Post是冰岛歌姬Bjork在1995年发行的专辑.
　　这张专辑比上一张(处女作Debut)更为隐晦,更为成熟.这张犹如史诗般的专辑把人们的耳朵从泛滥的舞曲和工业化的流行乐中苏醒.可以说来得正是时候.
　　第二张专辑能够远远超越第一张作品的艺人并不多.但Bjork显然是一个例外.更强的节奏感,更具创意的制作,对世界更宽广的洞察力,Bjork的这张专辑在时隔10年的今天,听起来同样如同10年前那样令人耳目一新.通过这张经典的专辑,Bjork不仅仅改变了90年代的唱片界,同样改变了我对音乐的理解和感知.是本人强烈推荐的一张专辑.
　　This Icelandic marvel is such an original that, even after four Sugarcubes albums and a brilliant solo Debut, she remains an acquired taste. "Army of Me" is a turbulent, darkling tune that's almost conventional next to the gloriously eclectic material that follows. Working with Tricky, Soul II Soul/U2 producer Nellee Hooper, and string arranger/one-hit wonder Deodato, Björk looses her helium-fueled voice and surreal wordplay on Gershwinesque pop (the adorable "It's Oh So Quiet"), ambient dub ("Possibly Maybe") and all kinds of fresh dance/pop hybrids ("Enjoy," "Hyper-Ballad," "I Miss You"). Too raw and adventurous for mass success, perhaps, but a more unique, engaging, oddly accessible artist just doesn't exist. --Jeff Bateman

Homogenic is the third studio album by Icelandic musician Björk, released in September 1997. Produced by Björk, Mark Bell, Guy Sigsworth, Howie B and Markus Dravs, it was released on One Little Indian Records. The music of Homogenic was a new style for Björk, focusing on similar sounding music combining electronic beats and string instruments with songs in tribute to her native country Iceland. Homogenic was originally to be produced in her home in London, United Kingdom, but was later recorded in Spain to avoid interruption from the press after the suicide of Björk's stalker Ricardo Lopez.
Homogenic marked the first of several production collaborations between Mark Bell and Björk, who Björk would cite as a major influence on her musical career. The album peaked at number twenty-eight on the Billboard 200, and at number four on the UK Albums Chart. Five singles were released from Homogenic: "Jóga", "Bachelorette", "Hunter", "Alarm Call" and "All Is Full of Love". Homogenic was highly acclaimed on its initial release and continues to be praised by critics, with Sal Cinquemani of Slant Magazine stating that "if not the greatest electronic album of all time, it's certainly the greatest of its decade".

GRAMMY Award-nominated, multi-Platinum artist Halsey will release Manic – the follow-up to her chart-topping 2017 album hopeless fountain kingdom.

Manic includes her new single “Graveyard”, of which Halsey said, "The song is about being in love with someone who is in a bad place and loving them so much that you don't realise that you're going to that bad place with them. It's also about learning to care about yourself enough not to follow them there".

Anti-General，电子音乐制作人/DJ, Mavericks厂牌合创者。寻求特立独行的制作理念，其独具匠心的音乐作品《人間地獄》。

Mezzanine is the third studio album by English electronic music duo Massive Attack, released on 20 April 1998 by Circa and Virgin Records. Produced by Massive Attack and Neil Davidge, it saw the duo expanding their trip hop sound to electronica stylings,[1] with diverse influences from new wave,[2] rock, hip hop, and dub music.[3]
Mezzanine topped the charts in the United Kingdom, Australia, Ireland, and New Zealand, becoming the group's most commercially successful album to date. It spawned four singles: "Risingson", "Teardrop", "Angel", and "Inertia Creeps".

