“Lost On You” is fourth studio album from American singer-songwriter Laura Pergolizzi, also known as LP. It was released on December 9th via Vagrant Records.
It comes after releasing “Death Valley” EP on June 17th. It’s also a part of upcoming album, with the single and also album title’s track “Lost On You“.

Parade: Music from the Motion Picture Under the Cherry Moon is the eighth studio album by Prince and The Revolution. It was the follow-up to Around the World in a Day and the soundtrack to Prince's second film. The album sees Prince further diversifying musically, adding orchestrations to his music and presenting a very European feel. Prince also displayed a new image with Parade: his trademark ruffled shirts, wild curly hair, and purple outfits which defined his look from 1981's Controversy to 1985's Around the World in a Day gave way to slicked-back hair and dress suits. Even though the single, "Kiss", was a number one hit, the album as a whole was not well received in the U.S. Europe, however, embraced the album, and for the first time in Prince's career, European album sales eclipsed those in the U.S. This was Prince's final album released with The Revolution.

Matt Costa：生长于加州Huntington Beach 的Matt Costa，在12岁的时候获赠生平第一把吉他；不过很快的，另一项更刺激的活动吸引了他--滑板。虽然比一般滑板选手还晚接触这项运动，但是加倍勤练的Matt Costa迅速展现了过人的天赋和技巧，甚至差一点点就转为职业选手。不过三年前练习时的一场严重意外让Matt Costa摔断了腿，不仅得花18个月治疗和复健，也从此改变了他的命运。在那一段人生中的低潮时光，他重拾吉他投入全副精力练习弹奏和创作，并开始用简单的录音器材灌录自己的唱作。
Matt Costa有一副天生的好嗓子，清冽明亮，也许是在加州长大的缘故，他的歌声阳光明媚，没有任何阴郁与颓废，即便是“Cold December”这样看起来冷冷的歌，在有如寒风一般的吉他声刮过之后，留在在你耳边的还是暖暖的阳光。
这是一张可以从头到尾微笑着听完的专辑，Matt Costa很善于在配器和演唱的细节处营造一些小趣味，象标题歌“Songs We Sing”开头和过场俏皮的口琴，“Sweet Rose”里的小颤音、“Whiskey And Wine”里那声“Oh！”，小小的精致的幽默感恰到好处又不会有卖弄的感觉，让你听着听着不时嘴角就会泛起一丝微笑。
Matt Costa的作品旋律极为清新明快，整张专辑里隐隐约约闪现着乡村音乐、摇滚乐、爵士乐、古典音乐以及60年代流行乐的味道，充满了信手拈来自成一派的妙趣，专注的嗓音加上娴熟的吉他弹奏，眼前不禁就会浮现出一个青葱少年的形象，后来上网一搜他的照片，还真就是一副校园歌手的模样，可见乐由心声还真是有这么回事。
“Whiskey And Wine”属于听过一耳就忍不住要翻来覆去听的曲子，老派的爵士曲风在Matt Costa妙手调教下，变得如此灵动妙趣，即兴重复的片段韵味十足；“Oh Dear”、“Desire's Only Fling”应是向老式英伦摇滚致敬之作，而“Behind The Moon”则是带有踢踏舞曲节拍的怀旧小品；“Sweet Rose”则又是一幅加州乡村风光，轻松、跳跃的甜蜜玫瑰；“Sunshine”，开唱前用来替代架子鼓鼓槌敲击声的“1、2、3”加上那句“sha la la”，越听越象是校园歌手，污浊的唱片工业总算有点清新空气了；压轴的“Wash Away”是专辑里我非常喜爱的一首，诗一般的歌词配上Matt Costa深情的吟唱，Matt Costa的才气真是让人妒忌.

