The wait for D’Angelo’s new studio album is almost over: Black Messiah, the long-awaited follow-up to 2000’s Voodoo, will be available for purchase on iTunes beginning Midnight on Monday.
Black Messiah spans 12 tracks and includes contributions from The Roots’ Questlove, Q-Tip, and Kendra Foster (Parliament Funkadelic).
Of the album title, D’Angelo said, “For me the title is about all of us. It’s about the world. It’s about an idea we can all aspire to. We should all aspire to be a Black Messiah.”

The album Black Terry Cat by singer-songwriter and multi instrumentalist Xenia Rubinos is now in stores. With a delightfully unique and empowering sound that Spin recently described as “multi-genre-hyphenate instrumental textures beneath Billie Holiday-esque croons” and inspired DIY to declare, ”Once Xenia Rubinos begins to sing, nothing else matters,” the talented Rubinos uses her soulful voice to traverse an array of genres from R&B to Hip-Hop to jazz and beyond, all of delivered with a New York punk-funk abandon.
The album finds Rubinos assisted by longtime drummer Marco Buccelli, who produced the album, and Jeremy Loucas as engineer. The three worked an average of 16-17 hours a day for five months to complete the record which is named after “a giant black scraggly cat” that surprised Rubinos one cold night in Brooklyn.

Singing Saw is a record written simply and realized orchestrally. In it, Kevin Morby faces the reality that true beauty - deep and earned - demands a whole-world balance that includes our darker sides. It is a record of duality, one that marks another stage of growth for this young, gifted songwriter with a kind face and a complicated mind. Morby opens Singing Saw with "Cut Me Down", a song of tears, debts and a prescient vision of being reduced to nothing. "I Have Been to the Mountain", "Destroyer" and "Black Flowers" continue to explore beauty and freedom, seizing upon the rot that seeps into even the supposedly safest of realms; peace, family and romantic love. By the end of the record on "Water", Morby is literally begging to be put out once and for all, like a fire that might burn all the visions away. Travels beyond his mountain walks, near his Mount Washington home in Los Angeles, inform songs like "Dorothy", which recounts a trip to Portugal, witnessing a fishing ritual and luxuriating in the aura of a bar light-tinged reunion with old friends. The touching innocence of "Ferris Wheel" stands alone in stark simplicity amidst the lush sonic textures of the album. Here, the album is balanced by Morby's signature sweetness and joie de vivre. In the end, Morby fulfills the promise many heard on his first two albums, bringing his most realized effort of songwriting and lyricism to fruition. The songs of Singing Saw reflect the clarity that comes from welcoming change and embracing duality, and the distillation of those elements into an entirely new vision.

Recorded throughout 2013-2015 in Los Angeles, California and Chicago, Illinois.

We are extremely pleased to announce that Kate will be releasing a brand new album: "50 Words For Snow" on 21 November 2011. The album will be the second release from Kate's own label Fish People and comprises all new material that was recorded during the same period that Kate worked on her album “Director’s Cut”. “50 Words For Snow” will feature seven brand new tracks set against a background of falling snow. The total running time is 65 minutes and the track listing is:

SNOWFLAKES
LAKE TAHOE
MISTY
WILDMAN
SNOWED IN AT WHEELER STREET
50 WORDS FOR SNOW
AMONG ANGELS

Good heavens-five years go by-what can one do? Dive, listener, knowing that diversions aplenty await: a wheeling circuit of sci-fi sea-shanties and cavalier ballads; a family of polysemic song-sets; a paranomasaic Liederkreis of harmonic sympathies and knotted hierarchies; a fanfare of brazen puns and martial lullabies, blazing in sorrow and horseplay and love, in turns symphonic and spare, joined by Mellotrons and Marxophones and Moogs, clavichords and celestas-and of course the harp, thrumming its threnodies of circadian invasions and avian irruptions and strange loops of Shepard-toned resonant-frequencies and something called goddamned Simulacreage…
The music of Divers is a wonder of considered arrangements, immaculately sequenced for telescoped brevity. The music speeds with dissociative dread over montaged cityscapes; it hoofs with delight among the collaged quotations and sepia-toned codices of Popular Song; it ambles its carefree citational course through the public domain and down into the dustier corners of municipal parks, to lionize infamous airmen and anonymous Dutch Masters, to mourn pearl divers and Poorwills, and to elegize the ineluctable tragedy of relativity…
At the center of the mythos and the maelstrom is the woman. Divers reminds us that Newsom is a melodist, above all-an acolyte of melody and beauty in form, a crackerjack of emotional truth conveyed with undiluted immediacy. Here, at the aortic confluence of countless strings and wires, winking beneath the lacquered layers of instrumental nacre, biding quietly between the ranges of rhapsodic arrangement-including those by Nico Muhly, Ryan Francesconi, Dave Longstreth, and Newsom herself-there lies an intimacy seldom achieved, and simply heard. Divers dives forth with a pure love and respect for the traditions and mysteries of man, such that we can feel the surge of life itself passing over our bones as we hear the songs and sounds, the players and the arrangements; as basic maths are reviewed to uncover heights of joy and sorrow, all traced in triumphal arches and supernumerary rainbows through eternal amber, gleaming in analog entrapment-with that VOICE riding high atop-recorded with snow-bright, high-noon-verity by Steve Albini and Noah Georgeson, mixed in phantasmagoric, deep-sea-saturation by Noah and Joanna, and loosed, FINALLY, by Drag City Records.
We have reached Peak Newsom. Divers is coming, to incline into your many and varied lifelines, for now and then and the rest of the moments that will always return in your lifetimes again.

摩登女王回归，实验电子与流行音乐最接地气的一次温情交汇。The Guardian杂志100分，musicOMH五星，The Fly (UK)杂志90分，the 405杂志90分，The Line of Best Fit杂志90分，Mojo、Q magazi ne、Uncut等媒体4星以上推荐。两首单曲连续进入Pitc hfork最佳新音乐榜单。Annie Clark继续用想象力颠覆和重塑流行音乐的概念。

Fiona Apple (born Fiona Apple McAfee Maggart) is the critically acclaimed, Grammy winning alternative pop/piano rock singer-songwriter from New York City. She has released three studio albums, her second album When the Pawn… (1999) held the world record for longest album title until 2004 when Soulwax released their Most of the Remixes… album which contains 100 characters more.

★「Blue Wave」风格创始者，从Beyoncé至BBC Music全面力捧伦敦90后天才唱作人最新专辑。
★蓝调、灵魂、爵士、迷幻、庞克、嘻哈；下意识、印象派、梦与秽物，爱情。融合、融合、再融合。
2013年，Archy Marshall将最精华的作品通通献给他众多化名之一的King Krule，发表专辑《6 Feet Beneath the Moon》，20岁屁孩从此震撼全球各类型音乐人，他宛如Morrissey的月之暗面，可以满嘴粗俗脏话、也能自上流艺术与文学中有所情感触动。自The Smiths、《猜火车》到现在，伦敦（或整个人类世界）依旧向下沉沦，市井的无奈，被他写得美丽如奥德赛诗句。他是我们期待已久的新英雄。
大量巡回与各方邀约合作大量消耗他的精力，虽然和画家哥哥合作、结合诗与艺术书的专辑《A New Place 2 Drown》评价很好，但Archy仍遇上撞墙期，没有满意的作品足用King Krule为名发表，和Frank Ocean的合作因成果不佳亦无疾而终。他把注意力转向人类日常，一些下意识产出，如排泄物、耳垢、口水、鼻水、毛发，被人们当作污垢的东西，还有他的异国爱欲，充塞在脑袋中搅和，成就这张超现实意象、印象派音乐、意识流破碎语句、多国语系的新专辑。
《The OOZ》中传统结构的歌曲不多，艺术性很强，想听他招牌「Blue Wave」风格可以从专辑最末的〈The OOZ〉、〈Midnight 01 (Deep Sea Diver)〉、〈La Lune〉开始，爵士风味更强，色彩更蓝更黑；再深沉一点，〈Slush Puppy〉、〈Lonely Blue〉可以踏触到他的忧郁及苦痛，进而到焦躁的〈Emergency Blimp〉、〈Half Man Half Shark〉，像是Sonic Youth与Fela Kuti终于合作了一样。
与其说灵感枯竭困扰着Archy，他承认经历了一段心意没有得到回复的恋情，写在《The OOZ》的好几首歌曲当中，所以整张专辑更像是Archy的爱情悲歌。首支单曲〈Czech One〉的MV中，外着飞机窗外的他，如果你有真正爱过，你会懂他的表情，虽然痛，但沉溺且享受，没有尽头般地分泌浪漫激素。