惯听摇滚的乐迷可能不太习惯The Prodigy的成员组合，两个舞者、一个饶舌歌者和一个DJ。不同的角度会看到The Prodigy不同的面貌∶若只是拿著CD听，一肩挑起音乐创作与制作之责的Liam Howlett便是一切；若是观看他们的表演，那两个动作狂暴的舞者Kieth Flint与Leeroy Thornhill最抢眼，留著魔鬼发型的Kieth Flint，更是The Prodigy的形象代表，但整个团的头头，却是负责rap的Maxim Reality－以舞曲界的术语来说，他是「司仪（MC）」。但无论乐评或乐迷怎么看待，The Prodigy就是这四个人，缺一个就不是The Prodigy，这样的组合真切地呈现了瑞舞（Rave）的面貌。 九○年代初，The Prodigy组成之时，正是英国瑞舞方兴末艾的时候，他们以单调重覆的快速节奏、喷泻而出的电子冲击声，以及有如风暴袭卷的现场表演，撼动了英国乐坛。1992年首张专辑《Experience》在英国获得成功后，1995年的《Music for the Jilted Generation》以更为强硬直接的态度处理电子节奏及音色，并将重吉他切刷的取样溶入音乐中，促成日后所谓Big Beat的出现。 有人形容The Prodigy为「没有吉他手的庞克乐团」。1997的《The Fat of the Land》与Kula Shaker、L7等摇滚乐团合作，The Prodigy的音乐更加多元复杂。这张被主流乐评形容为「差一点就是经典」的专辑，也因为有较多的人声（虽然歌词依旧没什么意义），吸引了大批主流摇滚迷走入电子舞曲的领域，The Prodigy的影响从英国跨入美国，甚至全世界。《The Fat of the Land》可以说是他们最容易亲近的一张专辑。但是The Prodigy在态度上仍然希望与摇滚抱持距离，决不原地踏步，作出令人脚底发痒痛快狂舞的音乐，才是他们最大的企图。

"It is time for man to set a goal for himself. It is time for man to plant the seed of his highest hope. His soil is still rich enough for it. But that soil will one day be poor and exhausted, and no lofty tree will any longer be able to grow on it. Alas. There will come a time when man will no longer launch the arrow of his longing beyond man - and the string of his bow will have unlearned to whir! I say to you: one must still have chaos in oneself to give birth to a dancing star. I say to you: you still have chaos in yourself. Alas. There will come a time when man can no longer give birth to any star. Alas. There will come the time of the most despicable man, who can no longer despise himself."
This excerpt of Nietzsche's "Thus Spoke Zarathustra" sets the mood for the latest album of Sardinian sound researcher Eugenio Caria. "In Origine: The Field of Repentance" is a concept album dealing with the origin of man and its impact on the cycle of creation and destruction which drives the evolution of the universe. This time Caria invited one of the world's major trumpeters, prolific Sardinian jazz artist Paolo Fresu to collaborate on the album. Fresu's unique trumpet sound is recognized as one of the most distinctive in the contemporary jazz scene and on this album Caria and Fresu succeed in perfectly merging their contributions into a coherent entity. Fresu is not accompanying Caria and Caria is not accompanying Fresu. Instead they both drive each others plays, building and rebuilding, forming and reforming meticulous pieces of analogue-electronic music that invoke the feeling of a pure timelessness.

140gr white coloured vinyl, wrapped in a hand painted "blood-splattered" sleeve + Insert: The Mestizo-Futurist Manifesto.

