To Destroy A City 豆瓣
To Destroy A City
发布日期 2011年7月7日
出版发行:
n5MD
美国
When Plants Turn Into Stones 豆瓣
O
发布日期 2014年6月6日
出版发行:
Golden Antenna (Broken Silence)
„O“ (Circle) from Belgium/Netherlands/Germany takes atmosphere, temper and pitch from 70s-style movie scores. In some parts their new concept album reminds of outstanding albums by Tangerine Dream, Neu! or Cluster, but also other epic composers such as Ennio Morricone gleam in the six self-contained tracks on the record with the programmatic title „When Plants Turn Into Stones“.
The music is devoted to six chapters in the circle of life. The perpetual becoming and passing, and perhaps the secret desire of humans to live in harmony with nature and the universe.
In „When Plants Turn Into Stones“ we are confronted with prolific yet careful, deliberate and sometimes impressionistic sounds. Each instrument, as well as the voices, arise from the distinguished and organic mastering by Harris Newman. Newman already mastered bands such as Arcade Fire, Silver Mt. Zion or Godspeed You! Black Emperor.
„When Plants Turn Into Stones“ is an acoustic journey that you should enjoy with your headphones on! The listener is launched into a timeless musical journey through unknown territory and melodic landscapes. This evokes memories of „Millions Now Living Will Never Die! (1996) by Tortoise.
„When Plants Turn Into Stones“ will be released on 6th June as Digipac CD as well as LP with printed innersleeve and download code on Golden Antenna Records.
The music is devoted to six chapters in the circle of life. The perpetual becoming and passing, and perhaps the secret desire of humans to live in harmony with nature and the universe.
In „When Plants Turn Into Stones“ we are confronted with prolific yet careful, deliberate and sometimes impressionistic sounds. Each instrument, as well as the voices, arise from the distinguished and organic mastering by Harris Newman. Newman already mastered bands such as Arcade Fire, Silver Mt. Zion or Godspeed You! Black Emperor.
„When Plants Turn Into Stones“ is an acoustic journey that you should enjoy with your headphones on! The listener is launched into a timeless musical journey through unknown territory and melodic landscapes. This evokes memories of „Millions Now Living Will Never Die! (1996) by Tortoise.
„When Plants Turn Into Stones“ will be released on 6th June as Digipac CD as well as LP with printed innersleeve and download code on Golden Antenna Records.
The QUANTA Series 豆瓣
8.0 (7 个评分)
K Á R Y Y N
类型:
电子
发布日期 2019年3月29日
出版发行:
Mute
Multi-disciplinary artist, composer and vocalist K Á R Y Y N's debut album is called ‘THE QUANTA SERIES’.
Written and recorded over a seven year period, ‘THE QUANTA SERIES’ tracks K Á R Y Y N’s movements across continents on a voyage of self-examination. Beginning in 2011 following the death of two relatives in Aleppo, K Á R Y Y N left her native LA for Cherry Valley, upstate New York to process her grief in seclusion.
During the 18 months she lived in Cherry Valley, K Á R Y Y N wrote two songs for ‘THE QUANTA SERIES’. The first was a visceral, emotional piece recorded in one take called ‘TODAY I READ YOUR LIFE STORY 11:11’. The second, a musing on impermanence and understanding the impact of our choices called ‘SEGMENT & THE LINE’.
Over the years that followed, K Á R Y Y N spent time living in Berlin where she wrote ‘PURGATORY’, a song inspired by a memory from her childhood spent in the Forty Mountains of Idlib province in Syria. As she travelled, she found inspiration everywhere, leaning into her own familial legacy, feelings of grief and love and observations on human interaction.
A deep connection to her lineage is a concurrent theme in K Á R Y Y N’s work, with an interpretation of traditional Armenian folk song ‘AMBETS GORAV’ present on the album plus a beautiful choral patchwork called ‘MIRROR ME’ providing an introspective break in the album - a track about “facing yourself, the good, the bad; searching for the parts in us that have been lost.”
After a steady drip feed of songs released to widespread acclaim, including ‘ALEPPO’ and ‘BINARY’, the first two singles released under her artist moniker in 2017, ‘THE QUANTA SERIES’ will soon be available digitally and on vinyl via electronic music powerhouse Mute.
In November of 2011, Syrian-Armenian-American composer and vocalist K Á R Y Y N embarked on a trip from Brooklyn to Cherry Valley, upstate New York to find seclusion after visiting two dying relatives in Aleppo.
