羅伯塔·瓊·「瓊妮」·密契爾，是一個加拿大音樂家，作詞者，畫家。 密契爾的歌唱生涯始於故鄉，加拿大的西部小城薩斯喀徹溫省薩斯卡通市。六零年代中期，瓊妮輾轉多倫多、美國等地，在夜總會唱歌、街頭賣藝。隨後，她與1960年代中期在紐約市的民間音樂的萌芽有了聯繫。

★一张挽救主唱Matt Berninger的婚姻、包含对世人的爱与政治控诉的最新专辑。 ★首波单曲〈The System Only Dreams in Total Darkness〉获选Pitchfork最佳新曲、告示牌另类成人榜冠军。 2013专辑《Trouble Will Find Me》无疑是The National音乐生涯的里程碑，英美都拿下独立音乐榜销售冠军，欧洲、纽澳都有优秀的成绩，该年底毫不意外入选Pichfork、Uncut等各大年终榜，并获葛莱美奖最佳另类专辑提名。除了音乐，这两年他们为社会公益组织发声也从未停歇，2016年与防治AIDS机构合作的超大型Grateful Dead致敬合辑曲犹在耳，他们的爱还继续散播到西藏文化保护、中南美教育组织等机构。 2016年底美国选举期间，他们力反川普、为希拉里站台，主唱Matt Berninger宣称他爱上了希拉里。第七张专辑《Sleep Well Beast》发行前，媒体及乐迷很难不联想新专辑将围绕在政治议题上，乐团受访时驳斥：「这个世界已经受创近20年，理性或情感上我们要怎么避开政治议题？我不会刻意逃避，任何一点政治都会影响我的女儿、我的朋友，影响每一个人。」 而Dessner孪生兄弟档近年参与了许多合作计划，各自在现代音乐、唱片制作领域有相当成就，大家将各方吸收的养分摊在桌上，抛弃以往的过度严谨，近乎鲁莽地组合各种元素。率先公布的两支单曲〈The System Only Dreams in Total Darkness〉、〈Guilty Party〉就像是拼贴New Order、Philip Glass、与Tindersticks的mixtape，自由流动却依然有着当代艺术般的极简与精巧。主唱Matt还提到：「新专辑是关于婚姻受创，我很开心我结婚了，但婚姻真的很辛苦，我和妻子一起写歌词来了解彼此的挣扎，真的很难写。我的婚姻很健康，但这样对任何事都有帮助！」 2013年畅销小说《控制》的作者弗琳曾提到现代人的窘境：「婚姻失去意义，城市失去意义，整个国家都失去意义。」The National在新专辑中也碰巧呼应到这样的状况，除了对政治的控诉，这张专辑还包含对每一个人的爱，自然地流泄。 Sleep Well Beast was produced by member Aaron Dessner with co-production by Bryce Dessner and Matt Berninger. The album was mixed by Peter Katis and recorded at Aaron Dessner’s Hudson Valley, New York studio, Long Pond, with additional sessions having taken place in Berlin, Paris and Los Angeles.

フリー・フォークの貴公子、“デヴェ様”ことデヴェンドラ・バンハート。アパラチアン・スタイルのフォークからトロピカリズモ系ブラジル音楽まで、あらゆるジャンルからも自由に解放されたシルキーな歌声とアコースティック・サウンドで音楽的放浪を続けている。その“デヴェ様”の通算9作目となる最新アルバムが到着! アルバムからは先行トラックとして「Middle Names」が公開。彼らしい温かみのあるオーガニックなアコースティック・サウンドが印象的な1曲である。

By dropping the needle on classic rock cuts and forgotten ‘70s pop confections, The Guardians of the Galaxy flipped the conventional thinking of soundtracks on its head. The blockbuster continues this fine tradition on the sequel, pulling from a dusty crate of one-hit wonders and FM rock. Vol. 2 bounces along with ELO (“Mr. Blue Sky”), glam (“Fox on the Run”), power pop (“Surrender”), and more than one guilty pleasure (“Brandy (You’re a Fine Girl)”).