There's a famous photo of Omar-S that shows the FXHE boss perched over a pile of records, writing on the blank label with a red sharpie, handgun close at hand. While Alex O. Smith has griped about journalists bringing this photo up, it goes a long way to explain the Detroit artist's appeal, especially in Europe. There's something romantic about the idea of a longtime Ford Motor Company employee coming home, sitting down in his studio, banging out some tracks and heading over to Archer to press up some records. The reality of the situation is that Smith still plays by his own rules, even as an internationally loved artist. Making and selling records is no longer a side hustle, but he still applies a production-line ethic to his music, pumping out four to five EPs a year. The issue with his latest album, the quadruple-LP You Want, is that, more than ever, house music feels like Omar-S's job.
Over the last 15 years or so, Smith has put his name on six full-lengths, almost 60 EPs and more classic tracks than just about any house producer working. There are time-tested models pumped out of the FXHE studio, several of which are revisited on You Want. There's the classic, muscular, melodic house track, like the title cut off his fourth LP, Thank You For Letting Me Be Myself. Here, we get "You Want The Best," which references his last album and a comedy snippet that precedes nearly every track on You Want. Another Omar-S mainstay is the Motown sample jam, the basis for the 2004 classic "Day." On You Want, Smith samples The Temptations for the similarly great "A Toast To Momma Rose."
Smith has also blessed house heads with a number of excellent vocal cuts, from "Set It Out" to "I Wanna Know." He's found a great voice in the Detroit producer John FM, but "Second Life" and the lackluster big-room jam "Hear Me Out" just aren't on the level. On the brighter side, "The Sound Of Neptune" is pitch-perfect '90s house minimalism reminiscent of Kerri Chandler classics like "Climax 1." His collaboration with the pianist Ian Finkelstein, a secret weapon from the Motor City, is expansive. Gorgeous strings and undulating drums complement Finkelstein's pensive comping towards the end of "That's Lil' Boy." It's not quite like any Omar-S track we've heard before.
What we don't hear on You Want is a lot of soul searching. Some of the most memorable Omar-S tracks—like "Just Ask The Lonely"—combined mournful, beautiful melodies with tough-as-fuck drums. Setting aside the excellent "Coming Home Mum," Smith seems to have forgotten about blue chords on this record. Perhaps that's no surprise. He's winning these days. He's on video buying an expensive car and hitting the party store. You Want, then, is full of party tracks, like the modern-day hip-house jam "Ambiance," which sees Smith coming through with a Funkadelic-style bassline.
There are moments when Smith gets lost in the sauce, like "Mandelas Gold," a "bonus beats" track. A famous Omar-S quote comes to mind: "Is that all the record do? Yeah bitch, that's all the record do." But the slapdash programming on this one means even the most inventive DJs would be hard-pressed to do anything with it. Similarly, "1993," the presumed follow up to "1992," is one of the only tracks in Smith's catalogue that could have been made by any number of dance music producers. It's functional to a fault, a description that you could apply to, say, a Ford Fiesta. Solid. Reliable. Only disappointing in light of past glories.

Visitante is Roman & Castro's fourth EP, and their second on Santiago-based Pirotecnia label. The release is a compilation of a series of friendly jams that happened with fellow producers from different parts of the continent that spent some time on the duo's studio in Santiago, Chile. The result shows four different collaborations with Mijo (Mexico), Dany F (Colombia), Guerra and Valesuchi (Chile) - each and one of them show their own musical insight to fuse it with the developing Roman & Castro's sound, achieving a sample that presents different ways to make electronic music the Latin American way.