A string of family deaths had left her feeling disillusioned and unable to relate to the people around her. “I felt like part of me was dying. I had decided to leave music. I was totally devastated,” she remembers.
At Cherry Valley, K Á R Y Y N lived in isolation, spending her time drawing, reading and recording music that she thought nobody would ever hear as a way to explore and purge feelings of loss. On the 11th of November, a song was written in a single, visceral recording take. That recording, 'TODAY, I READ YOUR LIFE STORY 11:11’, began a seven year journey of self-examination, discovery and healing through music known now as The QUANTA Series.
Released in pairs over the last year, the series of singles explores K Á R Y Y N’s familial legacy, themes of quantum physics, love, grief, growth and the impact humans have on each other. Dubbed a “sonic architect” (Dazed & Confused), “curiously powerful” (Pitchfork) and an “electronic adventurer” (FACT) by press who have lauded recent releases, K Á R Y Y N’s work highlights her ability to manipulate sound in unique and beautiful ways. Now released via Mute, the entire QUANTA Series will be presented as an album, with three new tracks.
Recorded over a seven-year period, The QUANTA Series tracks K Á R Y Y N’s movements across continents in search of healing and inspiration. Following an 18-month stay in secluded Cherry Valley, KÁRYYN left America for Berlin where she would live for two years. After connecting online with a producer named Frank Wiedemann based in the German capital, she flew there in search of new surroundings and a fresh source of inspiration.
There she wrote ‘PURGATORY’, the third single to be shared. The song is about finding the courage to free yourself from periods of anxiety and fear, illustrated by a story from her childhood: while exploring behind her family’s hotel in the Forty Mountains of Idlib province, Syria, K Á R Y Y N tripped and fell through a gap between two stones. After hours of searching, her family eventually found her covered by the stones. “I remember my Aunt telling me that if I could just reach through a crevice in the stones, she could pull me out. It’s all a reminder that sometimes all we need is trust in the face of the unknown.”
The feel of the track reflects the differences between her American and Syrian upbringings - the juxtaposition between the twinkling lights of her Indiana Christmas and the sacrificial slaughter of a lamb by her uncle in Idlib. The duality of her upbringing is a consistent theme in her work.
In addition to music for the QUANTA Series, K Á R Y Y N became involved in the production of an original opera with a theatre artist called Samantha Shay while living in Berlin. The opera was being made under tutelage from performance art legend Marina Abramovic and would go on to premiere in Reykjavik to 300 audience members. In what she describes as a “beautiful cosmic joke”, that audience happened to contain Bjork who described the work as “extremely nourishing” and went on to list K Á R Y Y N among a number of creatives she was particularly excited about for a Guardian profile.
It seemed that after a long period of struggling to trust her voice as an artist, that first performance would be a form of rebirth for K Á R Y Y N and after many years, the universe had signaled to her that it was time to move forward. A song from the score was released as an outlier in K Á R Y Y N’s canon called ‘MOVING MASSES’, the only recent release not present on the QUANTA series. Described by Pitchfork as “the most beautiful song in [her] growing catalogue,” the track is made of intertwining loops of vocals layered on top of each other like a lattice. When performing the piece live, K Á R Y Y N enlists the help of a choir who appear on stage midway through her set, serving as a reflective break in her often erratic, intense performances.
While in Iceland, K Á R Y Y N also recorded ‘Un-c2-See’, a “raw vocal collage” released last year as a counterpoint to the thudding ‘EVER’, a track recorded on a trip to the UK to visit collaborators and friends. The production speeds through clipping synths and vocal samples, tying together a lyrical patchwork about the complex ways love can exist between two people.
In 2015, K Á R Y Y N returned to her native LA where she recorded ‘ALEPPO’ and ‘BINARY’. Released as the first stage of the QUANTA series in 2017, the acclaimed tracks were described by Pitchfork as “a stunning solo debut.” While the former muses on memories of the Syrian city now nullified by the destruction of war, the latter is a study in quantum physics and time.
Feeling galvanised after her stage debut in Iceland and the acceptance of her audience, she sought out ways to begin releasing her work. After a drip feed of releases throughout 2017 and ‘18 via her own label ANTEVASIN, the series completes in November 2018 with the release of ‘QUANTA 11:11’ - ‘SEGMENT & THE LINE’, a song written about impermanence and being faced with the consequence of our actions, and ‘TODAY, I READ YOUR LIFE STORY 11:11', the first song recorded in Cherry Valley, upstate New York seven years ago. “The entire series is a journey back to myself. My heroine’s journey. It’s about uncovering the covered, searching for parts of myself that I had lost.”
