末窗:21世纪10年代最佳专辑

MC

MC @vianu

70 张专辑  

2010-2019 十年间,独立音乐与流行音乐的分界线已经模糊,我更倾向于以“当代”音乐来标识它们,并以“通俗”、“大众”等字眼与“学院派”、“学术”音乐区分开来。无需专业的音乐能力,就能体验到这些音乐所分享给我们的喜悦。它超越语言,以最直接的方式再生(さいせい)情感联结,一瞬也可永恒。身处这个时代,我试图从个人审美、情感的角度,选出21世纪10年代的最佳专辑。同一个乐队/音乐人只选一张。

Process [音乐] 豆瓣
7.9 (31 个评分) Sampha 类型: 电子
发布日期 2017年2月3日 出版发行: Young Turks
★ 深沉夜色间穿越极简电气迷雾而来的浪漫灵魂之声
★ The xx / FKA twigs / SBTRKT独立厂牌Young Turks年度秘密武器
★ Kanye West / Drake / Frank Ocean / Solange争相合作超级新声
★ 嘻哈狂人Kanye West神秘跨刀共同谱写话题新作〈Timmy's Prayer〉
纵然在2014年由BBC选拔的Sound of 2014仅获得第四名的席次(当年由Sam Smith夺冠),来自南伦敦的唱作人Sampha也绝非等闲之辈,光2015年便获得Kanye West、Frank Ocean以及Solange等天王歌后的邀请,为〈Saint Pablo〉、〈Endless〉与〈Don't Touch My Hair〉等畅销单曲跨刀献声,2013年与加拿大饶舌歌手Drake合作单曲〈Too Much〉,更拿下英国节奏蓝调榜19名 / 美国告示牌饶舌榜16名的绝佳成绩。
发行个人首张专辑《Process》以前,Sampha除了被一手挖掘The xx、FKA twigs的伦敦音乐厂牌Young Turks重点培养之外,也是Post-dubstep以来,Katy B、SBTRKT、Jessie Ware等众家歌手身旁的最佳绿叶。这位被BBC拿来与Tracey Chapman、流行天王Michael Jackson相作比拟的灵魂 / 节奏蓝调唱作人,继《Sundanza》、《Dual》EP与多支单曲后,2017年接力在The xx回归大碟《I See You》后头登场的处男专辑《Process》,绝对是Young Turks年度最重要的发行之一。
《Process》由Sampha与爱丁堡制作人Rodaidh McDonald(The xx / How To Dress Well)联合制作,以唱作人 / 歌手角色带来十首揉和灵魂、节奏蓝调与民谣的出色作品。首支单曲〈Blood on Me〉甫推出便获得Pitchfork网站「最佳新进歌曲」的肯定。Sampha拥有比Jai Paul更浑厚、比How To Dress Well更直率的嗓音,歌曲〈Plastic 100°C〉与〈Kora Sings〉巧思的编曲布局与Tribal重击的节奏蓝调,都是Sampha的拿手好戏。
Kanye West共同谱写的成人抒情曲〈Timmy's Prayer〉令人想起The Weekend;〈Incomplete Kisses〉与〈Reverse Faults〉则是多年混迹南伦敦UK bass打下的沈稳基石;〈(No One Knows Me)Like The Piano〉与〈Take Me Inside〉的Piano-Oriented唱作,与James Blake难分轩轾。
从remixer、客席歌手走向属于自己的舞台,Sampha是整个UK新世代迟来的惊喜。(OR伊森)
Genres: Electronic, Music
Expected Release: Feb 03, 2017
℗ 2017 Young Turks Recordings
必愈疗程 [音乐] 豆瓣
8.1 (16 个评分) Björk 类型: 电子
发布日期 2015年1月20日 出版发行: One Little Indian
Björk has released her new album Vulnicura almost two months ahead of schedule a fter it was leaked online.
Tracks from the album were posted online just days after the Icelandic singer announced the title and tracklist. It is being rolled out on iTunes around the world over the next 24 hours, though the vinyl and CD are being kept back for the original March release date.
Serving as the follow-up to 2011’s multimedia project Biophilia, the nine-track effort features production from Arca and The Haxan Cloak. Additionally, Antony Hegarty of Antony and the Johnsons sings on the track called “Atom Dance”.