专辑简介
Crater Monde环形山世界.1于2019年在全世界范围内发行。在国内的电子音乐圈引发了广泛的讨论与关注，被电子乐迷们称为年度最强电子合辑。合辑中的单曲在发行后甚至受到国际珠宝品牌青睐用做品牌推广曲。这张专辑准确的体现了环形山厂牌对这一系列出版物的最初的构想，摒弃了“彼此”的概念联合起每一个我们能联合的个体共同建立了一个更加纯粹与团结的国内电子音乐刊物。
阔别一年，整个世界仿佛再也回不去从前的状态，经历焦虑恐慌，感受了这代人从未感受过的集体性动荡。现在一切似乎趋于平静，我们回到了看似正常却又暗流涌动的生活。谨小慎微的游弋在这个随时可能崩塌的世界之中。即便如此环形山厂牌在此期间在与合作艺术家们的沟通了解过程中还是感受到了来自于艺术家们本身的强悍信念感与艺术才华。纵观历史的长河动荡不安的人类世界格局总是能催生出更纯粹，更鼓舞人心的艺术表达与创作内容。
而Crater Monde环形山世界2 在这样一个特殊的时期如约而至，并延续厂牌这一系列合集的初衷，再次集结了完全不同的九位国内资深电子艺术家以及国内优秀电子音乐新血，克服了重重困难，最终筹划构建了“Crater Monde环形山世界“这一系列的第二辑。合辑将会继续延续数字唱片与黑胶杂志的形式发行，这次厂牌更是找到了为”Aphextwin / Four Tet / Flume / Massive attack等一线艺术家长期制作母带的英国传奇录音棚Metropolis制作完成了这张合辑的母带工作。并在制作过程中得到母带工程师对这张来自中国的电子音乐合辑的高度好评。
在此也要特别感谢“燃音乐”主理人沈立嘉提供了无私的帮助与建议。
参与这次合辑的九位制作人包括：
鸭打鹅乐队主脑国内先锋电子音乐人Gooooose
最具国际影响力与艺术气质制作人SHAO
重塑雕像的权利鼓手HuangJin（Noise Temple）
国内开创性资深制作人，DJ，派对组织者Mickey Zhang
现场即兴氛围音乐大师WWW（汪文伟）
多媒体艺术家音乐制作人VU，
成都活动组织者独立电子音乐女性制作人Kaishandao，
成都地下电子乐推广者制作人Karmasub，
以及来自杭州的制作人YUE

Radiohead announces KID A MNESIA, a multiple format triple-album release marking the 21st anniversary of Kid A and Amnesiac, out November 5th via XL Recordings.
KID A MNESIA collects Radiohead’s fourth and fifth albums alongside the debut of a newly compiled third disc titled Kid Amnesiae. Exclusive to this release, Kid Amnesiae is comprised of unearthed material culled from the Kid A / Amnesiac sessions. Along with alternate versions and elements of Kid A and Amnesiac album tracks and B-Sides, Kid Amnesiae features the never-before-heard "If You Say the Word” and a previously unreleased studio recording of "Follow Me Around.”

「Crater Monde环形山世界」是草台回声旗下电子厂牌环形山唱片所发行的系列电子音乐合集。收集了国内电子音乐场景内优秀的电子音乐制作人所创作的最新音乐作品。《Crater Monde 环形山世界3》是此系列的第三辑，集合了中国电子音乐世界里九位风格迥异的顶尖制作人创作的九首全新力作，传达了在当今国内独立电子音乐场景中不可缺少的女性角度和触觉。