Written and recorded over a seven year period, ‘THE QUANTA SERIES’ tracks K Á R Y Y N’s movements across continents on a voyage of self-examination. Beginning in 2011 following the death of two relatives in Aleppo, K Á R Y Y N left her native LA for Cherry Valley, upstate New York to process her grief in seclusion.
During the 18 months she lived in Cherry Valley, K Á R Y Y N wrote two songs for ‘THE QUANTA SERIES’. The first was a visceral, emotional piece recorded in one take called ‘TODAY I READ YOUR LIFE STORY 11:11’. The second, a musing on impermanence and understanding the impact of our choices called ‘SEGMENT & THE LINE’.
Over the years that followed, K Á R Y Y N spent time living in Berlin where she wrote ‘PURGATORY’, a song inspired by a memory from her childhood spent in the Forty Mountains of Idlib province in Syria. As she travelled, she found inspiration everywhere, leaning into her own familial legacy, feelings of grief and love and observations on human interaction.
A deep connection to her lineage is a concurrent theme in K Á R Y Y N’s work, with an interpretation of traditional Armenian folk song ‘AMBETS GORAV’ present on the album plus a beautiful choral patchwork called ‘MIRROR ME’ providing an introspective break in the album - a track about “facing yourself, the good, the bad; searching for the parts in us that have been lost.”
After a steady drip feed of songs released to widespread acclaim, including ‘ALEPPO’ and ‘BINARY’, the first two singles released under her artist moniker in 2017, ‘THE QUANTA SERIES’ will soon be available digitally and on vinyl via electronic music powerhouse Mute.
In November of 2011, Syrian-Armenian-American composer and vocalist K Á R Y Y N embarked on a trip from Brooklyn to Cherry Valley, upstate New York to find seclusion after visiting two dying relatives in Aleppo.
A string of family deaths had left her feeling disillusioned and unable to relate to the people around her. “I felt like part of me was dying. I had decided to leave music. I was totally devastated,” she remembers.
At Cherry Valley, K Á R Y Y N lived in isolation, spending her time drawing, reading and recording music that she thought nobody would ever hear as a way to explore and purge feelings of loss. On the 11th of November, a song was written in a single, visceral recording take. That recording, 'TODAY, I READ YOUR LIFE STORY 11:11’, began a seven year journey of self-examination, discovery and healing through music known now as The QUANTA Series.
Released in pairs over the last year, the series of singles explores K Á R Y Y N’s familial legacy, themes of quantum physics, love, grief, growth and the impact humans have on each other. Dubbed a “sonic architect” (Dazed & Confused), “curiously powerful” (Pitchfork) and an “electronic adventurer” (FACT) by press who have lauded recent releases, K Á R Y Y N’s work highlights her ability to manipulate sound in unique and beautiful ways. Now released via Mute, the entire QUANTA Series will be presented as an album, with three new tracks.
Recorded over a seven-year period, The QUANTA Series tracks K Á R Y Y N’s movements across continents in search of healing and inspiration. Following an 18-month stay in secluded Cherry Valley, KÁRYYN left America for Berlin where she would live for two years. After connecting online with a producer named Frank Wiedemann based in the German capital, she flew there in search of new surroundings and a fresh source of inspiration.
There she wrote ‘PURGATORY’, the third single to be shared. The song is about finding the courage to free yourself from periods of anxiety and fear, illustrated by a story from her childhood: while exploring behind her family’s hotel in the Forty Mountains of Idlib province, Syria, K Á R Y Y N tripped and fell through a gap between two stones. After hours of searching, her family eventually found her covered by the stones. “I remember my Aunt telling me that if I could just reach through a crevice in the stones, she could pull me out. It’s all a reminder that sometimes all we need is trust in the face of the unknown.”
The feel of the track reflects the differences between her American and Syrian upbringings - the juxtaposition between the twinkling lights of her Indiana Christmas and the sacrificial slaughter of a lamb by her uncle in Idlib. The duality of her upbringing is a consistent theme in her work.
In addition to music for the QUANTA Series, K Á R Y Y N became involved in the production of an original opera with a theatre artist called Samantha Shay while living in Berlin. The opera was being made under tutelage from performance art legend Marina Abramovic and would go on to premiere in Reykjavik to 300 audience members. In what she describes as a “beautiful cosmic joke”, that audience happened to contain Bjork who described the work as “extremely nourishing” and went on to list K Á R Y Y N among a number of creatives she was particularly excited about for a Guardian profile.