Meanwhile, Bjork has written an open letter about the album and its creation, and you can read it below.
"dear websitefolks , fans , tweeters and my music supporters on all the sorts of www :
vulnicura will be rolling out worldwide over the next 24 hours !!

i am so grateful you are still interested in my work !!
i appreciate every little bit !!!
i wanted to tell you the tale of making of this album
i guess i found in my lap one year into writing it a complete heartbreak album . kinda surprised how thoroughly i had documented this in pretty much accurate emotional chronology …. like 3 songs before a break up and three after . so the anthropologist in me sneaked in and i decided to share them as such . first i was worried it would be too self indulgent but then i felt it might make it even more universal . and hopefully the songs could be a help , a crutch to others and prove how biological this process is : the wound and the healing of the wound . psychologically and physically . it has a stubborn clock attached to it .
there is a way out
and then a magic thing happened to me : as i lost one thing something else entered . alejandro contacted me late summer 2013 and was interested in working with me . it was perfect timing . to make beats to the songs would have taken me 3 years ( like on vespertine ) but this enchanted arca would visit me repeatedly and only few months later we had a whole album !!! it is one of the most enjoyable collaboration i have had !
i then went ahead and wrote string and choir arrangements and recorded them in iceland
towards the end of the album i started looking around for a mixing engineer and was introduced by a mutual friend of ours , robin carolan to the haxan cloak . he mixed the album and also made a beat for one half of “family” . together with chris elms the engineer we kinda formed a band during the mixing process and this is the album we made !!!
i do hope you enjoy it
i would like to thank this overqualified little team ( where roles often blurred )
. i also would like to thank robin , his generous approvals gave me more courage to complete this as is .
and my group of songswapping / dj friends : the right tune can truly cure : ta for those sonic ointments
but most of all i would like to thank my team : james merry , derek birkett and emma birkett . rosemary and elisa . this album could not have been done without you"
(via Björk’s Facebook)
Dirty Projectors [音乐] 豆瓣
8.3 (7 个评分) Dirty Projectors 类型: 电子
发布日期 2017年2月22日 出版发行: Domino Recording Co.
Dirty Projectors announce their long-awaited 7th LP. The new album does everything we want and expect from Dirty Projectors — but in a way we never could have imagined or anticipated. In a career of surprising conceptual gambits, unexpected stylistic evolutions, and continually changing lineups — this is, as DJ Khaled says, “ANOTHER ONE”! Dirty Projectors will be out February 24th, 2017 on Domino.
A Sufi & A Killer [音乐] 豆瓣
Gonjasufi
发布日期 2010年3月9日 出版发行: Warp Records
In these recent heady days, hype spreads like digital swine-flu and new artists are subjected to the sea change of an entire career before ever developing their sound. So to exist outside of the spotlight and develop a sound at once ready for the masses online, yet rooted in the fierce individualism of artists past may seem somewhat of a quaint notion until you hear Gonjasufi.
At the moment, he stands just outside the spotlight cast on his friends and collaborators Flying Lotus and The Gaslamp Killer, but the sonic brotherhood that exists is implicit rather than as similarities in sound. Drawing from unearthed strains of global psychedelia and merging it with a rejuvenated sense of hip-hop clarity currently distinct to the West Coast, Gonjasufi is more than just a songwriter, MC or performer.
His debut album "A Sufi And A Killer" recalls moments in love as well as trading sinister threats with enemies, sometimes within the same song. Trading in both the murk of lo-fidelity vintage samples and the concentrated crispness of current West Coast production, "A Sufi And A Killer" is both a roadmap to the riches of the distant past and a signpost to the future.
Bish Bosch [音乐] 豆瓣
Scott Walker 类型: 轻音乐
发布日期 2012年11月30日 出版发行: 4AD
After much speculation, 4AD can confirm that Scott Walker will release Bish Bosch this December, his first studio album since 2006’s The Drift.
Scott began writing new material around 2009 - whilst also scoring the ROH 2’s Duet For One Voice ballet - recording it sporadically over the following three years. The end result is Bish Bosch, a tauter but more colourful experience than The Drift, with greater emphasis on processed, abrasive guitars, digital keyboards and thick silences.