专辑类型：Experimental / Classical / Acoustic 专辑厂牌：Western Vinyl 专辑介绍： 如果你浮躁如我，建议来听听Balmorhea的这张《Rivers Arms》。 很久没接触后摇相关的东西，前两年独立和后摇大红，在国内网络上以各种形态被人们讨论的那段时光我好像并没在着意聆听相关音乐。那时候对沉静的音氛还没有太多深究感知的耐心，接受纯数码格式而无实物形式的媒体文件也还不是我的擅长。所幸在听到的动静还局限于那一百来张CD的时候我已逐渐养成了努力扩大资讯来源的习惯。对于后摇的关注便从那时开始保持了下来。 印象中后摇的东西大多以吉他为绝对主导乐器，配以某种给人雷同之感的编排与旋律后再低调地包装，放送。这是肤浅可笑的偏见我知道，源于我听音时的不够投入和耐心，但诸如此类的偏见对我近几年来对音乐的选择却产生了很大的影响。很多好音乐因此而错过，这其中不乏优秀的后摇作品。 那么何谓优秀？如《Rivers Arms》般在聆听之初便让我冷静放松下来的便是。 轻松温柔的编曲，没什么激烈的桥段，也沾不上竭尽全力折腾着抒情的边儿。几种乐器编排得不紧不慢，内敛美好。在受过良好古典音乐训练这一背景下，乐队营造出的这般流畅感觉显得理所当然。 新古典主义中惯常的钢琴表现在这张唱片中重现，还有适时加入的提琴，令这张器乐唱片奏出了我心中melody的模样。其实没那么伟大，但每当这种也许是歪打正着的音响传出，我都乐此不疲地被感动，从不厌倦。 我承认自己已经很久没有认真的做一件事情，哪怕是呼吸。我做不到把注意力安静地集中在某个事物上并坚持。也很少能够花费漫长的历程把心窗打开，把美好的事物放进去。但在这种清澈的Acoustic下任何不安躁动的想法都会被本能抑制。心中掠过的是不明亮的阳光、暗色发青的天空和残云、大光圈所能摄入的模糊远景以及露水划过草尖的快速重放。于是我只想躺在这般天空的阴影之下，什么都不去思考不去烦躁，认真的当一棵植物。关心根茎，关心阳光和水，关心所有在我身旁静态的所在。 关心这些而已。（转 感谢原作者）

百老汇音乐剧《亚历山大·汉米尔顿》（HAMILTON An American Musical）的录音专辑。该剧在外百老汇上演时就横扫当年所有颁奖典礼，受到纽约时报首席剧评人本·布兰列（Ben Brantley）的高度认可。当它在百老汇剧院上演时，成为了2015-16季度最抢眼、票最抢手的剧目。因为这部剧是sing-through（从头到尾都是歌曲，类似《悲惨世界》），此专辑涵盖了完整的第一幕和第二幕。所有卡司（包括swing和主演的替补）都参与了录制。 以下介绍引自该剧的豆瓣条目（ ） 亚历山大·汉密尔顿（Alexander Hamilton，1757年1月11日 - 1804年7月12日）是美国的开国元勋之一，也是美国的第一任财政部长。出生在加勒比海的小岛、在纽约国王学院接受教育，志愿参军，在独立战争中得到华盛顿赏识成为他的副手，在 Yorktown 战役中领兵对抗英军。建国后他主张建立强大的中央政府和中央军队。他左右了前三届总统的选举。他一手创立的金融机制使美国快速地在战后实现经济繁荣。Hamilton 也是美国第一个传出桃色丑闻的公职人员。49岁时与当时的副总统 Aaron Burr 决斗时放弃开枪机会，次日丧生。 这部音乐剧严格遵照历史，讲述 Hamilton 政治生涯中的几件大事，他的战友和政敌、他与妻子 Eliza 和长子 Philip 的深厚感情以及他犯下的错误。历史人物 George Washington、Thomas Jefferson & James Madison 等在剧中轮流出场。剧中音乐以Hip-hop为主，穿插了Jazz，R&B, Tin Pan Alley 等多种风格的歌曲。