洛城實驗搖滾組合No Age，只設吉他與鼓手兩員，編制與Black Keys雷同。
去年Fat Cat廠下的首張專輯Weirdo Rippers讓人眼睛大亮，如今轉投Sub Pop繳出的第二張成績單Nouns，品質更上層樓。平均一首歌僅得兩分半鐘，不拖泥帶水、遮遮掩掩，全是初生之犢的勇壯張力。海潮般的反饋聲波扭曲延展、迂迴撞擊，Eraser彷彿是更激動的My Bloody Valentine，而Cappo則是年輕了二十歲、暴力值深催心肝的Yo La Tengo。

Stemming out of an offer from Roadburn Festival organizer Walter Hoeijmakers, mutual acquaintances, and a shared love of each other’s output, May Our Chambers Be Full is the first recorded document of collaboration between Emma Ruth Rundle and Thou. While their solo material seems on its face to be quite disparate, both groups have spent their respective careers lurking at the outer boundaries of the heavy metal scene, the artists having more in common with DIY punk and its spiritual successor, grunge.
May Our Chambers Be Full straddles a similar, very fine line both musically and thematically. While Emma Ruth Rundle’s standard fare is a blend of post-rock-infused folk music, and Thou is typically known for its downtuned, doomy sludge, the conjoining of the two artists has created a record more in the vein of the early ’90s Seattle sound and later ’90s episodes of Alternative Nation, while still retaining much of the artists’ core identities. Likewise, the lyrical content of the album is a marriage of mental trauma, existential crises, and the ecstatic tradition of the expressionist dance movement. “Excessive sorrow laughs. Excessive joy weeps.” Melodic, melancholic, heavy, visceral.
The visual art accompanying this work was created in collaboration with preeminent New Orleans photographer Craig Mulcahy. The faceless, genderless models are meant to emphasize this pervasive state of ambiguity and emotional vacillation, the images falling somewhere between modern high fashion and classical Renaissance.

Beware of Safety is emotion personified through sound. This is the sound of living and breathing. "Dogs" is a culmination of experiences swelling into a force that demands release. Music that is as romantic as it is morose & solemn; as secretive as it is exposed & vulnerable. Instrumental music that says more without saying one word than most bands can conjure up on their most heartfelt outing. "Dogs" pushes instrumental music into a psychedelic direction of pure catharsis, demanding the listeners involvement. Things may never be the same.

Recorded at Henson Studios and Trainwreck Studios, Ohms is an other-worldly body of work meticulously crafted by the 5 piece band. It is a magnificent tour de force and their first album in 4 years since the critically acclaimed Gore LP in 2016. The band, which includes Chino Moreno, Frank Delgado, Stephen Carpenter, Abe Cunningham, and Sergio Vega, has produced a dense LP with every member firing on all cylinders. The album also boasts a familiar collaborator in veteran producer and engineer Terry Date, who worked on 1995’s Adrenaline, 1997’s Around the Fur and 2000’s White Pony. All of the above assembles and sets the stage to deliver Ohms; 10 tracks of raw escapism and unparalleled grooves that have made Deftones' sound singular for over two decades.

Returning with mightier riffs and wilder improvisations than ever, the trio offers a spiritual vision of metal, one well timed to a moment of crisis.

STRFKR's sound has morphed over the years through variations of hyper catchy, danceable pop, but on Ambient 1 – the band's first fully instrumental album – they have achieved something very different. For a little shy of an hour, Ambient 1 drifts through softly glowing electronic instrumentals that extract the synth core from the group's well established synth pop sound. It's patient, playful, and calming music that travels through passageways of chaos and anxiety on a journey towards healing.
Upon completing work on the lo-fi dreaminess of the recently released Future Past Life, STRFKR's principal songwriter Josh Hodges found himself returning repeatedly to albums by his favorite ambient artists and minimal composers. This growing obsession with synthesis and the culture around it also concurred with the daily darkness of the pandemic and some personal disruptions. Without spending too much time thinking about what it meant, Hodges began recording ambient experiments almost daily as a way of processing these difficult emotions. Echoes of masters like Harold Budd and Brian Eno can be heard in the angelic floating of “Work Smoothly Lifetime Peace” while tracks like "Nexus" are stormy and frenetic.
In some ways, Ambient 1 is unlike anything STRFKR has created before, but when completely absorbed, it makes sense why it's included under the STRFKR banner. Even at his most drony and experimental, Hodges can't escape his distinctive melodic approach. Ambient 1 strips away the familiar and the expected, exposing Hodges' signature sonic personality at a granular level.

