亞莉安娜·格蘭德-布特拉，是一名美國歌手、詞曲作家及演員。她以寬闊的音域聞名。 亞莉安娜出道於出演2008年的百老匯音樂劇《13》，之後在尼克國際兒童頻道播出的電視連續劇《勝利之歌》及其衍生劇《薩姆和卡特》中飾演角色凱特·瓦倫廷，她還參演過其他戲劇和電視角色，並為一些動畫片和電影配音。

2007 vinyl repressing of Dre's 1999 opus featuring guest turns from Eminem and Snoop Dogg. Interscope.

Originating from Austin, TX, EXPANDER has subverted traditional band trajectories to receive global recognition of their unique brand of futuristic metalpunk since forming in 2014. With their second full-length album, “Neuropunk Boostergang”, the group aggressively channels the anxieties foisted on us from oppressive systems using every weapon at their disposal: pummeling rhythms, transcendent melodies and wild vocal deliveries that keep listeners on guard for whatever might come crawling from the wastes next.
This record marks the band’s return to God City, again utilizing the state-of-the-art studio to capture every nuance of the raw energy contained within these potent audio capsules. The result is a glimpse into a barbarous future where traditional riffs get flipped on their head, anti-gravity rhythms pull you in different directions and supernatural voices jack-in to your skull to command attention.
Should we retain our humanity in the face of constant neurological assault? Is the physical body altogether obsolete? What otherworldly landscapes plagued by grotesque overlords will we find ourselves surviving next? With Neuropunk Boostergang, Expander mercilessly answers these questions with the fist of flesh and mind of machine.

THE E.N.D. (Energy Never Dies)
The new album by The Black Eyed Peas is off to a blazing start! The first single from The E.N.D. (Energy Never Dies), BOOM BOOM POW was also the Peas' very first #1 on the Billboard Hot 100 chart!
With The E.N.D., The Peas are poised to continue with the success of Elephunk and their fourth release Monkey Business - they have had multiple hit anthems, such as "My Humps" "Pump It" and "Let's Get It Started" along with "Don't Phunk With My Heart" "Where is the Love?" and "Don't Lie".
In the midst of the success of the Black Eyed Peas, FERGIE released her debut solo album, The Dutchess, in 2006. To date the album has sold over six million copies worldwide and spanned five Top 5 hits. Moreover, Fergie became the first female artist in history to have four consecutive #1 singles (Billboard).
Will.i.am is also a Grammy nominated producer - nominated for the Producer of The Year Award in 2007 and nominated again at the 2009 Grammy's. He has lent his services to some of the biggest superstars in the business; Fergie, The Pussycat Dolls, John Legend, Mary J. Blige, Ricky Martin, Justin Timberlake, Diddy, Nas, Michael Jackson, Usher, Mariah Carey, Whitney Houston, and U2. Besides his music endeavors, will.i.am is committed to social activism and is an outspoken advocate of progressive political initiatives. His "Yes We Can" video won an EMMY and a Webby Award and has over 19 million views on YouTube to date.
The Black Eyed Peas have sold over 20 million albums worldwide, have won three Grammy awards and have been nominated for 11 total as well as awards won at Teen Choice, MTV, American Music Awards, among many others from around the world!

The end of 2019 was soundtracked by one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller Uncut Gems. Unknowingly, Lopatin captured a universal feeling of dread that cuts even deeper in the current state of world affairs. And now, just as many artists are leaning into a newly discovered darkness as this year closes, Lopatin turns his dial towards a frequency of profound self-awareness on an even deeper journey inwards towards peace. With the backdrop of re-imagined programming for a soft rock-era format that symbolically spans from morning drive into late night hours, Magic Oneohtrix Point Never, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career.