Mutant is the second studio album by Venezuelan electronic music producer Arca. It was released on November 20, 2015 via Mute.

2014’s Too Bright showcased Mike Hadreas stepping out saucily onto a bigger stage, expressing, with the production help of Portishead’s Adrian Utley, emotions arranged all along the slippery continuum from rage to irony to love. Here in 13 new ferocious and sophisticated tracks, Mike Hadreas and his collaborators blow through church music, makeout music, an array of the gothier radio popular formats, rhythm and blues, art pop, krautrock, queer soul, the RCA Studio B sound, and then also collect some of the sounds that only exist inside Freddy Krueger. Tremolo on the electric keys. Nightclubbing. Daywalking. Kate Bushing, Peter Greenawaying, Springsteening, Syreetaing. No Shape was produced by Blake Mills, the man behind Alabama Shakes’ Grammy Award winning album. He added precision and expansion. Some things are pretty and some are blasted beyond recongition. Records like this, records that make you feel like you’re 15 and just seeing the truth for the first time, are excessively rare. They’re here to remind you that you’re divine.

Richard Dawson will release new album Peasant via Weird World / Domino on 2nd June 2017. Coinciding with the announcement, Dawson has shared a video for the album’s first single ‘Ogre’, directed by Matt Stokes.
“A crack team of physicists, leather-workers, synchronised swimmers, sausage-sellers, professional wrestlers and computer games-designers assembled in a remote cleft of the Tyne Valley to portray a community fraying at the edges, eaten from the inside by some fearful sickness, searching for answers in the all the wrong places,” says Dawson of the new video. “Matt Stokes is a fabulous video artist. I've loved his work ever since seeing 'The Gainsborough Packet' almost ten years ago now. I'm very happy that we were able to work together to present to you the first song from the album Peasant. It is only one panel of a larger mural. I hope you will enjoy and find something to take from it.”
No listener to Dawson’s earlier music has ever discerned a lack of artistic ambition. Whether they got on at the last stop - the 4 track Tyneside-Trout-Mask-through a-Vic and Bob-filter of Nothing Important - or earlier in the journey, with The Glass Trunk’s visceral song cycle or The Magic Bridge’s sombre revels, devotees of his earlier recordings will be at once intrigued by and slightly fearful of the prospect of a record that could make those three landmark releases look like formative work.
Peasant is that album. From its first beguilingly muted fanfare to its spectacular climax exploring a Dark Ages masseuse’s dangerous fascination with a mysterious artefact called the Pin of Quib, it will grab newcomers to Dawson’s work by the scruff of the neck and refuse to let them go until they have signed a pledge of life-long allegiance.
Driven forward by exhilarating guitar flurries, Qawwali handclaps and bursts of choral ferocity, Peasant’s eleven tracks sustain a momentum worthy of the lyrics’ urgent subject matter. Dawson describes the themes of these songs as “Families struggling, families being broken up by circumstance, and - how do you keep it together? In the face of all of these horrors that life, or some system of life, is throwing at you?” The fact that these meticulously wrought narratives all unfold in the pre-mediaeval North Eastern kingdom of Bryneich - “any time from about 450AD to 780AD, after the withdrawal of the Roman Empire”- only makes their contemporary relevance more enduring and vital.
Dawson’s objective was to create “A panorama of a society which is at odds with itself and has great sickness in it, and perhaps doesn’t take responsibility – blame going in all the wrong directions”. But encountering Peasant’s captivating sequence of occupational archetypes (‘Herald’, ‘Ogre’, ‘Weaver’, Scientist’), listeners might find themselves wondering if these multitudes could somehow be contained with one person - surely we all have a ‘Shapeshifter’ and a ‘Prostitute’ within us?