美国创作男歌手Charlie Puth第二张录音室专辑《Voicenotes》(风格化为:《VoiceNotes》)于2018年5月11日发行。

City Music is an airplane descending over frozen lakes into Chicago. City Music is riding the Q Train out to Coney Island to smell the ocean and a morning in Philadelphia where greats cranes reconfigure the buildings like an endless puzzle. City Music is a quiet afternoon moment on a bench in Baltimore, a highway in Seattle at night where the distant houses look like tiny flames and a bottle of red wine being drained on a bridge in Paris. City Music is a bus pulling into St. Louis at dawn where the arch looks like a metal rainbow reflecting the days early sunlight.... City Music is also the new album by Kevin Morby. Full of listless wanderlust, it’s a collection inspired by and devoted to the metropolitan experience across America and beyond by a songwriter cast from his own mould. As he puts it: “It is a mix-tape, a fever dream, a love letter dedicated to those cities that I cannot get rid of, to those cities that are all inside of me.” His fourth album, City Music works as a counterpart to Morby’s acclaimed 2016 release Singing Saw, an autobiographical set that reflected the solitude and landscape in which it was recorded. It was imagined as “an old bookshelf with a young Bob and Joni staring back at me, blank and timeless. They live here, in this left side of my brain, smoking cigarettes and playing acoustic guitars while lying on an unmade bed.” And now follows City Music, the yang to its yin, the heads to its tails. It is an collection crafted using the other side of its creator’s brain, the jumping off point perhaps best once again encapsulated by an image. “Here, Lou Reed and Patti Smith stare out at the listener,” explains Morby. “Stretched out on a living room floor they are somewhere in mid-70s Manhattan, also smoking cigarettes.” It finds Morby exploring similar themes of solitude, but this time framed by a window of an uptown apartment that looks down upon an international urban landscape “exposed like a giant bleeding wound.” Morby rose to prominence as bassist in Woods, with who he recorded seven albums on Woodsist Records (Kurt Vile, The Oh Sees, Real Estate) while also forming The Babies with Cassie Ramone of Vivian Girls. Two albums and a clutch of classic singles with the latter followed. Morby’s 2013 debut solo work Harlem River was a homage to New York and featured contributions from artists including Cate Le Bon and Tim Presley (of White Fence), while 2014’s Still Life garnered universal critical praise. “It’s easy to picture Morby with a wineskin under his arm,” noted a Pitchfork review. “His every worldly possession hitched to his back, an eye constantly fixed on some faraway point on the horizon.” Recording at Panoramic Studios, a central Californian home-turned-recording studio, City Music saw Morby joined once again by former The Babies cohorts Megan Duffy (guitar) and Justin Sullivan (drums). Here the vocals were at recorded night, in darkness, overlooking a Pacific Ocean illuminated only by the stars, the wash and whisper of the ebbing tidal a distant soundtrack. Six weeks of European touring had left the trio speaking a secret language that only a band can speak. “The language of a musical family,” explains Morby. “There was an outdoor shower with no curtain and deer ran through the front yard during the meals we cooked for each other...” The record was completed with Richard Swift in Oregon (producer of Foxygen, sometime member of The Black Keys). From the widescreen opening of ‘Come To Me Now’ through the bubblegum stomp of the Ramones-eulogising ‘1-2-3-4’ (which also references late poet Jim Carroll’s litany of friends lost, ‘People Who Died’), a stripped-back and wistful cover of ‘Caught In My Eye’ by nihilistic LA punk wrecking crew Germs and on to Leonard Cohen-evoking closer ‘Downtown’s Lights’, City Music reads like a selection of musical postcards composed and posted in the moment. It is a forensic and poetic examination of a modern America in love with the myth of itself. At the big beating heart of these songs is the voice and conscience of the city. All cities. We see them viewed from differing angles; from down in the gutter, and drifting up into the celestial firmament. “I am walking through a Chinatown in a major American city and now I am a guitar part taking place in my head,” offers Morby by a way of a commentary for the album’s inception. “It falls around me like rain, dancing with the neon lights coming off of the signs of the restaurants and bars. Now I am a lamp full of hot air floating away, looking down. The city is beautiful like one million candles with different sized flames, moving in their own directions. A line finds me and grabbing it I hold on tight. I sing to myself, ‘Oh, that city music, oh that city sound...’” Here the album gives voice to the all those cities speaking the same universal language of chaos and commerce and culture. It views the city as an Oz-like experience, with your host cast as Dorothy, the Scarecrow, the Tin Man and the Cowardly Lion, a narrator by turns innocent, awestruck, fearful and fearless. Where a world once black and white is now rainbow coloured. “I am a city and I have many moods,” it says via its human conduit. “I am dangerous and I am gorgeous. Like a proud forest made of metal and brick I am constantly changing shape, growing bigger and smaller all at the same time. I hold you but you do not hold me....” City Music. Let it hold you.

Will Toledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt, recorded at nineteen on a cheap laptop, and you’ll hear what Brian Eno fondly calls “the sound of failure” - thrilling, extraordinary, and singularly compelling failure. Will’s first love, rendered in the vivid teenage viscera of stolen gin, bruised shins, and weird sex, was an event too momentous for the medium assigned to record it. On February 16th, on the heels of the smashing success of Teens of Denial, Car Seat Headrest will release a new version of Twin Fantasy. “It was never a finished work,” Will says, “and it wasn’t until last year that I figured out how to finish it.” He has, now, the benefit of a bigger budget, a full band in fine form, and endless time to tinker. According to him, it took eight months of mixing just to get the drums right. But this is no shallow second take, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound. It’s been hard, stepping into the shoes of his teenage self, walking back to painful places. There are lyrics he wouldn’t write again, an especially sad song he regards as an albatross. But even as he carries the weight of that younger, wounded Will, he moves forward. He grows. He revises, gently, the songs we love so much. In the album’s final moments, in those apologies to future me’s and you’s, there is more forgiveness than fury. This, Will says, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy.