Aided again by co-producer Peter Walsh and joined by a regular core of musicians, Ian Thomas (drums), Hugh Burns (guitar), James Stevenson (guitar), Alasdair Malloy (percussion) and John Giblin (bass). Musical director Mark Warman also played a prominent role, both as conductor and keyboardist, while guests include trumpeter Guy Barker and pedal steel guitarist BJ Cole, who worked on three of Scott’s mid-seventies LPs. For tracks 'SDSS1416+13B (Zercon, A Flagpole Sitter)', ‘Dimple’ and ‘Corps de Blah’, Scott drafted in an orchestra, recording them in The Hall at Air Studios last November. For the cover art, Scott worked closely with painter Ben Farquharson and designer Philip Laslett.
Blackstar [音乐] 豆瓣
9.4 (132 个评分) David Bowie 类型: 摇滚
发布日期 2016年1月8日 出版发行: RCA
Blackstar (stylised as ★) is the upcoming 25th studio album by David Bowie scheduled to be released on 8 January 2016, the date of Bowie's 69th birthday. The album will feature seven songs and the title track is scheduled to be released as a single on 20 November 2015. The track will be used as the opening music for the television series The Last Panthers.
The album artwork was releaved through a video posted on Facebook on 18 November 2015.
Have fun [音乐] 豆瓣
Smerz 类型: 电子
发布日期 2018年3月6日 出版发行: XL Recordings
Norway’s Smerz have been generating attention for their genre-melding, enigmatic sound. Steph Kretowicz talked to the duo about their unique inspirations and singular sources for field recordings,
as well as their upcoming EP, Have Fun.
Smerz give a good first impression. Their footwork, R&B and techno inspired work is presented with effortless style, but has a certain sense of withholding that is striking. Words are obscured and field recordings are cut and layered to the point into esoteric new versions of themselves. This wary air of secrecy to their sound belies just how warm the two are in person, but who says you can’t make a good first impression twice?
Their sophisticated music is, actually, the result of a very intuitive, but often clumsy process of self-discovery, both for their artistic and technical developments. Catharina Stoltenberg, one half of the Norwegian duo, is hardly coy about the thorny path it took them to get to where they are now. “There were a lot of awkward situations where friends didn’t want to say that they didn’t like it but they couldn’t say that they liked it either, and we were figuring out that they didn’t like it,” she says, on a sunny July day at XL Recordings’ Los Angeles outpost. “My boyfriend was like, ‘Oh, yeah, great!’ People in the music business in Copenhagen were coming to our shows and afterwards would be kind of awkward.”
It’s not like that anymore. Last year Stoltenberg and her bandmate Henriette Motzfeldt released an EP called Okey, a collection spanning the duo’s years-long evolution as musicians. Lead single ‘Because’ shimmies along minimal beats and cut-up vocals that reveal an underlying, ungraspable truth. ‘Girl’ is one and a half minutes of ambience delicately punctured by a muted kick and hi-hat; its sentences come in fragments – “You know it’s easy, so fuckin’ easy for ya / I’ll be your girl so, if there’s any other girl” – sung in several combinations, sultry and aloof.
Following a gap year of singing and songwriting courses in their late teens, they left Norway to study to study Latin, law and mathematics the University of Copenhagen. It wasn’t long before they both dropped out to pursue music full time. But taking their combined experience in classical violin and theatre into the alien realm of self-expression – they produce in Ableton Live – was adjustment that took a lot of hard work. “Coming from musicals, you’re really used to getting a piece of paper with lyrics and notes and some old guy telling you where to go,” laughs Stoltenberg. “When we started songwriting school, where you just make a song, that was completely something else. We were both super scared.”
Two halves of a single whole, Stoltenberg and Motzfeldt are made for each other. You can sense it in the oppositional forces of masculine and feminine energies, performed in their music, then realised in the balanced reciprocity of their interpersonal dynamic. In the video for their July-released track ‘Oh my my,’ they sit on a bench in a nondescript yard underneath a drizzle, staring listlessly at the camera. A warbling melody carries Motzefeldt’s breathy mumble while being whomped by cuts of heavy distortion. It’s a scene and sound that’s both vulnerable and confronting. “It’s been super nice because with spending so much together, we end up talking so much about our lives and problems,” says Stoltenberg. “You can almost as easily, or maybe more easily write about the other and then probably you get this kind of overview because it is sometimes easier for another person to figure it out.”
