Angel Youth was written, recorded and mastered between April 2017 and April 2018.
credits
released April 26, 2018
Josh Augustin - Vocals/Lyrics, Synth, Guitar, Drums, Production, Field Recordings
Samuel Winemiller - Guitar, Bass, Synth, Production
Isaac Winemiller - Bass (on Brown Study, Nice to See You, KW, Star Catcher and Angel Youth)
Kyle Matthees - Trumpet (KW)
Written and recorded by Josh and Sam in Rochester, Minnesota
Mixed/mastered by Josh in Oberlin, Ohio
Jacket/cover design by Sam
Cover photos by Josh
Released on Spirit Goth Records

美国氛围黑金属乐队2016年全长专辑。
MA：

by Tori Amos
Atlantic / Wea
Sales Rank: 3457 - Avg. Rating: 4.5 (out of 5)
Released: 01 February, 1994 - UPC: 075678256721
Audio CD

Bass – Brian Cook
Drums – Dave Turncrantz
Guitar – Mike Sullivan

Emmylou Harris's Hard Bargain will be released April 26 on Nonesuch Records. The album follows Harris's acclaimed 2008 release, All I Intended To Be, which received widespread acclaim - Newsweek called it an album that "shows that Harris is still the stalwart songbird at the top of the roost." Hard Bargain, which comprises 11 new songs by Harris as well as two covers, was produced by Jay Joyce (Cage The Elephant, Patty Griffin).
Also available as a Deluxe Edition of the album, which includes a DVD featuring six performances interspersed with interviews.

A person whose words are so potent that they cause the people and beings around them to vibrate is said to have a “silver tongue.” It’s apt, then, that Mackenzie Scott, who has spent the 2010s making boundary pushing pop music under her Torres moniker, has chosen to call her fourth album, and first release on Merge, just that. Recorded at O’Deer in Brooklyn, New York, Silver Tongue is a full-scale realisation of the world Scott has created over Torres’ last few albums. Even when singing in more subdued tones, Scott’s voice is fervent, her lyrics stirring and unyielding as she draws from both the divine and the everyday. It’s also the first Torres record produced solely by Scott. After having shared production duties on her first three albums, the latter two alongside PJ Harvey collaborator Rob Ellis, she found the process liberating:
“I made exactly the record I want, and it feels very ‘me.’” Silver Tongue fastidiously chronicles the impulses that make up desire from the dreamy first blushes of infatuation through the slightly terrifying wonder that accompanies connection with another. In between, Scott wrestles with the highs and lows of what “being in love” might mean over heady guitars and swirling synths. While potent vocal hooks punctuate songs like the sparkling 'Dressing America', which combines New Wave glitter with hovering frustration, and the brooding 'Good Grief', which gently pokes at the idea of fetishised sadness, the knottiness lurking underneath reflects Scott’s realtime processing of her emotions while making the record. Silver Tongue’s musical world is vast and at times seemingly infinite. Edge-of-the-world synths add gravity to the vulnerability of 'Two of Everything' and refracted guitars offer a gnarled counterpoint to Scott’s increased determination at the end of 'Last Forest'. On 'Gracious Day', one of Torres’ most forthright love songs, Scott’s voice hovers over a starlit landscape in a way that transcends the mundane and enters the otherworldly as she sings.
Torres’ music has long navigated the space between the physical and the metaphysical, and Silver Tongue faces that conflict head-on, examining the ways in which the actions of others can stir up deep-seated feelings and seemingly alter the space in which one exists.

「thank u, next」is the upcoming fifth studio album by American singer Ariana Grande, set to be released by Republic Records on February 8 , 2019. Its title track was released as the album's lead single on November 3, 2018, with the second single "7 Rings" releasing on January 18, 2019. The album is a follow-up to her fourth studio album, Sweetener (2018).