这张2001年秋季发行的专辑【Kill Your Darlings】是一张'Pop Porn Blues Sound'(流行色情蓝调之音)作品,Kid Loco摒弃传统DJ的束缚,绽放他在当代电气风暴中超凡入圣的奇招,环境声效、欧美灵魂乐、庞克摇滚搭配药物、色诱等意涵,突显潜意识_对和平的迷幻与对情欲主义的遐思,Departure Lounge乐团歌手Tim Keegan的摇滚音质与来自苏格兰Glasgow乐团Quinn团员Louise Quinn性感的灵魂音色也为专辑凭添不少'声'与'色',Kid Loco在极为摩登的节奏布局中,依附着时尚而存在的诱惑、堕落、愤怒、轻佻、恍惚、颓废、诡谲、孤离、寂寞、踌躇、渴望、忧郁、雀跃…
等种种情绪也跟着节奏鲜活或晦暗地走起台步,体现出享乐主义的极致境界,绝对是一张满足偷闲欲望的极品!!
乐队介绍
转
Downtempo梦幻的制造者----Kid Loco
从玩朋克开始......
Kid Loco是由法国人Jean Yves Prieur一个人组成的乐队。在他们的主页上一个名为Denise Benson 的人用了“Downtempo Dreamer”来形容Kid Loco的音乐作品特色。事实上也正如那位仁兄所言，对于现在他的作品来说确实更靠近Downtempo些，和以Massive Attack，Portishead等代表着黑暗幽闭的TripHop乐队风格不同的是，在他的音乐中你更多的将听到的是大量的爵士，钢琴，打击乐器，印度西塔琴等音色组成。以及丰富的采样，而真正的主角：鼓机往往并不是处于绝对主导的位置。在Kid Loco的作品中，鼓机的节拍更多的是为配合整个作品而加入的一个元素，而且并不是相当沉重，相反则是富有节奏和轻松随意的，处处都能体现出一派“Chill Out”的氛围。所以也有评论说这个是“psychedelic hip-hop”，即“迷幻的Hip Hop”：借助于各种采样，乐器音效和鼓机的运用以达到类似服致幻剂的迷幻听觉效果。
说了这么多，但你一定想不到他最初竟然是玩朋克的！他甚至说道：“I hope I wont become an old idiot, stuck in one musical style. Every style is interesting, except classical which bothers me.”除了古典他希望能把所有的音乐形式玩一遍！
小试牛刀
1996年,Kid Loco在扶持和发展Downtempo为主的独立公司Yellow厂牌下发布了第一张EP《Blues Project 》，这是一张由丰富的采样手法把6个曲目编排在一起的EP,其中你可以听到许多精心设计安排的采样是如何把缓慢的鼓机节拍巧妙地结合在一起的。下面我们就看看他是如何自由地运用采样手法游走Downtempo中的吧： 首先，“Public Paranoiac Number One”开首曲目中用闲散的钢琴声做铺垫，随之而来的就是铿锵有力的打铁声般的鼓击，在中段则加入了大提琴和爵士乐器，Kid Loco那种轻松随意的氛围就此体现了出来。随后而来的“Welcome in a World of Sex”在一个男声念出“Sex”后开始响起鼓机声的做法很类似DJ Shadow的做法。至于"Sister Curare"的鼓机相对其他曲目应该是最沉重的,所以我也最中意些.而“Kronos goes Cosmos”的鼓机编排则最为丰富，在缓缓的大提琴声的引导之下先出现的是一段速度相当缓慢类似Instrumental Hip Hop的鼓机，之后紧接着转变为一段闷声闷气的鼓机，并且配上了淡淡的吉他和醉酒般地男声Vocal做背景，期间都有三角铁的点缀，到中段时候突然陷入沉寂，别误会Kid Loco就此结束了，之后的鼓声再次响起，这次是纯粹的真鼓演绎，丰富的镲音连接在一起。正当你听的兴起之时，突然一段简单苍白的小提琴声冒了出来，最后才是用先前闷声闷气的鼓机声做收尾的工作，当然末了还不忘记来上一段电影的对白做结尾。作为Kid Loco的第一张EP，因为采样占据了更多的位置，也预示着日后他的精力将更多地花在各种采样和其他乐器的编排下的实验上。
声名鹤起的开始
在1996年Yellow厂牌下发布了第一张EP《Blues Project 》作为投石问路之后，Kid Loco终于在1997年发布了第一张正式大碟《A Grand Love Story》，这张正式的大碟公布之后立刻引来好评如潮。不仅为Kid Loco带来了名利也为他在“French Trip Hop”中确立了一个极其重要的位置。