Writing from an atypical point of view comes naturally to the duo, especially when they are writing about the heart. It’s a theme that stays with them even down to the band name, taken from a rhyming German saying Schmerz im Herz, which roughly translates to “pain in the heart.” “It’s not often directly about heartache but what mood you come into from the heartache,” says Motzfeldt about the main inspiration for their music. Sometimes that comes in the form of reserved uncertainty, like on the track ‘Thrill’. “The lyrics say, ‘At this point I go far for a heart beat,’” Stoltenberg says. “It’s a situation where you really want something to happen but you kind of don’t bother, then you try to do these right things that you should do to ‘get a heartbeat.’” In the video, these “right things” are dressing up: Motzfeldt languishes in a bright red vinyl jacket in front of a mirror, the usually dressed-down and androgynous Stoltenberg tries on girlier outfits and experiments with makeup.
New music for an upcoming EP called Have Fun is more confident and robust. ‘No Harm’, which they premiered earlier this month on their NTS residency, goes deep and dark with the wallop of a heavy bass line that’s smothered in the creepy high pitch of the empty, repetitious phrase: “No harm in trying.” Their latest, ‘Half Life’ lumbers on the creaking, bestial distortion of some kind of echoing sample of what sounds like combative human cries. The title track features the sound of a crowded room blended with layers of an atonal organ line and a crisp vocal repeating “have fun” in a rhythmic cycle. “
There are some limitations to our producing because we’re not that good at all the production tools, like we don’t use hardware and stuff,” says Motzfeldt. “Field recordings are like a intuitive way of working for us.” They have iPhone recordings of things like a conversation about techno with a regular at the café where Stoltenberg used to work in one song, a drop the two of them liked from a DJ at a random party on another. “It’s just the feeling, right?” Stoltenberg says. “If you think something is cool and then you throw it in there and if it fits, it fits and if it doesn’t, you take it out again.”
“When you’re not that good at making your own sounds, then bringing these random elements into your music is a nice way of…” she adds, before Motzfeldt, naturally, finishes the sentence: “…making them sound differently.”
Cocoa Sugar [音乐] 豆瓣
8.1 (24 个评分) Young Fathers 类型: 说唱
发布日期 2018年3月9日 出版发行: Ninja Tune
In November 2017, Young Fathers announced that they’d completed work on a new album. The trio – Alloysious Massaquoi, Graham ‘ G’ Hastings and Kayus Bankole – marked the news by previewing a brand new song, ‘Lord’ and a subsequent accompanying video. Just like their previous standalone 2017 single ‘Only God Knows’ (written for the Trainspotting T2 film and described by director Danny Boyle as “the heartbeat of the film”), ‘Lord’ provided an enticing glimpse of what to expect from Young Fathers’ third full album; something typically unique and exhilarating, but leaner, more muscular and self-assured than ever before.
Titled Cocoa Sugar, the twelve track album will be released on 9th March 2018 via Ninja Tune and follows the group’s previous two albums; 2014’s Mercury Prize-winning DEAD and 2015’s White Men Are Black Men Too. Written and recorded throughout 2017 in the band’s basement studio and HQ, Cocoa Sugar sees Young Fathers operating with a newfound clarity and direction, and is without doubt their most confident and complete statement to date.
Drunk [音乐] 豆瓣
8.7 (58 个评分) Thundercat 类型: 放克/灵歌/R&B
发布日期 2017年2月24日 出版发行: Brainfeeder
Stephen Bruner, bka as Thundercat returns with his follow up to 2015s The Beyond / Where the Giants Roam . The latest album titled Drunk is released on Flying Lotus Brainfeeder label and features production from Flying Lotus himself. After attaining national attention following his Grammy award winning collaborations on Kendrick Lamar s To Pimp A Butterfly , Bruner delivers arguably his most ambitious work to date. Vocal features include Michael McDonald & Kenny Loggins, Kendrick Lamar, Wiz Khalifa and Pharrell. In addition to Kendrick Lamar, Thundercat has worked with a wide range of artists including Erykah Badu, Childish Gambino, Mac Miller, Ty Dolla $ign, Bilal, Suicidal Tendencies, Kamasi Washington, Terrace Martin and more making him one of the most in demand musicians of our time.