Flood Dream by LEYA, releases 06 March 2020
Framed within a network of outlying artists whose experiments sketch out far-flung deviations from aboveground movements, the work of New York-based duo LEYA stands out as an anomaly that exemplifies the idiosyncratic impulses of the avant fringe. Harpist/vocalist Marilu Donovan and violinist/vocalist Adam Markiewicz seem from a sidelong perspective to approximate the languages of neo-classical performance and post-minimalist exploration in their austere, meticulously rendered compositions. In truth, the duo’s own self-perception casts their project closer to the axis of noise and punk than conventional refinement.
As formally educated composers acutely aware of the traditions and conventions into which their instruments fit, Donovan and Markiewicz exploit preconceptions and confound expectations by pursuing the most transportive and emotional means of communication with their audience. Just as their peers warp systems of electronics or tropes from the pop and rock traditions, LEYA channel the surface signifiers of orchestral music and 20th century classical composition into deeply personal works that encompass bursts of raw dissonance alongside moments of spectral beauty. The duo’s performances shift the spotlight from the authority figure looming over an ensemble of players to those planted in the corner of a dimly lit basement populated with freaks who can’t help but fall into silence when confronted with the duo’s bewildering stimuli.
LEYA’s album Flood Dream follows their acclaimed debut album The Fool (NNA, 2018), as well as Angel Lust, a collaboration with Eartheater released with PAN this December, and their soundtrack to PornHub-exclusive short film I Love You directed by Brooke Candy. The Fool presented the project both in densely plotted duo pieces and joint efforts with New York luminaries like Eartheater, PC Worship, and Sunk Heaven. Though guests from LEYA’s wide social environment appear on Flood Dream, including vocalist/producer GABI, flautist/synthesist John Also Bennett of Forma, and bassist Tristan Kasten-Krause, the album pares back the presence of external artists as full co-writing collaborators to highlight the raw core of the duo’s practice. Flood Dream plays out as a decadent feast of the senses struck through with the disturbed influence of intrusive thoughts.
The album’s pieces each follow their own sinuous narrative arc, building from empty expanses of detuned harp arpeggios and languid smears of violin into climaxes draped in Markiewicz's impassioned vocal lines. LEYA generate tension with their darkly operatic sense of drama, conveyed in weeping melodies and the desolation of solitary notes against blank backdrops, as they dole out fragments of resolution or momentary triumph before sinking back into uncertainty. Their arrangements bridge instances of baroque ornamentation and blocks of harmonic density with stretches of fugue state-inducing confusion built over dreary standing tones and repeated dissonant intervals.
In an industry obsessed with precise classification, how do we make sense of the ambiguous shadow LEYA casts over the landscape? The duo reject the tenets of the new music establishment and thrive within a scene of noise transgressors and electronic auteurs. In all of its indulgence and emotional upheaval, their music adapts as easily to the context of arthouse pornography as to a late-night bill populated with no wave acts and performance artists, without ever coming off as a harsh juxtaposition. LEYA’s music reveals that the boundaries between these disciplines aren’t boundaries at all — that everything pours from the same well into different vessels that might be carried off in opposite directions, but always return to a shared source.

