'Asunder, Sweet and Other Distress' is the forthcoming fifth studio album by Canadian post-rock band Godspeed You! Black Emperor, to be released on 31 March 2015. The album marks the group's first single LP-length release since their debut, F♯ A♯ ∞. The album was recorded with Electrical Audio engineer Greg Norman in studios in North Carolina and Montreal. The album was announced on 24 February 2015; the group also shared an excerpt of "Peasantry or 'Light! Inside of Light!'" on SoundCloud. On March 24, 2015, Constellation Records streamed the album on their SoundCloud.

★身拥11座朱诺奖与4次葛莱美提名肯定之加拿大创作才女，睽违六年全新大碟登场
★AMG、卫报四星评鑑、Pitchfork 7.7分一致肯定，生涯最具突破性之音乐作品
★收录同名主打歌"Pleasure"、英摇天团Pulp主唱Jarvis Cocker献声之"Century"等11首最新力作
美国重量级时尚文化杂志Vanity Fair曾这样形容她：「难得一见的好嗓音，让人联想起Astrud Gilberto歌声中的冷艳性感与Billie Holiday慵懒恬静的颤音…」；全球知名的New Yorker杂志曾经如此讚赏她：「嗓音温柔而有质感、充满丰富的情感」；没有错，那位融合Indie Pop、Folk、Baroque Pop，嗓音清新脱俗又无比动人的加拿大女声Feist，终于回来了！
本名Leslie Feist的Feist，出道26年的音乐生涯中，已荣获了包含「年度最佳新人」、「年度最佳艺人」、「年度最佳专辑」等共11座朱诺音乐奖，并且4次被葛莱美奖提名，也被全英音乐奖以「最佳国际女艺人」的奖项两度提名肯定；除此之外，她更靠著独步球的优雅歌喉与充满灵动感的声线，陆续透过【Monarch】、【Let It Die】、【The Reminder】、【Metals】等专辑，累积了加拿大的四白金唱片认证，可以说是90年代至今，加拿大乐坛中最历久不衰的音乐恒星。在经历过种种的荣耀加持、各方乐评与粉丝的极力推崇，Feist感到生活中有股无形的压力让她喘不过气，因此她暂时地别离了乐坛；然而，心裡对于音乐的热爱，让她于2016年的冬天时节，再次重新拾起了乐器创作，「去年冬天，我与两位最亲密的友人Mocky与Renaud LeTang一起录製了这张作品，我们的理念很简单，就是要摆脱掉世俗的一切，用音乐直接触碰人的心与身体」。以这样近乎反璞归真的概念，Feist进行了生涯有史以来最美妙的音乐创作，并于极短的时间内，将所有思绪全部幻化为音符与节奏，带给众人这张最单纯却也是最美好的音乐作品－【Pleasure】。
虽然专辑名称为【Pleasure】，却是一张以“喜”来包装“悲”的专辑，这张专辑Feist探索了情感的极限，无论是孤单、脱离、压力、羞愧、脆弱等很私密的情绪都放进了【Pleasure】，专辑除了由Feist亲自参与製作外，更邀请了Mocky与Renaud LeTang这两位挚友兼音乐人的伙伴一同锻造专辑；开场的同名歌曲"Pleasure"，充满了难以言喻的音乐灵气，并且兼具了Indei Pop的柔美与Rock的力道，氛围虽然带著些许感伤，歌词内容是呼吁世人要以最积极的态度面对万事万物，并且永保对于身边种种的高度兴趣；跳动的音讯符号、满载著悠扬旋律的"Any Party"，展现出了Feist独一无二、游戏人间的态度，并且以各种乐器的堆叠拼凑，型塑了一曲杰作；与英摇天团Pulp主唱Jarvis Cocker合作的"Century"，将加拿大气息浓厚的Baroque Pop结合英伦风气的Art Rock，打造出Feist出道以来最具实验性与突破性的歌曲，同时也让所有人听见她能够跨越各种风格的高超歌喉。AMG、一项毒舌的乐评Pitchfork、英国卫报等音乐媒体都纷纷给予将近满分的评价，Feist的【Pleasure】，是2017年乐界最不该错过的专辑。

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel.
"Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty.
Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion.
Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics.
Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul.
This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window.
Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included."
- Sean McCann

Standout début album of dream-like, avant garde pop and electronic variants that properly introduces Rome-based Montreal artist Mélissa Gagné aka CECILIA after guesting on Rabit’s Les Fleurs Du Mal album last year and releasing an EP for Yves Tumor's Grooming label. Devastatingly restrained yet ravishing songs with haunting English, French and Italian vocals, huge recommendation if you're into Yves Tumor, Félicia Atkinson, Rabit, Teresa Winter, Portishead, Leila...
Cecilia wrote and produced Adoration, with accompaniment by mutual spirits such as her friend Jasmine Pisapia and the poet activist Griséldis Réal, who help to render a stark yet subtly gilded cross-section of her psyche, which places the listener as dark interpreter to a series of tumultuous inner dialogues - “One is summoned to whisper truth, beauty, tragedy to demon ears.”
Incubated for one and half years between Montreal, Toronto and New York, Adoration reads like intimately diaristic pages recalling an amorphous lucid dream. In that phantasmagoric headspace she meditates on loss and romanticism, using a shifting backdrop of highly visual stimuli to frame her thoughts and bring them to life with an uncannily immersive effect perhaps not felt so strongly since Félicia Atkinson’s Hand In Hand LP.
Electronic bass and percussion are shadowed with traces of synth and guitar improvisations, but the one consistent element is the female voice. Sometime detached, glossolalic, and at others uncannily familiar, plaintive, the voice’s presence is integral to the album's quietly absorbing atmosphere, and even if the listener can’t understand their direct meaning, they connote so much more through abstracted inference and ambiguity.
Following her early forays made with the Charity Whore EP for Yves Tumor’s Grooming label, and previous work as DJ/producer Babi Audi, along with her hybrid stage works, Cecilia ties all those strands into an illusive yet highly distinguished work set to resonate with listeners from myriad backgrounds and disciplines. It's no doubt one of 2018’s most haunting, beguiling LPs.