22, A Million [音乐] 豆瓣
8.5 (48 个评分) Bon Iver 类型: 电子
发布日期 2016年9月30日 出版发行: Jagjaguwar
22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.
Ibeyi [音乐] 豆瓣
7.6 (5 个评分) Ibeyi 类型: 流行
发布日期 2015年2月16日 出版发行: XL Recordings
Ibeyi are 19 year old French Cuban twins, Naomi and Lisa-Kainde Diaz. They are daughters of the late Cuban percussion Anga Diaz. Naomi plays percussive instruments, the Cajon and the Batas, while Lisa plays piano. Together the twins combine modern pop, hip-hop and electronic influences with the traditional sounds of their father's Yorùbán culture.
Syro [音乐] 豆瓣
8.4 (29 个评分) Aphex Twin 类型: 电子
发布日期 2014年9月23日 出版发行: Warp Records
The album cover, by Designers Republic has been announced along with the track times - Which doesn't match up with the previous unidentified leak.
The album will be out on September 23th via Warp and a press release, including a lengthy (and odd) biography has been shared. Below is a quote:
"Only few and far between during the new millennium, a full-length, 20001's Druikqs, James - has marked the beginning of an arc, and the final new material in 20005. A lot of the music in any way is often a lack of communication and leadership to be fallacious rumors of new material for his fannies and his enthusiasm has not diminished hope. However ambitious this year, 9014, they uncovered new mats in almost a decade distribution crowdfund rallied together his army of fans: A precious gift that can not be the same as the new
Phex Twinnipicks material is still unquenched thirst.
Syria, September 23, 2014, along with records of Aphex Twin's new album to be released. For the owner of Triple vinyl, CD and digital formats will be available. Bleep a very limited vinyl version you can register your interest in buying."
You're Dead! [音乐] 豆瓣
8.6 (22 个评分) Flying Lotus 类型: 电子
发布日期 2014年10月7日 出版发行: Warp Records
You're Dead! is the upcoming fifth studio album by electronic musician Flying Lotus. It is set to be released on October 6, 2014, in the UK, and October 7, 2014, in the US, on Warp Records.
Magdalene [音乐] 豆瓣
8.8 (185 个评分) FKA twigs 类型: 电子
发布日期 2019年11月8日 出版发行: Young Turks
FKA twigs ends months of speculation by announcing details of her highly anticipated second album. Titled MAGDALENE, the album will be released on 25th October 2019 and is the follow up to FKA twigs’ critically acclaimed Brit Award and Mercury Prize nominated debut LP1.
Indie edition is pressed on Red Vinyl.
Created in a period where her confidence was knocked following heartbreak and laparoscopic surgery, MAGDALENE is the sound of twigs reconfiguring, emotionally and physically. As she sings on ‘Mary Magdalene’, the MAGDALENE album track that opened her highly-praised, sold-out live shows earlier in the year, “A woman’s time / A woman’s work / A woman’s time to embrace / She must put herself first”.
MAGDALENE is produced by FKA twigs and, as with LP1, the recording process has been directed by her at every stage. It was recorded between London, New York and Los Angeles over the last three years and features major contributions from Nicolas Jaar alongside a host of other collaborators. MAGDALENE sees FKA twigs creating a whole new artistic universe and it is, without doubt, her most masterful, innovative work to date.
鸟舍 [音乐] 豆瓣
8.2 (12 个评分) Julia Holter 类型: 流行
发布日期 2018年10月26日 出版发行: Domino
The Los Angeles musician’s fifth studio album is the most joyous, daring realization of her experimental tendencies yet: a sprawling, 90-minute search for meaning in a dehumanizing age.
Remind Me Tomorrow [音乐] 豆瓣
7.6 (24 个评分) Sharon Van Etten 类型: 流行
发布日期 2019年1月18日 出版发行: Jagjaguwar
Sharon Van Etten’s Remind Me Tomorrow comes four years after Are We There, and reckons with the life that gets lived when you put off the small and inevitable maintenance in favor of something more present. Throughout Remind Me Tomorrow, Sharon Van Etten veers towards the driving, dark glimmer moods that have illuminated the edges of her music and pursues them full force. With curling low vocals and brave intimacy, Remind Me Tomorrow is an ambitious album that provokes our most sensitive impulses: reckless affections, spirited nurturing, and tender courage.
