了 MONO 几首最强有力的单曲。这时期的 MONO 是最纯粹的：往昔专辑中阵容庞大的管弦乐队不再喧宾夺主；成员间默契十足，仿佛在用一种神秘的无声语言进行精神交流。与极简曲风相得益彰的是专辑中一众高度表意的曲目。要知道，自 2003 年的 《One Step More And You Die》后，还没有哪张 MONO 的全长专辑能塞得进一张黑胶中。整张专辑也在这种从简的风格中获益匪浅。一直以来 MONO 都是讲故事的好手，毋需言语便能把精彩故事娓娓道来。这次他们终于证明了自己放下架子后，亦能将听众引入新的洞天。 《Rays of Darkness》是 MONO 十五年来首张放弃任何类似管弦乐配曲的专辑。单单这件事就可称神奇。要知道 MONO 那恢弘又充满戏剧性的编曲可早已享誉在外，出现在奥斯卡影片配乐中都不足为奇。然而 MONO 却反其道而行之。作为 MONO 最黑暗的一张专辑，《Rays of Darkness》听来更像在拥挤的小礼堂中起飞的小型飞机。专辑中充斥着焦灼的 riff 和末世般的旋律，以及一段与后摇先驱 Testsu Fukagawa （Envy 成员）的出人意料的联袂。整张专辑在郁积而扭曲的吉他变声和不详的嗡嗡声中收场，仿佛在对过去那个于无边黑暗中放出万丈光芒的 MONO 唱着挽歌。

Neil Young's significantly higher fidelity follow-up to A Letter Home is called Storytone, and it's out in November 4 via Reprise. (Pre viously, the album was titled Storeytone, but the first "e" has been dropped.) After sharing his orchestral, full band, and acoustic versions of the pro-environment song "Who's Gonna Stand Up?", he's shared more details about the album. Really, it's two albums: There's a solo version and a "standard" version, which was recorded with a 92-piece orchestra and choir. The regular CD comes with the standard version, while a deluxe edition includes both the standard and solo versions. The vinyl contains both solo and standard versions, and will be out December 16. (Of course, the album will also be available via Pono, Young's crowd-sourced music player.) The album was produced by Young and Niko Bolas under their Volume Dealers moniker. The orchestra was arranged and conducted by Michael Bearden and Chris Walden. One of Neil Young's recent records, 2009's Fork In The Road, contains nothing but rambling songs about his beloved electric car. Young has generated stacks of live albums — one of which, 1991's Arc, consists of exactly 35 minutes' worth of feedback and noise. Whether he's recording front-porch ballads, anthemic rock, early archival tapes, scathing protest music or even a rock opera, Young has become one of the most uncompromising, unpredictable, unbound and, at times, unearthly brilliant living musicians. Storytone, then, is exactly the sort of odd detour that fits neatly into Young's catalog: He recorded all of its 10 songs with either a 92-piece orchestra or an elaborate big band (not to mention the occasional choir), for a sound that couldn't be farther from the raggedness exemplified in his acoustic and electric recordings alike. Coming from a singer who derives so much of his power from the nervy, earnest brittleness of his voice, these arrangements sacrifice intimacy in the name of beauty, in ways that don't always suit the compositions at their core. Take "Who's Gonna Stand Up," Storytone's first single. A blunt-force environmentalist protest song — "End fracking now," Young demands at one point — it needs a leavening agent rather than the weight of portentous orchestration. But, as if to demonstrate that point, Young smartly includes two versions of every song on Storytone, one with a lavish arrangement and one with a far sparer acoustic sound. In "Who's Gonna Stand Up," the contrast is as sharp as the difference between a heartfelt letter to the editor and the sermon on the mount. Elsewhere, the songs work both ways: "I Want To Drive My Car," for example, has a bluesy stomp as its backbone, and works equally well as a quietly barren confession and a more full-blooded rock track. When Young explores quieter romantic themes during tiny love songs late in Storytone — don't miss the beautiful pairing of "I'm Glad I Found You" and "When I Watch You Sleeping" on both versions — the songwriting is strong enough, and the sentiment powerful enough, to support any arrangement.

MONO's theme for the WOWOW television mini-series "Kanata No Ko".

My Favourite Faded Fantasy is Damien Rice’s first collection of material in eight years and was produced by Rick Rubin and Rice himself . It is a selection of songs, which Rice says are “sung straight into the metaphorical mirror.” Intimate, frank and revitalized by making music again, My Favourite Faded Fantasy is a record that accepts one’s faults but also begins, perhaps, to appreciate one’s ability to grow up. The recording process began in Los Angeles and finished up with a cast of friends and local musicians against the stunning backdrop of Reykjavik, Iceland. Bonus Track “Camarillas” is exclusive to fans who purchase the My Favourite Faded Fantasy wooden box CD

My Little Airport 2014年新专辑《适婚的年龄》，描述到了适婚年龄，因没能力结婚，而过着各种自由奔放拈花惹草生活的人。整张专辑除了曲词创作的阿p和主音nicole，还联同鼓手阿科、bass手阿贤，及后加的结他手陈铭泽＠在草地上一起编曲，部分曾放上网的歌都重新录制。

Marianne Faithfull’s album Give My Love to London is produced by Rob Ellis & Dimitri Tikovoi and mixed by Flood. Her band includes Portishead's Adrian Utley (guitars), Ed Harcourt (keyboards), Rob Ellis (drums), Dimitri Tikovoi (bass) + string quartet, and special guests Warren Ellis and Jim Sclavunos (Nick Cave and the Bad Seeds). Marianne has written most of the lyrics and the music was written by Nick Cave, Anna Calvi, Roger Waters, Pat Leonard, Tom McRae, Steve Earle.