It seemed that after a long period of struggling to trust her voice as an artist, that first performance would be a form of rebirth for K Á R Y Y N and after many years, the universe had signaled to her that it was time to move forward. A song from the score was released as an outlier in K Á R Y Y N’s canon called ‘MOVING MASSES’, the only recent release not present on the QUANTA series. Described by Pitchfork as “the most beautiful song in [her] growing catalogue,” the track is made of intertwining loops of vocals layered on top of each other like a lattice. When performing the piece live, K Á R Y Y N enlists the help of a choir who appear on stage midway through her set, serving as a reflective break in her often erratic, intense performances.
While in Iceland, K Á R Y Y N also recorded ‘Un-c2-See’, a “raw vocal collage” released last year as a counterpoint to the thudding ‘EVER’, a track recorded on a trip to the UK to visit collaborators and friends. The production speeds through clipping synths and vocal samples, tying together a lyrical patchwork about the complex ways love can exist between two people.
In 2015, K Á R Y Y N returned to her native LA where she recorded ‘ALEPPO’ and ‘BINARY’. Released as the first stage of the QUANTA series in 2017, the acclaimed tracks were described by Pitchfork as “a stunning solo debut.” While the former muses on memories of the Syrian city now nullified by the destruction of war, the latter is a study in quantum physics and time.
Feeling galvanised after her stage debut in Iceland and the acceptance of her audience, she sought out ways to begin releasing her work. After a drip feed of releases throughout 2017 and ‘18 via her own label ANTEVASIN, the series completes in November 2018 with the release of ‘QUANTA 11:11’ - ‘SEGMENT & THE LINE’, a song written about impermanence and being faced with the consequence of our actions, and ‘TODAY, I READ YOUR LIFE STORY 11:11', the first song recorded in Cherry Valley, upstate New York seven years ago. “The entire series is a journey back to myself. My heroine’s journey. It’s about uncovering the covered, searching for parts of myself that I had lost.”
Sulphur English 豆瓣
Inter Arma
类型:
摇滚
发布日期 2019年4月12日
出版发行:
Relapse Records
Richmond's INTER ARMA, reigning masters of the slow build, continue to trace a distinctly ambitious trajectory through modern metal. Their impulses tend toward the epic, but never bloat; they meld several styles — doom, sludge, and hard psych — without coming off like dilettantes. This newest full-length, Sulphur English, finds them mining deeper in the proggy organic doom fields that made both Paradise Gallows and Sky Burial so thrilling while expanding further the on the psych-folk strain that made those albums' peaks seem so lofty.
Few metal bands have ever made such effective use of acoustic instruments in truly heavy environments as INTER ARMA do; the acoustic guitar that stitches "Stillness" together is as effective as any overdriven bass; a two-minute gloomy piano-and-feedback piece titled "Observances of the Path" rolls out the carpet for "The Atavist's Meridian," an album highlight that rides a gigantic, roomy drum sound into realms akin to a murkier Paradise Lost, a more aggressive Om, and a dreamier, more stoned Kylesa all playing together at once. Few bands make music as engrossing as INTER ARMA; their lengthy, almost meditative songs rumble patiently forward until you're ready to get thrown off a bridge — and then they throw you, with great force.
- Words by John Darnielle
Few metal bands have ever made such effective use of acoustic instruments in truly heavy environments as INTER ARMA do; the acoustic guitar that stitches "Stillness" together is as effective as any overdriven bass; a two-minute gloomy piano-and-feedback piece titled "Observances of the Path" rolls out the carpet for "The Atavist's Meridian," an album highlight that rides a gigantic, roomy drum sound into realms akin to a murkier Paradise Lost, a more aggressive Om, and a dreamier, more stoned Kylesa all playing together at once. Few bands make music as engrossing as INTER ARMA; their lengthy, almost meditative songs rumble patiently forward until you're ready to get thrown off a bridge — and then they throw you, with great force.
- Words by John Darnielle
Heavy Handed 豆瓣
Pixel Grip
类型:
电子
发布日期 2019年4月12日
出版发行:
FeelTrip
Heavy Handed feels like getting in on Chicago’s best kept secret. Rita Lukea, Jonathon Freund, and Tyler Ommen developed their debut LP over the past two years recording at Decade Music Studios and playing tirelessly at venues like Thalia Hall, word of mouth underground electro dance parties, and on festival stages. Rita opens the album singing “So come on baby walk through the door / I meant to let you in”. With Pixel Grip’s Heavy Handed it’s a synthpop paradise beyond heaven.