"I wrote this record while going to school, pregnant, after taking the OA audition,” says Van Etten. "I met Katherine Dieckmann while I was in school and writing for her film. She’s a true New Yorker who has lived in her rent controlled west village apartment for over 30 years. Her husband lives across the hall. They raised two kids this way. When I expressed concern about raising a child as an artist in New York City, she said ‘you're going to be fine. Your kids are going to be fucking fine. If you have the right partner, you’ll figure it out together.'” Van Etten goes on, “I want to be a mom, a singer, an actress, go to school, but yeah, I have a stain on my shirt, oatmeal in my hair and I feel like a mess, but I'm here. Doing it. This record is about pursuing your passions." The reality is Remind Me Tomorrow was written in stolen time: in scraps of hours wedged between myriad endeavors — Van Etten guest-starred in The OA, and brought her music onstage in David Lynch’s revival of Twin Peaks. Off-screen, she wrote her first score for Katherine Dieckmann’s movie Strange Weather and the closing title song for Tig Notaro’s show Tig. She goes on, “The album title makes me giggle. It occurred to me one night when I, on auto-pilot, clicked 'remind me tomorrow' on the update window that pops up all the time on my computer. I hadn't updated in months! And it's the simplest of tasks!”
The songs on Remind Me Tomorrow have been transported from Van Etten’s original demos through John Congleton’s arrangement. Congleton helped flip the signature Sharon Van Etten ratio, making the album more energetic-upbeat than minimal-meditative. “I was feeling overwhelmed. I couldn't let go of my recordings - I needed to step back and work with a producer.” She continues, “I tracked two songs as a trial run with John [Jupiter 4 and Memorial Day]. I gave him Suicide, Portishead, and Nick Cave's Skeleton Tree as references and he got excited. I knew we had to work together. It gave me the perspective I needed. It’s going to be challenging for people in a good way." The songs are as resonating as ever, the themes are still an honest and subtle approach to love and longing, but Congleton has plucked out new idiosyncrasies from Van Etten’s sound.
For Remind Me Tomorrow, Van Etten put down the guitar. When she was writing the score for Strange Weather her reference was Ry Cooder, so she was playing her guitar constantly and getting either bored or getting writer's block. At the time, she was sharing a studio space with someone who had a synthesizer and an organ, and she wrote on piano at home, so she naturally gravitated to keys when not working on the score - to clear her mind. Remind Me Tomorrow shows this magnetism towards new instruments: piano keys that churn, deep drones, distinctive sharp drums. It was “reverb universe” she says of the writing. There are intense synths, a propulsive organ, a distorted harmonium.
The demo version of “Comeback Kid” was originally a piano ballad, but driven by Van Etten’s assertion that she “didn’t want it to be pretty”, it evolved into a menacing anthem. Cavernous drones pull the freight for “Memorial Day,” which fleshes out an introvert in warrior mode. The spangled “Seventeen” began as a Lucinda Williams-esque dirge but wound up more of a nod to Bruce Springsteen, exploring gentrification and generational patience. Van Etten shows the chain reaction, of moving to a city bright-eyed and hearing the elders complain about the city changing, and then being around long enough to know what they were talking about. She wrote the song semi-inter-generationally with Kate Davis, who sang on a demo version when the song was in its infancy.
Since her last album, Van Etten has had a young son, and family life is joyful. Preparing and finishing these songs, she found herself expressing deep doubts about the world around him, and a complicated need to present a bright future for him. “There is a tear welling up in the back of my eye as I’m singing these love songs,” she says, “I am trying to be positive. There is strength to them. It’s— I wouldn’t say it’s a mask, but it’s what the parents have to do to make their kid feel safe.”
Alongside working on Remind Me Tomorrow, Van Etten has been exploring her talents (musical, emotional, otherwise) down other paths. She’s continuing to act, to write scores and soundtrack contributions, and she’s returning to school for psychology. The breadth of these passions, of new careers and projects and lifelong roles, have inflected Remind Me Tomorrow with a wise sense of a warped-time perspective. This is the tension that arches over the album, fusing a pained attentive realism and radiant lightness about new love.
创建日期: 2022年5月11日