“I remember being in the mall, and pop music is just everywhere,” says O’Connor, who grew up in the San Diego suburb of San Marcos. From his earliest memories, he was enamored with the textures of pop songs, but had a gnawing distaste for their lyrics. “I remember feeling that this certain kind of person is talking about certain experiences—and I feel like they’re lying to me. Making O∆ was about two things. It was an album like a movie about where I was from and how it really was. I didn’t want it to be a filtered story the way most pop music is. I wanted it to be real. I guess in other music people aren’t talking about the things that I notice about life or the things that are really important to me. How I feel actually being here. I wanted to express those things. But it was also about me needing to breathe and make a place in this world where I could live safely. Safely in a world where I could be myself - and survive.”
A remastered version of O∆ will be released physically and digitally February 17 on True Panther Sounds. London is currently traveling and continuing work on his self produced follow up album.

The work of Yves Tumor moves from sultry ambient to future soul, psychedelic pop, and everything in between. His critically acclaimed l ong-player from 2016, “Serpent Music,” announced his commitment to eclecticism and cemented his position as a major force in contemporary experimental and electronic circles. Now signed to Warp he returns this year with 'Safe In The Hands Of Love'.
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Boomkat Product Review:
Yves Tumor lands on Warp with his debut album for the label; more popwise and polished than before, still pitched perfectly between the avant garde and the mass market...
"Yves Tumor makes good on the audience following astonishing singles 'Noid', 'Licking An Orchid (feat. James K)' and 'Lifetime'. Whereas each of these showed a different side to his sound, one that arguably wasn't afraid to immerse itself in the close running interests of skinny-jeans 'n' all indie, heartfelt romantic ballads and soulful RNB bangers, Yves Tumor's seeming refusal to be creatively pigeonholed is the most vital and compelling cog within his musical identity. Walking a tightrope between being on the one hand, one of the most seductive, soulful musicians of modern times, while also being a serious aficionado of harsh n0!se, as made evident with his recent years' live sets which have become something of a legendary experience/assault for each audience that has entered into the high-intensity sound-field that his on-stage presence creates.
Safe In The Hands Of Love captures each and every side of Yves Tumor's musicianship with an elegant mix of pop numbers and more experimental de-constructions. With the spirit of Danish noise/synth/punk/tekno institution Posh Isolation running through the lifeblood of the music, so much so that in a perfect bonding two of the Posh Isolation crew's finest Loke Rahbek and Frederikke Hoffmeier both appear on the album in solidarity with Yves' vision. The recordings are uncharacterizable as anything other than Yves Tumor music.
From the gothic cloak 'n' dagger cyberpunk punishment of 'Hope In Suffering (Escaping Oblivion & Overcoming Powerlessness)' featuring Oxhy & Puce Mary, through to the 'Economy of Freedom' produced with Croatian Amor and moving along with all the sludgy heaviness of a thousand broken hearts, the feelings explored upon offer a kaleidoscopic union of classic songwriting and lobotomized sound experiments. Chapters like 'Recognizing The Enemy' and 'Licking An Orchid' capture a sense of near blissful introspective blues, sounding like Yves is rushing into the deepest moments of winter while his words that are seemingly spun out of tears, begin to freeze in the cold night air. Before 'Let The Lioness In You Flow Freely' could be the Whitehouse and Steve Albini post-rock record that never materialized back in the 1990's, while 'Recognizing The Enemy' further explores the gothic soundscape rock 'n' roll (original and authentic shades, slick back and leather jacket) of 'Noid', ensuring that his stadium-sized approach to crafting earworms is well and truly represented."