Rita’s dynamic, boundless voice guides Jonathon’s lush analog synth arrangements and Tyler’s tight, irresistible drum grooves to form a sound that transcends any one place or time. Heavy Handed melds Chicago house, French electronica, and Hi-NRG while Rita dazzles with strong, clean pop melodies dipped in eroticism which at times boil over into ecstatic otherworldly babble. “Soft Peaks” is perfectly at home being played at a European discotheque, and “Diamonds” makes them a perfect pair with bands like Little Dragon or Holy F*ck.
Catalog: FT-815
Title: Heavy Handed
Artist: Pixel Grip
Format: Limited edition LP and Digital streaming worldwide
Produced by Jonathon Freund
Mixed by Adam K. Stilson & Jonathon Freund
Written by Rita Lukea & Jonathon Freund
Published by Feeltrip Records
Recorded at Decade Music Studios, Chicago IL, USA from 2017 to 2019
Engineered & Mastered by Adam K. Stilson
album art and design by Alexa Viscius
Special thanks to our family and friends, Jeannie, Jill, David & Diana, Adam, and to all of you who come to our shows and and play our record. Thank you.
Jonathon Freund - Synthesizers
Rita Lukea - Vocals
Tyler Ommen - Drums
Rita’s dynamic, boundless voice guides Jonathon’s lush analog synth arrangements and Tyler’s tight, irresistible drum grooves to form a sound that transcends any one place or time. Heavy Handed melds Chicago house, French electronica, and Hi-NRG while Rita dazzles with strong, clean pop melodies dipped in eroticism which at times boil over into ecstatic otherworldly babble. “Soft Peaks” is perfectly at home being played at a European discotheque, and “Diamonds” makes them a perfect pair with bands like Little Dragon or Holy F*ck.
Catalog: FT-815
Title: Heavy Handed
Artist: Pixel Grip
Format: Limited edition LP and Digital streaming worldwide
Produced by Jonathon Freund
Mixed by Adam K. Stilson & Jonathon Freund
Written by Rita Lukea & Jonathon Freund
Published by Feeltrip Records
Recorded at Decade Music Studios, Chicago IL, USA from 2017 to 2019
Engineered & Mastered by Adam K. Stilson
album art and design by Alexa Viscius
Special thanks to our family and friends, Jeannie, Jill, David & Diana, Adam, and to all of you who come to our shows and and play our record. Thank you.
Jonathon Freund - Synthesizers
Rita Lukea - Vocals
Tyler Ommen - Drums
Two Solo Pieces [Vinyl LP] 豆瓣
Jon Gibson
发布日期 2017年3月24日
出版发行:
Superior Viaduct
Vinland 豆瓣
Northumbria
发布日期 2018年10月2日
出版发行:
Cryo Chamber
Vinland is the third and last album in Northumbria’s trilogy inspired by the Norse discovery of Canada.
The journey was long and hard, you lost good men sailing across the never ending sea, but now you stand on foreign land. The father of gods watches over you as his ravens circle the funeral pyre to bring his warriors home.
The rocks here emanate a low hum, the silent wind carries the scent of honey and at nightly camp bestial cries echo between the mountains. Your men speak in hushed voices as the dark creeps close, they mutter about this being the territory of new gods. This dreamy land is getting to your people, some men wake screaming in the blackest hour from visions delivered by the dark below. But for you this expedition is one of enlightenment, the fresh rivers fill your mouth with the light of Yggdrasil, forests carry whispers from the mead halls beyond and as such have you convinced that this is the pathway between the worlds of gods and men.
Using guitar and bass, and recording their improvised compositions live, Jim Field and Dorian Williamson create a deep textured sound world. Evoking the ancient wonder that the Norse explorers must have felt discovering Vinland, the Windswept Land.
The journey was long and hard, you lost good men sailing across the never ending sea, but now you stand on foreign land. The father of gods watches over you as his ravens circle the funeral pyre to bring his warriors home.
The rocks here emanate a low hum, the silent wind carries the scent of honey and at nightly camp bestial cries echo between the mountains. Your men speak in hushed voices as the dark creeps close, they mutter about this being the territory of new gods. This dreamy land is getting to your people, some men wake screaming in the blackest hour from visions delivered by the dark below. But for you this expedition is one of enlightenment, the fresh rivers fill your mouth with the light of Yggdrasil, forests carry whispers from the mead halls beyond and as such have you convinced that this is the pathway between the worlds of gods and men.