While singer and multi-instrumentalist Bonnie Bloomgarden and guitarist Larry Schemel knew their intention for the album before a single note was written, the actual nature and direction of the music was a mystery. The initial inspiration for the record came from the jubilant spirit of Ethiopian funk records the band had been listening to on tour, but once they began to channel the songs it seemed like the music came from somewhere not in the past but in the future. In the weeks leading up to recording, Death Valley Girls relied on their subconscious and effortlessly conjured Under the Spell of Joy’s eleven tracks as if they’d tapped into the Akashic Chronicle and pulled the music from the ether.

“All anyone wants to be is what they can.”
In an era when networked access to information is nearly universal and wearing influences on your sleeve is normalized, it often feels like everything’s been done. Which begs the questions: What’s the point of creating? Does the world need another still life of fruit? Another film about love? Does the world need another melody?
On Raw Honey, his second album as Drugdealer, Michael Collins colors these existential conundrums with lush arrangements, memetic melodies, and a vulnerable tunefulness that tries to make sense of self-doubt and connected loneliness in our shared simulacra.
Collins, who never played an instrument, let alone received musical training in any formal capacity, began experimenting with sounds in 2009 after traversing the US on freight trains. After a few years crafting abstract sampledelia, he decided to forgo his experimental exercises in favor of teaching himself how to write the traditional song. In doing so, he made the decision to approach songwriting from the perspective of a listener, rather than a “musician.”
In 2013, Collins headed west and enmeshed himself in the Los Angeles underground scene. It was then that he began collaborating with players in the orbit of Ariel Pink, slowly over time crafting what would become Drugdealer’s debut album, The End of Comedy, a collection of sunlit songs as indebted to Laurel Canyon psych pop as it is Bacharian orchestration.
Raw Honey continues where The End of Comedy left off, with Collins once again leading an ace crew of collaborators to coalesce the spirit of Drugdealer’s classically modern pop. Built on the foundation of a creative partnership between Collins, Sasha Winn (vocals) and Shags Chamberlain(bass, production), Drugdealer is more a collective than band. Raw Honeyfeatures contributions of Josh Da Costa (drums), Jackson MacIntosh(guitar), Danny Garcia (guitar), Michael Long (lead guitar), and Benjamin Schwab (backing vocals, guitar, organ, piano, wurlitzer), as well as guest vocalists like country balladeer Dougie Poole (“Wild Motion”), Harley Hill-Richmond (“Lonely”), and frequent collaborator Natalie Mering (Weyes Blood) whose dulcet tones sing low before soaring on “Honey,” a track as silky as the nectar itself.
Throughout Raw Honey, Collins and crew display their influences as a new tapestry, one woven with the recycled fibers from thousands of tapestries that have colored our collective listening histories. As evidenced throughout Raw Honey, Collins has an ear for penning numbers that would sound as at home on Classic Rock radio as they would at Zebulon in Los Angeles, where any of the contributors to Raw Honey could, perhaps, be found on any night of the week, on stage, or in the audience supporting another Angelino’s modern pop aspirations.
Rather than hiding behind a curtain or casually sidestepping AOR tropes, Raw Honey adheres to a modern kind of creation — one that cultivates influences and espouses reverence. An honest totem, Raw Honey isn’t tangled up in social norms, with Collins prefering to air his self-doubt as a northern star to guide like-minded people wherever they need to go.
Drugdealer’s Raw Honey will be released on April 19, 2019 via Mexican Summer.