专辑介绍:
爵士乐里，Alice Coltrane可类比于摇滚乐里的Yoko Ono或Courtney Love，因为人们在提到这三位寡妇时，总不知怎样去避开不谈她们各自大名鼎鼎的逝夫，尽管她们自己的成就皆可各成一章。所以一定要公允地讲，Alice的声望绝非仅建立在她死于40年前的丈夫、被誉为自由爵士乐之神的John Coltrane之上；怎样通过器乐建立人与神的沟通路径，怎样将音乐幻为形而上的器械、思考并呈现东方远古宗教里灵知一系，现代音乐里，没有人比她走得更远更缥缈。1月12日，这位缪斯因呼吸衰竭于洛杉矶去世，再过半年，她就整70岁了。
除了动辄提及John Coltrane，Ailce被人们聊起时还会经常被誉为爵士乐史上首席竖琴大师，似乎没错，她少年时的偶像是底特律竖琴高人Dorothy Ashby，她几乎所有个人唱片里都会弹起这件希腊拨弦乐器。但请注意，她显殊的竖琴风格就是发出大量琶音，尽量去缩短本来就很密集的弦与弦间的距离，在各根弦的余音间建立体系繁芜的和声，她希望乐音连成一片、没有中断，这点在她个人风格里很明显，于是从上世纪70年代早期开始，她着迷于演奏风琴这种可将厚实的余音严密编织为一体的乐器，并在最后一张录音室制作“Translinear Light”（2004）里，完全放弃了竖琴。这是她的信仰所至，她确信神的音乐没有间隔、宏大而密织，如时空一般；它不需要任何即成格调或常识里的逻辑，其音色间的轮回仅基于印度古教义中的因果。
风琴本就是她最早学习的器乐之一，另一种是钢琴。那时她7岁，在其出生地底特律的教堂里演奏圣歌。从最初到她去世，无论从演奏的数量或质量上来看，她当然首先是一位敲键器乐的行家，包括在60年代初，她刚刚进入美国爵士乐视野，跟随拉丁爵士乐创始者之一Terry Gibbs时对电颤琴的短时间迷恋。在她最著名的唱片之一“Ptah，the El Daout”（1970）的内页里，Terry不无遗憾地说：“她若愿意的话，一定可以成为电颤琴的巨人。”而钢琴，她取代McCoy Tyner成为John Coltrane最后阶段的钢琴手，其表现已成为爵士乐的至上经典。
两夫妇的合作录音并不多，最著名的两部，一是专辑“Stellar Regions”（1967），二是“Live at the Village Vanguard Again!”（1966）。有批评家认为，Alice在技巧呈现上虽不逊色于McCoy，却缺少力度从John那听似永无终结的即兴音系中拔身而出。McCoy曾解释过为何离开John：他越来越少地听到自己的键音在整体演奏中发出的声音。但这点对Alice并不存在，她情愿静默地从后面看那座背影，因为她知道自己的丈夫随时都会死去。
20岁出头时，Alice慕比波普宗匠Bud Powell之名去到巴黎，成为这名会将琴键烧着的钢琴大师的旁听生。在那里，她和爵士乐歌手Kenny Hagood有过一场短暂的婚姻，并生了一个女儿Michelle。1962年她回到美国，第二年，她在作为乐手随Terry的演出里第一次遇到比她大十岁的John，后者对Terry讲：“第一次见到她，就发现了她的美。”那一年，她26岁。
从头至尾，她就是一个回望内心的隐居者，从没有像Yoko或Courtney那样拿她和逝夫的感情当众招摇，这个一直抿紧嘴唇的非裔女子仅对媒体说过这么一句，在她尚未嫁给他时：“他的音乐为我打开了一扇门。”而任何可以听懂她后来音乐的人都明白，这扇门一直没有关上。
John与前妻Naima Grubbs（那首著名的“Naima”，正是他写给前妻的）离婚后，1965年，与Alice在墨西哥举办了婚礼，那时他们已有了两个男孩，John Jr.Cltrane和Ravi Cltrane，前者早夭于1982年，后者现已成为知名萨克斯演奏家。他们婚后生出的第三个男孩Oran Coltrane也作为爵士乐手推出过专辑。在她最后那张“Translinear Light”里，Ravi作为制作人和主音管乐手身份出现，值得思量的是，在Ravi成年之前，母亲从未告诉过他有一位被人称呼为神的父亲。
丈夫对妻子最重要的影响并不是自由爵士乐的即兴方法或其它一切相关音乐操作的事，而是令她确凿地明白：这世上有一个我们须无限信仰的神。John早年曾一度沉溺在酒瘾和毒瘾之中，他在1964
年那张划时代的专辑“A Love Supreme”里以彻底皈依于神的态度，宣布了自我的一次精神革命，变得自律、节制、精进。他从未说明自己属身于哪门宗教派别，只不过以为通过音乐使得他确信了宇宙一定有主宰者的事，并庆幸于自己有义务和能力与之无限靠近。丈夫把这个理念告诉了妻子，妻子将之作为一辈子去完成的事。
1967年John死于肝病，他和Alice的三个孩子都不到5岁，两个人的婚姻也不过两年光景。至去世，Alice守寡40年。
先是着迷于印度国器西塔琴里那些绵延瑰丽的琶音，遂为儿子起了将这件器乐带入西方的西塔琴大师Ravi Shankar的名；然后随嬉皮年代和自己一直寻觅着信仰归宿的势，在1970年跟去西方布道的古印度教思想家Swami Satchidananda到了印度，并被取了Turiya Aparna的梵名。Swami这个把胡子像毯子一样挂在胸前的印度老头，曾吸引了像John Lennon或George Harrison之类大人物跟他去印度悟道，在今天摇滚乐史的多数文本中，将这段历史看作那个年代不巧造就的某种滑稽场面，被看作左派嬉皮们一次无伤大雅的莽撞甚至受骗。但Alice并不这么认为，她用后半生一点都没有瑕疵地完成对自我信仰的坚忍与净化。她将自己所有的唱片都称为圣诗,穿着印度的艳丽花裙，用乐声完备了神之人道。
1975年，她在洛杉矶组建了Vedanta Center，可译为新吠檀多教义中心，宣扬这种古印度教一个分支混意西方近代哲学后的教派，并不时将古伊斯兰教与佛教的审思引入其中，其修炼过程多数通过音乐。最初几年，由于人们对其行为的无知与误解，传她为亡夫建了教堂，引领乐迷们去膜拜——却也真有不少游客是本着皈依John Cltrane的心，来到了Vedanta Center。(确实有一座将John Cltrane尊为主神的教堂，1969年，一个名为Franzo Wayne King的乐迷在旧金山建造了它。)
那或许，她真把他放在了神龛里也不一定……可笑尊重那些音乐寡妇的人，他们完全没有办法将这些女人从其亡夫身上吧嗒掰离。就像神离不开人，人离不开会爱人、会杀人的市井一样。将年轻时死去的爱人视为图腾，很多时候，并不是因为爱情的颜色淡也淡不下去。Alice 与Yoko和Courtney完全不一样，她可能更像另一位被忽视的摇滚寡妇Patti Smith，却也没有故作从容的一面。她的信仰，与河那边的丈夫抱在了一起，音乐只是鹊桥上鼓噪的喜鹊，现在他的萨克斯与她的竖琴已被放进展览馆密封的玻璃箱子里，喜鹊飞了，这对夫妇修得永恒。为此，我们应鼓盆而庆。