Using guitar and bass, and recording their improvised compositions live, Jim Field and Dorian Williamson create a deep textured sound world. Evoking the ancient wonder that the Norse explorers must have felt discovering Vinland, the Windswept Land.
DEATH SPELLS 豆瓣
HOLY FAWN
类型:
摇滚
发布日期 2018年9月14日
出版发行:
self-released
Under Construction 豆瓣
7.0 (6 个评分)
Missy Elliott
类型:
说唱
发布日期 2002年11月12日
出版发行:
Elektra / Wea
嘻哈/流行樂教母繼2001年度最佳專輯「Miss E…So Addictive」後再次驚豔全球的精采大作
*滾石雜誌評價4顆星
*Billboard節奏藍調/饒舌榜 第1名 饒舌榜10週冠軍
*首支單曲’Work It" 連續9週Billboard流行單曲榜亞軍
打破史上電台點播紀錄
* 2002滾石雜誌、時代雜誌年度專輯
亞洲盤特別加贈12支歷年來精采絕倫影音VCD
完全體驗嘻哈教母超猛威力！
音樂計劃排到滿檔的神力嘻哈教母Missy Elliott,在2001年大獲全勝的專輯「Miss E.…So Addictive」及紅遍全球舞池的Hip-Hop/Rap單曲"Get
Ur Freak On"後，又以迅雷不及掩耳的速度，歷經１年的時間推出「Under Construction」，這位嘻哈界教母級的全才高手並有著大姐頭架式的Missy，勢必將帶著此大碟，再度於樂壇掀起巨濤駭浪！這幾年嘻哈界到處透著Missy效應，除了不到５年時間發行張張大賣且高評一面倒的４張專輯外，幫腔譜寫精采之作品皆散見於Janet
Jackson、Mary J. Blige、Whitney Houston、Aaliyah等人多白金暢銷大碟中，也不忘提攜後進，接連締造出Nicole、702、Trina及近期大力栽培Tweet等人排行佳作；這些有目共睹的戰果，若說Missy是９０年中至今最為活躍也最具代表的女性嘻哈/饒舌藝人，應是當仁不讓且實至名歸的。
在今年傳出Aaliyah及TLC之Lisa "Left Eye" Lopes相繼發生意外身亡事件，故此次的出擊也挾帶著濃烈紀念意味，Missy不僅接著發起一連串紀念性活動，並藉此輯表達出最深的追思之情。
第5張專輯「Under Construction」，Missy找來長年好戰友Timbaland (Eminem、Jay-Z、Destiny’s Child)共同執掌；眾星雲集的參與陣營，也是吸引目光焦點的所在。首支透著前國歌級大作"Get
Ur Freak On"異曲同工之妙的"Work It"，不僅有著豐富多變的編曲外，還飄散出Acid-Rock的舞曲風味；於東岸饒舌大陣營Wu-Tang
Clan中首位推出個人作品的Method Man，前來使出一貫硬派風格的饒舌調性於單曲"Bring The Pain"中；Def Jam
South廠牌首推藝人並於短短不到２年內叱吒嘻哈界的Ludacris，在"Gossip Folks"中帶著趣致戲謔的語調；Destiny’s
Child中最美麗聲音Beyonce Knowles在"Nothing Out ThereFor Me"裏唱出碎心傷感的戀情。最動容的情緒宣洩在"Can
U Hear Me"一曲中，請來TLC 的T-Boz、Chilli及Tweet以無比和諧優美的嗓音唱出對Left Eye與Aaliyah的思念！無庸置疑的，這張年度超強嘻哈大碟，是您不可錯收的精采大作，更是Missy另一張經典代表佳品！
*滾石雜誌評價4顆星
*Billboard節奏藍調/饒舌榜 第1名 饒舌榜10週冠軍
*首支單曲’Work It" 連續9週Billboard流行單曲榜亞軍
打破史上電台點播紀錄
* 2002滾石雜誌、時代雜誌年度專輯
亞洲盤特別加贈12支歷年來精采絕倫影音VCD
完全體驗嘻哈教母超猛威力！
音樂計劃排到滿檔的神力嘻哈教母Missy Elliott,在2001年大獲全勝的專輯「Miss E.…So Addictive」及紅遍全球舞池的Hip-Hop/Rap單曲"Get
Ur Freak On"後，又以迅雷不及掩耳的速度，歷經１年的時間推出「Under Construction」，這位嘻哈界教母級的全才高手並有著大姐頭架式的Missy，勢必將帶著此大碟，再度於樂壇掀起巨濤駭浪！這幾年嘻哈界到處透著Missy效應，除了不到５年時間發行張張大賣且高評一面倒的４張專輯外，幫腔譜寫精采之作品皆散見於Janet
Jackson、Mary J. Blige、Whitney Houston、Aaliyah等人多白金暢銷大碟中，也不忘提攜後進，接連締造出Nicole、702、Trina及近期大力栽培Tweet等人排行佳作；這些有目共睹的戰果，若說Missy是９０年中至今最為活躍也最具代表的女性嘻哈/饒舌藝人，應是當仁不讓且實至名歸的。
在今年傳出Aaliyah及TLC之Lisa "Left Eye" Lopes相繼發生意外身亡事件，故此次的出擊也挾帶著濃烈紀念意味，Missy不僅接著發起一連串紀念性活動，並藉此輯表達出最深的追思之情。
第5張專輯「Under Construction」，Missy找來長年好戰友Timbaland (Eminem、Jay-Z、Destiny’s Child)共同執掌；眾星雲集的參與陣營，也是吸引目光焦點的所在。首支透著前國歌級大作"Get
Ur Freak On"異曲同工之妙的"Work It"，不僅有著豐富多變的編曲外，還飄散出Acid-Rock的舞曲風味；於東岸饒舌大陣營Wu-Tang
Clan中首位推出個人作品的Method Man，前來使出一貫硬派風格的饒舌調性於單曲"Bring The Pain"中；Def Jam
South廠牌首推藝人並於短短不到２年內叱吒嘻哈界的Ludacris，在"Gossip Folks"中帶著趣致戲謔的語調；Destiny’s
Child中最美麗聲音Beyonce Knowles在"Nothing Out ThereFor Me"裏唱出碎心傷感的戀情。最動容的情緒宣洩在"Can