Following remix work for Björk and Zola Jesus, productions for serpentwithfeet, and her debut album on Tri-Angle, American experimental musician and producer Katie Gately moves to Houndstooth for her sophomore album Loom, dedicated to her mother, who passed away in 2018. “My mother’s voice is in this record, her picture’s in the sleeve notes. This record is for her” says Katie.
Katie’s mother was diagnosed with an extremely rare form of cancer shortly after seeing Katie perform for the first time, and Loom was made during her mother’s illness. To solidify the enormity of a loss like this, Gately has added the seismic rumble and aural grit of real earthquake recordings in her productions – alongside her signature adventurous sound design and earwormy melodies – to signify how grief like this is like the shifting of the earth. “I felt like my world was being shaken,” says Katie. “I was losing the person who created me, and it seemed an appropriate time to sample earthquakes.”
Where her debut album Color, (2016) deployed fractured rhythms, fierce licks, bold samples and her signature paintbox pop hooks, Loom reveals crepuscular textures. Her voice is more forward in the mix, often densely layered in choral laments above a coarse foundation of hard and brittle sound design, the latter of which is rooted in her film school training. As well as earthquake sounds, Loom includes more samples, chosen for their associative power, peacocks screaming, pill bottles shaking, a coffin closing, wolves howling, a shovel digging, a paper shredder, stone grinding and heavily processed audio from her parent’s wedding.
At the time of her mother’s diagnosis, Katie was near completion of an entirely different album, but says that very quickly she realized she “didn’t have the bandwidth to make that record anymore.” She returned from LA to her family home in Brooklyn and started again, completely rebuilding the album around the track ‘Bracer’, which was her mother’s favourite. She made it while she couldn’t sleep, and the result is a record she says is powered more by heart than mind, with sucker-punch richness and keening vocals that are unflinching. “The process is blurry to me now,” she says. “I don’t know if I’d recommend it, but I didn’t have time to worry about perfecting things, I was just working when everyone was asleep – it was the only time I had.”
Her lyrics are rooted in the events she was experiencing, but describe personifications and abstracted feelings. ‘Flow’ is written from the perspective of her mother; in ‘Allay’ she speaks as the cancer; in ‘Tower’ she inhabits the medicine that confronts the cancer. “They’re darker in tone,” she explains, “but I see beauty in that.”
‘Waltz’ and ‘Bracer’ are tracks she describes as being like a brother and sister: “They’re about the same thing, about being disoriented and wanting to check out with a substance – I used whisky.” ‘Waltz’ spins in on itself, whereas ‘Bracer’ reaches for a series of climaxes that drop out before they can peak.
The three interludes, ‘Ritual’, ‘Rite’ and ‘Rest’ are a triptych that carve out light and space to breathe – sometimes synthesizing sounds like exhalations – between the density of other tracks. They are spliced sections of one longer track, with ‘Rest’ closing the album. “When my mother passed I ate doughnuts and slept for a month,” she says. “The pressures from the music industry just fell away – release schedules and the like just didn’t matter any more. But a callous had to be formed, so after that I finished the record, and it was done by the beginning of 2019.”
Katie has also released 12”s and a cassette on a number of notable underground labels – Public Information and Blue Tapes, as well as the critically acclaimed FatCat Split Series. This summer Katie was part of the recent Mary Anne Hobbs curated ‘Queens of the Underground’ Festival in Manchester alongside Houndstooth musician Aisha Devi. She is currently living in LA and teaching at CalArts.
credits
releases February 14, 2020

2020 sees the release of Always Tomorrow, the hotly anticipated new album from Best Coast. Inspired by the 70s, the LA based duo expand their signature indie pop sound into a harmonic blend of melodic guitars and keyboards as warm and refreshing as a California breeze. Multi-instrumentalist Bobb Bruno, along with the irrepressible Bethany Cosentino, combine to bring her masterful storytelling to new heights, crafting their most eloquent and reflective album to date. It’s the Best Coast you know and love at an entirely new level.

There's no disguising the passion boiling just below the surface; (Wilsen) create a forceful, spectral, sound

Dan Deacon's most emotionally open record and his most transcendent, Mystic Familiar is the result of obsessive work, play, and self-discovery. The album's 11 kaleidoscopic tracks of majestic synth-pop expand his sound with unfettered imagination and newfound vulnerability.

The bizarre metal act's albums 'Souls At Zero' (1992) and 'Enemy Of The Sun' (1993) digitally remastered. Both are pressed on full color picture discs & with previously unreleased bonus tracks: 'Souls' adds demo versions of 'Soul' & 'Zero', plus 'Cleanse III' (Live In London); 'Enemy' adds 'Takeahnase' (Demo Version) and 'Cleanse II' (Live In Oberhausen). 23 tracks total. Laminated double gatefold slipcase with a 12 page lyric booklet. 1997 Iron City release.

Virga I is the first album in a new ambient music series by Eluvium. Matthew Cooper, the composer behind the Eluvium moniker, explains: “I had recently been playing around with various forms of generative music and long-format looping – as well as practicing patience interacting with musical systems and recordings – hesitantly dueting with them, trying to keep things minimal while also encouraging as much depth as possible. It was really just something fun to privately experiment with for personal gain. Over time I’d created a group of pieces and had them on various mixes that I would make for myself, but I hadn't really given them much thought. Over the winter, my wife and I were subjected to an unexpected move from our home, into our tiny garage studio as we had some work done on the house. It was a little like an unexpected backyard camping trip but with two dogs and two people in a very small space, with the majority of our belongings in boxes on the driveway – all while weathering a snowstorm. It got a little weird in there, but also oddly comfortable. At some point, my evenings became very much about relaxing, stretching, and breathing to these pieces. They gradually fostered a very specific mood that I found intoxicating. The music seemed to enhance the soft orange glow in this small room in the dark of night, with the snow falling just outside. They also reminded me of some of my earliest works, those which were a bit less researched and considered. Perhaps they were simply more “felt” than anything. It occurred to me that other people might find that peculiar feeling inside these works in the same manner that I have, and that I might enjoy returning to working in this way again soon. I decided it might be nice to start a series inspired by this setup. A place for me to relax and experiment with emotions, and slow movements with various toys in my studio, in honor of strange deep feelings, gentle touches, and memories from a long time ago. I titled it Virga, after the drifting of rain we sometimes catch drooping on the horizon, disappearing before it reaches the ground.”