Marvin Gaye 把 1971 年专辑《What’s Going On》的标题曲拿给摩城音乐创始人 Berry Gordy 时，据传后者曾表示，那是他听过的最糟糕的东西。音乐太松散，歌词则太政治化。但就连 Elvis Presley 都唱起了抗议歌曲（1969 年的《In the Ghetto》），Marvin Gaye 为什么不可以？<br /><br />
这张专辑的奥妙就在于那份轻盈。歌曲自在呼吸，演绎自然松弛，甚至有些漫不经心，例如标题曲中负责演奏萨克斯的 Eli Fontaine 录音时甚至以为自己不过是在热身。Sly & The Family Stone 在苦涩的放克里倾泻怒火的同时（1971 年的《There’s a Riot Goin’ On》），Gaye 则用华丽的弦乐和拉丁鼓点表达着他的不满，柔和而且显得老练。哪怕是触及毒品（《Flyin’ High [In the Friendly Sky]》）和贫困问题（《Inner City Blues [Make Me Wanna Holler]》）等严肃主题时，他也轻盈得如同御风而行。这张专辑让我们明白，政治音乐不一定要剑拔弩张，也可以温暖怡人。

released June 12, 2020
All songs composed, performed & recorded in the summer/fall of 2019 by Gia Margaret
Produced by Gia Margaret
Additional production by Doug Saltzman (4, 11) & Stephen Steinbrink (11)
Mixed by Gia Margaret & Nick Papaleo at Inside Voice, Chicago, IL
Additional mixing by Doug Saltzman (4, 11)
Additional musicians:
Emily Cross- Clarinet (10)
Stephen Steinbrink- vocals, organ, guitar (11)
Doug Saltzman- Drum production (4, 11)
“Body” includes a sample of Alan Watts’ lecture “Overcome Social Anxiety.” Used with permission of the Alan Watts Estate.
Photography & design by Carley Solether