U Hear Me"一曲中，請來TLC 的T-Boz、Chilli及Tweet以無比和諧優美的嗓音唱出對Left Eye與Aaliyah的思念！無庸置疑的，這張年度超強嘻哈大碟，是您不可錯收的精采大作，更是Missy另一張經典代表佳品！
Into the Air 豆瓣
Cold Beat
类型:
摇滚
发布日期 2015年9月4日
出版发行:
Crime On The Moon
Invitation 豆瓣
Heather Woods Broderick
类型:
民谣
发布日期 2019年4月19日
出版发行:
Western Vinyl
‘Invitation’ is the third album from singer songwriter Heather Woods Broderick - Sharon Van Etten’s longtime collaborator and band member. The album takes it’s title from a Thomas Moore quote about the importance of being open to change and newness: “To keep the unfolding self alive, you have to open yourself to change every step of the way. Of course there are times when it is appropriate to step back, settle down, and maybe not move for a while. But to be a person means to be faced every minute with the decision to live OR die; To accept the invitations for yet more vitality or to decline them out of fear or lethargy.”
Much like a painter with an eye for landscapes Heather nature to colour her stirring style of folk rock/dream pop. ‘Invitation’ was conceived on the Oregon coast, an outlier among American landscapes, where vast stretches of empty beach are decorated with silver driftwood and towering pines. It is here among the dunes, tide pools and colossal rock formations that Heather spent her childhood summer day-trips. And it is here that she returned as an adult to construct her latestt album, an album of dreamy baroque-pop that swells and whispers with grand string arrangements, intimately descriptive lyrics, and impassioned songcraft built around earnest piano melodies, painting a lifelike picture of the locale in which it was written.
Throughout ‘Invitation’, floral tendrils of sound design and dynamic strings decorate the edges of each track, propelling the album beyond mere singer-songwriter fare into something altogether more grand and immersive in scope. ‘Invitation’ features vocals and synth contributions from Peter Broderick. RIYL: Sharon Van Etten, Weyes Blood, Marissa Nadler, Julianna Barwick, Julia Holter.
Much like a painter with an eye for landscapes Heather nature to colour her stirring style of folk rock/dream pop. ‘Invitation’ was conceived on the Oregon coast, an outlier among American landscapes, where vast stretches of empty beach are decorated with silver driftwood and towering pines. It is here among the dunes, tide pools and colossal rock formations that Heather spent her childhood summer day-trips. And it is here that she returned as an adult to construct her latestt album, an album of dreamy baroque-pop that swells and whispers with grand string arrangements, intimately descriptive lyrics, and impassioned songcraft built around earnest piano melodies, painting a lifelike picture of the locale in which it was written.