而专集的整体风格正如专集标题所想表达的那样，这是一张分割清新随意的专集，鼓机并不沉重，是一张很“Easy Listening”的专集。在开首曲中简单的鼓机配合着铉乐勾勒出一幅清淡的氛围，之后“Relaxin' With Cherry”同样承袭了这个轻松的调子，是让人可以陷在柔软的沙发里放松的小甜品。然后你可以闭上眼睛，让“Love Me Sweet”中温柔的女声，轻松随意的节拍，缤纷的打击乐器效果都将一遍遍按摩着你的紧张的神经。这时你会感觉到你眼前出现一片晶莹的沙漠，“Calling Aventura King”因为一些乐器和吹奏乐器的加入拓展了空间感，前后的氛围营造给人一种空漠感。紧接着这个专集鼓机节拍最富有节奏的作品“Sister Curare ”登场了，其中寥落的钢琴声点缀相当适宜。正当你还沉浸在其中的时候，一个当地的男子正站在一片荒漠上虔诚地吟唱着：“She's My Lover”，契合着开头的萧声以及那个民谣腔的神情款款男声，把之前的印度西塔琴的运用进一步渲染扩大，让人浮想联翩，而“She Woolf Daydreaming”而其背景清新吉他是否又再次让你想起了王菲《浮躁》专集里的“野山坡”呢，也是那般流畅清新的吉他旋律。
这里顺便说一句，在做这张专集的时候Jean Yves Prieur特别嗜酒，后开始借助于抽烟来放松自己从而为了更好地激发灵感做音乐，所以我推测那个醉酒的男声也许正是他自己的声音，并且故意加进以起到很好的迷幻和放松的作用。而最后他在妻子的劝戒下离开了酒精的麻醉，却又再次投入香烟的怀抱，但无论如何这总比可怜的Tricky后来用毒品来麻醉自己的结果来的更好些吧。
频繁混音的日子里
从第一张正式大碟的出版之后，许多电子界尤其是TripHop，Downtempo类型风格的乐队们都找DJ Kicks来混音或要求混音他的作品，着名的!K7公司自然也不会放过这个好机会，在经过了一些联系和讨论之后，于是就顺理成章地在1999年出版了一张混音专集，并且被编入!K7公司着名的混音系列DJ Kicks中。DJ Kicks的系列整体还可以，当然难免也有一些个别比较糟糕的专集，而这张以Kid Loco命名的混音碟应该是相对比较突出的，精彩程度不亚于我最爱的另外一个厂牌Cup of Tea的合集《Cup of Tea A Compilation》。
先来看看这个让我兴奋的快晕倒的Artist名单吧：
“Kid Loco，The Bill Wells Octect vs. Future Pilot A.K.A.，The Cinematic Orchestra ，Emperors New Clothes，The Ted Howler Rhythm Combo，DJ Vadim ， Jazzanova，Common Ground，Underworld，Grantby， Deep Season，Boards of Canada，Pelding ，Tom Tyler，Tongue，Lisa Germano，Stereotyp。”
由于这些乐队玩的音乐基本都是TripHop，Downbeat，Downtempo的，所以使得这个混音碟整体风格更靠近TripHop些。不过把Underworld和Lisa Germano的作品也拿来混音真够别出心裁的。下面就详细说一下专集中曲目的精彩之处：
开篇曲“Don't You Know I'm Loco“采用调侃和搞笑的方式把标题念成类似顺口溜的方式，带出一个轻松愉悦的开始。之后的“Om Namah Shivaya ”则用打击乐器和充满民族风味的呢喃来营造出安详的氛围。从Emperors New Clothes乐队的“Dark Light”开始进入了真正的Trip Hop的音乐演示，尤其末尾的吹奏乐器和老唱片杂音都咬合的丝丝入扣。“Mr. Flakey”在1分46秒之后开始加入老唱片杂音并且在尾音部分加入清脆的效果，我更喜欢这一段的鼓机演变。“Theme from Conquest of the Irrational ”名字起的很有意思，象一个哲学命题，到底无理数是能不能计算出的呢？还是听听吧，而鼓机发生的变化是在1分14秒的时候开始，加入了一段刮碟声。“Introspection”鼓机变的更欢快些了，直到黑暗的灵魂降临的时候“Dark Soul”，这个时候你能听到的不仅是那熟悉的比Trip Hop梢快一些的鼓机声，而且还能听到一个中性话的嗓音在用一种神秘的语言反复着1--7的音阶。