The long waited fourth studio album from the moody and intense Texas instrumental band Explosions In The Sky. Known for bringing an emotional heft and sense of hope to a usually placid genre, Explosions In The Sky have experienced the kind of meteoric rise in popularity that flies in the face of music industry convention. Their songs run well past a length suitable for radio play or commercial music videos; they avoid performing in LiveNation/Clear Channel venues; they didn't jump to a major label; and they don't sing. They're also the very rare band that fans of Sigur Ros, Sufjan Stevens and My Chemical Romance can all agree on. EITS are not just an anomaly, they're a gateway. Recorded by John Congleton (The Roots, The Mountain Goats) at Pachyderm Studios in rural Minnesota, the album is a massive leap forward, showcasing a broader instrumental range and their most focused, efficient songwriting. Bella Union. 2007.

20 track 1991 retrospective featuring 11 of the folk duo'sbiggest U.S. top 40 hits, 1965-1970: 'The Sound Of Silence','Homeward Bound', 'I Am A Rock', 'A Hazy Shade Of Winter','At The Zoo', 'Scarborough Fair/ Canticle', 'Mrs. Robinson','The Boxer', 'Bridge Over Troubled Water', 'Cecilia' and 'ElCondor Pasa'. Sony.

Waking Ashland, 来自美国San Diego的N人乐队,用N是因为不清楚他们有多少个人.官网上说WA是由Jonathan Jones(主唱/钢琴)和Ryan Lallier(主唱/吉他)组成的,后来加了名贝司手Andrew Grosse,通篇没提鼓手...所以有可能是没有固定鼓手吧,无从考证. 2003年11月成军,同年发行了首张EP<I Am For You>,据说反响不俗,销量逾一万张的样子. 04年乐队开始参与大大小小的演出,其中包括朋克界每年的盛事"Vans Warped Tour", 就这样一直巡演到12月,乐队才再次走进录音棚开始新专辑的创作. 05年5月,他们的首张大碟<Composure>通过厂牌Tooth & Nail Records正式发行.

The first single taken from the soundtrack to director Paul Thomas Anderson's acclaimed 1999 film 'Magnolia', 'Save Me' is former 'Til Tuesday leader Mann's Oscar-nominated hit ballad (for Best Original Song) that she performed at the Oscars. 'Save Me' ha

这是美国的华裔制作人DJ Dave Liang制作的第二张专辑。专辑的创作是以20世纪关于上海的故事为背景展开的,依旧围绕着上海这个不变的主题.这张专辑中有许多才华横溢的艺人制作人都加入了进来,如:Moby, Kanye West, Wynton Marsalis, Erykah Badu, Cirque du Soleil等等. "上海复兴方案"灵感来源于上世纪30年代的旧上海夜店里的那些Jazz乐队演奏的音乐.在这一新奇的概念下DJ Dave Liang大胆的将带有鲜明东方气息的曲调与西方的现代音乐Hip-Hop,Electronica,Jazz等巧妙的融合在一起。

WICKED, STARRING KRISTIN CHENOWETH, IDINA MENZEL AND JOEL GREY. Decca Broadway proudly presents the original cast recording of WICKED, Broadway's most talked about new musical. The box office is already over $10 Million! With a score by Stephen Schwartz (Broadway's Pippin, Godspell), libretto by Winnie Holzman (TV's My So-Called Life) and based on the best-selling novel by Gregory Maguire, the musical is a prequel to the legendary classic, THE WIZARD OF OZ. WICKED explores the early life of the witches of Oz: Glinda and Elphaba. One witch, born with emerald green skin, is smart, fiery and misunderstood. The other is beautiful, ambitious and very popular. WICKED stars Tony Award® winner Kristin Chenoweth (You're A Good Man, Charlie Brown) as Glinda, Idina Menzel (Rent) as Elphaba, the Wicked Witch of the West, and Tony® and Oscar® Winner Joel Grey (Cabaret) as The Wizard. The Original Cast Recording -- featuring an essay by Wicked novelist Gregory Maguire, original color photos from the show and a complete libretto.