Throughout ‘Invitation’, floral tendrils of sound design and dynamic strings decorate the edges of each track, propelling the album beyond mere singer-songwriter fare into something altogether more grand and immersive in scope. ‘Invitation’ features vocals and synth contributions from Peter Broderick. RIYL: Sharon Van Etten, Weyes Blood, Marissa Nadler, Julianna Barwick, Julia Holter.
Born in the Woods 豆瓣
Birthh
类型:
流行
出版发行:
Wwnbb
Post Earth 豆瓣
FEELS
类型:
摇滚
发布日期 2019年2月22日
出版发行:
Wichita Recordings
Xièxie 豆瓣
8.5 (6 个评分)
Celer
类型:
电子
发布日期 2019年1月24日
出版发行:
Two Acorns
A week before leaving, I bought a dictionary and phrasebook.
Covered in rain, during the days and even the nights, Shanghai was lit in a glow, a mist turning to a constant grey fog. Buildings lined with neon and lcd screens flashed, and from around corners and behind buildings, the night was illuminated much the same as the day. Cars separated the classes, their horns voices punctuating the streets, as pedestrians in groups loosely scattered the streets, talking and walking on speakerphone.
Standing by the metro escalators, there in the square with the overhanging trees of a park, there is construction all around. The buildings seem to be climbing into the darkness at this very moment. Leaving behind and moving forward. We seem to know everything already, our illusion of experience. I imagine taking your hand, I imagined taking your hand, and the lights in the subway flicker as we go deeper. Transit bookmarks each experience, every daydream, and in the end they're interchangeable and indistinguishable between reality and imagination. Try to remember which is real.
To Hangzhou the maglev reached 303 km/h, the towering apartment buildings hunch under construction, passing by in blurs on the flat farmland landscape. I fell asleep, as you were dancing but to no music. The lilies on the lake nodded in the rain, dipping into the water. There was a Wal-Mart near the hotel where I won a pink bunny from a claw machine. I remember the beauty of the architecture of Hangzhou station, birds swirling around the pillars near the top, the echoes of the deep station interior, and the laughing at being lost. There at least we have each other, that memory, or that daydream.
Everything moves faster than we can control. Days are just flashes, moments are mixed up but burned on film, and all of the places and times are out of order. If it could only be us, only ours. If it was ours, if it was us. Sometimes everything goes faster than you can control and you can't stop, much less understand where you are. I bought a dictionary and phrasebook, but "xièxie" was the only word I ever got to use.
- Will Long, January 2019
Covered in rain, during the days and even the nights, Shanghai was lit in a glow, a mist turning to a constant grey fog. Buildings lined with neon and lcd screens flashed, and from around corners and behind buildings, the night was illuminated much the same as the day. Cars separated the classes, their horns voices punctuating the streets, as pedestrians in groups loosely scattered the streets, talking and walking on speakerphone.
Standing by the metro escalators, there in the square with the overhanging trees of a park, there is construction all around. The buildings seem to be climbing into the darkness at this very moment. Leaving behind and moving forward. We seem to know everything already, our illusion of experience. I imagine taking your hand, I imagined taking your hand, and the lights in the subway flicker as we go deeper. Transit bookmarks each experience, every daydream, and in the end they're interchangeable and indistinguishable between reality and imagination. Try to remember which is real.
To Hangzhou the maglev reached 303 km/h, the towering apartment buildings hunch under construction, passing by in blurs on the flat farmland landscape. I fell asleep, as you were dancing but to no music. The lilies on the lake nodded in the rain, dipping into the water. There was a Wal-Mart near the hotel where I won a pink bunny from a claw machine. I remember the beauty of the architecture of Hangzhou station, birds swirling around the pillars near the top, the echoes of the deep station interior, and the laughing at being lost. There at least we have each other, that memory, or that daydream.
Everything moves faster than we can control. Days are just flashes, moments are mixed up but burned on film, and all of the places and times are out of order. If it could only be us, only ours. If it was ours, if it was us. Sometimes everything goes faster than you can control and you can't stop, much less understand where you are. I bought a dictionary and phrasebook, but "xièxie" was the only word I ever got to use.
- Will Long, January 2019