Freetown Sound is the third album from Devonté Hynes aka Blood Orange. Written and produced by Hynes, Freetown Sound is a tour de force, a pastiche of Hynes’ past, present, and future that melds his influences with his own established musical voice.
For well over a decade, Devonté Hynes has proven himself a virtuoso of versatility, experimenting with almost every conceivable musical genre under a variety of monikers. After moving to New York City in the mid-2000s, Hynes became Blood Orange, plumming the oeuvres of the city’s musical legends to create a singular style of urgent, delicate pop music. Freetown Sound, which follows 2011’s Coastal Grooves and 2013’s breakthrough Cupid Deluxe, builds upon everything Hynes has done as an artist, resulting in the most expansive artistic statement of his career. Drawing from a deep well of techniques and references, the album unspools like a piece of theater, evoking unexpected communions of moods, voices, and eras. Freetown Sound derives its name from the birthplace of Hynes’ father, the capital of Sierra Leone. Thematically, it is profoundly personal and unapologetically political, touching on issues of race, religion, sex, and sexism over 17 shimmering songs.

Holly Herndon has become a leading light in contemporary alternative and electronic music by fearlessly experimenting within the outer reaches of dance music and pop songwriting structures. A galvanizing statement, Platform cements Herndon's reputation as a unique musician with a singular voice.
Born in Tennessee, but reared on music abroad, Herndon broke out from her formative years in Berlin's minimal techno scene to repatriate to San Francisco, where she currently lives and studies as a doctoral candidate at Stanford's Center for Computer Research in Music and Acoustics (CCRMA).
To achieve Platform, Herndon has opened up her process to vital artists and thinkers from her creative circle, including radical Dutch design studio Metahaven and digital DIY artist Mat Dryhurst, leading by example to tackle a host of topics ranging from systemic inequality, surveillance states, and neo-feudalism. Platform underscores the need for new fantasies and strategic collective action.
Herndon's debut album Movement, released in 2012, showcased Herndon's fascination with trance and the disjunctive sampling techniques pioneered by avant-garde composition. Subsequent singles ‘Chorus’ and ‘Home’, rolled out in advance of Platform, humanized the laptop by celebrating its capacity for memory- storage and lamenting its vulnerability in light of revelations of mass surveillance.
Offering what Herndon describes as "a rupture, a paradisic gesture", Platform is an optimistic breakthrough for Herndon, an appeal for progress, and a step toward new ways to love.
Following on from their treatment for ‘Home’, Metahaven have collaborated once more with Herndon on a video for Platform opener ‘Interference’, which airs today. You can watch in the player below.
Platform is Holly Herndon’s debut album for 4AD, a cooperative effort with RVNG Intl., the NYC imprint with whom Herndon has worked for many years and released her first record Movement. Platform can be pre-ordered from today and all iTunes pre-orders will receive album tracks ‘Interference’, ‘Chorus’ and ‘Home’ instantly.

In Colour is the debut studio album by British producer and The xx member Jamie xx. It is set to be released on June 1, 2015 on the Young Turks label. A deluxe version of the album, cut on coloured vinyl and featuring two exclusive instrumental tracks, will be made available for a limited time.

On May 13, Swans will release their next album, To Be Kind, the followup to 2012's epic The Seer, via Young God/Mute. It features a number of guest contributors, including St. Vincent's Annie Clark, Little Annie, Cold Specks, and Bill Rieflin.

Oneohtrix Point Never Announces New Album Garden of Delete Via Internet Rabbit Hole.
This morning, Daniel Lopatin, aka Oneohtrix Point Never, updated his website with a link to a cryptic PDF. In the text, Lopatin writes a hallucinatory letter about attempting to work on new music, before beginning to collaborate with an alien named Ezra. The PDF includes a questionnaire said to be taken by the alien, in which a link to a blog is included.
On that blog is a series of mysterious posts backdated to 1994, the most recent of which is an extended interview between Lopatin and Ezra. In that interview, Lopatin appears to announce a new album called Garden of Delete ("or G.O.D. for short"), which he says will be out in November.