事实上Underworld的“Blueski”在这里就显得相对平淡多了，无甚新意。这个专集里我最中意的自然是接下来的只发行过一张EP来自Cup Of Tea厂牌的Grantby的“Grimble”。“Jesus Christ Almighty”承接着“Grimble”的乌鸦叫声采样，而那随意自由的哼唱声则契合着背景的萧声勾勒出一个空旷的听觉空间，如果你仔细留心你还能发现Tarwater乐队常用的一个熟悉合成器音色，有意思吧。“Happy Cycling”确实够快乐，Boards of Canada呈现出的是一个标准的Downtempo演示教材作品。
富有争议的第二张大碟的出版，创作疲惫的显露
从发行了第一张正式大碟“A Grand Love Story”成名之后，Kid Loco整整沉寂了5年才在2001年发行了他的第二张正式大碟“Kill Your Darlings”，期间之发行了一些混音专集和EP。这段漫长的时间里许多人频繁地要求他混音，其中Tim Kegan和Kid Loco是在Jean Yves Prieur在英国Guilford城市的演出中认识的，那个时候他正在为Moloko and Hooverphonic两个乐队做一些工作，Moloko 和 Hooverphonic都曾经邀请过他做过一些混音的工作。此外他自己还做了相当之频繁的巡回演出，这就是成名之后的负担，Jean Yves Prieur非圣人，自然也不可避免地被这些琐事所束缚。换句话说，从之前他过分依赖酒精到现在必须用香烟才能激发灵感都可以看出他都没彻底戒掉对一些外界因素的依靠。
新专集中很多人惊讶地发现了吉他，Bass，鼓，键盘的元素加入，Kid Loco甚至特意邀请了Tim Kegan和Louise来担任男声和女声主音 ！而之前的Downtempo标签式的风格完全已经被一个摇滚化的风格所替代了。难道他准备玩摇滚乐不成了？没错，正如他自己所说的那样，或许作为什么音乐类型都喜欢的他来说确实是相当有意思的，但对许多喜欢他的Downtempo标签式的乐迷来说却只能是一张令人失望的专集。或许这也和Kid Loco从独立唱片公司Yellow转投到大唱片公司多少有些关系吧。
大碟中让我唯一记忆深刻的是“Horsetown in Vain”，开头的教堂钟声和男中音塑造成一派Dark Ambient感觉，之后鼓机效果也相当不错到位，只可惜加入的钢琴把先前苦心营造的黑暗氛围一扫而光，实为吃力不讨好的败招，当中又贴上万金油般的印度西塔琴，实在有些不伦不类。
除了对张新专集的音乐转型的之外争议，更多的人还在争论着这次充满色情意味的新专集封套。专集的封套上站立着一个裸体女子，并且抱着一个小熊毛绒玩具冷漠的看着前方。而之前在1999年出版的一张混音专集《Jesus Life for Children Under 12 Inches》封套上，则由几个敞胸露怀的年轻女子以半躺的姿势组成，色情的味道早已经显现出来。以致于有记者非常搞笑地曾经问到他如果再做一张“Jesus's life”的混音专集是否会把许多裸体男子做封套。对于这点Jean Yves Prieur并不回避，他还说曾经一段时间在欧洲的一个专门播放成人动画的电影院工作过，对于性的兴趣是由来持久了，而事实上早在11年前的第一张正式的录音专集《A Grand Love Story》中他已经在“She Woolf Daydreaming”曲目上采样拼贴了一些色情电影的女子呻吟声。
不变的实验和创新精神
这里可以先来说个小插曲：一个名叫Victoria Secret品牌的内衣依旧把Kid Loco的“Relaxin”曲目做为了30秒的广告。对于这点Jean Yves Prieur解释说因为他的女儿和妻子都十分喜欢这个内衣品牌并且他们已经把一纸合约推到了他的面前，所以他才不得不同意，他并且补充说他把大多数广告酬劳都留给了唱片公司。由此可见Kid Loco对于许多广告的态度。
虽然在第二张大碟转型上多少有点让人失望，但总体而言，Kid Loco的音乐更富有实验和创新精神。和同样在法国的大红大紫的电子界红人Air不同的是，Kid Loco绝对不会为了在商业上的成功或尽快地获得金钱，而去做一些纯粹很商业很讨好的垃圾音乐，他个人曾经这么来评价Air：“I hate Air. Their LP is bullshit, their vocals are stupid and their image is terrible” 话虽然刻薄了些，但事实确实如此。