The grizzled modern persona of Tom Waits finds new life on Alice, a slow, grave record that explores physical and moral decay with the same harrowing insight of 1992's Bone Machine. Originally written as an opera with his longtime songwriting partner, playwright Kathleen Brennan, the songs on Alice were performed live in a Hamburg theater for 18 months in 1992 and 1993, but were never committed to tape (officially, at least). This studio recording retains a sense of narrative cohesion, giving Waits a set of tormented and bizarre characters that go well with the motley crew he's assembled over the years. It is, in fact, the most consistent record of Waits's career, offering not only a stable train of thought, but a musical approach that, while featuring the same vaudevillian touches that have characterized his work since Swordfishtrombones, finds a voice all its own. Without much percussion to back them up, violins, cellos, and horns dominate the record, bathing Waits's familiar growl in a sly, slow cacophony that sounds like an underwater fugue, the notes like rust on the strings. "Watch Her Disappear," with its sparse, sad pump organ, and the twisted torch song "Reeperbahn" have the smoky café mystery of Edith Piaf by way of Leonard Cohen, recovered from the water-logged tapes in Cole Porter's long-lost dingy. It's a burst of dark, world-weary poetry for lonely Saturday nights, cloudy days on the beach, or long strolls through graveyards. --Matthew Cooke

Fountain by Lyra Pramuk, releases 20 March 2020
Lyra Pramuk’s debut Fountain explores a post-human, non-binary understanding of life
Lyra Pramuk fuses classical training, pop sensibilities, performance practices and contemporary club culture in what may best be described as futurist folk music. While the American operatically-trained vocalist and electronic musician is perhaps previously best known for her work with musical collaborators such as Holly Herndon and Colin Self, she is set to release her debut album, Fountain, via Iceland’s Bedroom Community label in March 2020.
Created entirely from her own voice, although often shaped and structured by electronics, Fountain is an emotional, sensual, and devotional journey. The title is derived from her family name, Pramuk, which translates from Czech as ‘well spring’ or ‘fountain.’ Often wordless, these songs evoke a new wholeness sustained by the ritual force of drowning, immersion, cleansing, and bathing – also referred to in the album artwork by acclaimed visual artist Donna Huanca. Fountain plays with the perception of music, rhythms, speech, body, and the relation between technology and humanity, exploring a post-human, non-binary understanding of life and the fragile ecosystems it depends on. The work documents a healing that is still in process, and a full circle-moment that reunited Lyra with her sound engineer twin brother, Ben, for the final mix, which they completed in tandem.
As a vocal activist and member of the queer community, Fountain’s creation also coincided with a personal rejuvenation for its author. Its completion culminated in the live premiere of the album material at Unsound Festival in Krakow in 2019, where she performed through a multi-channel array designed by Ben Frost, opening for Sunn O))) and Roly Porter. A closer collaboration with Frost on a soundtrack for a new film project will be announced later in 2020. Her performance at Berghain on 30 January for CTM Festival in her hometown of Berlin promises an even more confident and joyous realization of the album’s song cycle.
Lyra moved to Berlin in 2013 as a DAAD postgraduate study scholarship recipient, following her degree at the Eastman School of Music in New York. Since then, she has also been awarded residencies at Elektronmusikstudion EMS Stockholm, Open Port Club Residency in Tokyo and Sapporo, and Future Music Lab of the Atlantic Music Festival in Maine. Her interests also encompass writing, poetry, and fashion, where she is sometimes called upon as a model. As a performance artist, she has collaborated extensively with Donna Huanca and at events such as Glasgow International and the Rochester Fringe Festival.

Legendary pedal steel player Susan Alcorn presents her music as curated and arranged by cellist and composer Janel Leppin. This recording is from a live performance from her residency at Issue Project Room in July 2012. Leppin’s arrangements and curation emotes the brilliance, transparency and resonance of the pedal steel guitar. Through this ensemble, the mastery of Susan Alcorn's compositions shine.
Susan Alcorn has taken the pedal steel guitar far beyond its traditional role in country music. Having first paid her dues in Texas country & western bands, she began to expand the vocabulary of her instrument through her study of 20th century classical music, visionary jazz, and world musics. Struck by the music of Messiaen she began transcribing classical music from recordings and scores on her instrument. Soon, she began to combine the techniques of country-western pedal steel with her own extended techniques to form a personal style influenced by free jazz, avant-garde classical music, Indian ragas, Indigenous traditions, and various folk musics of the world. By the early 1990s her music began to show an influence of the holistic and feminist “deep listening” philosophies of Pauline Oliveros. As her records gained a cult following she moved to Baltimore, MD. She performs internationally and is a key figure in the free improv scene in the US.
Janel Leppin is a core member of the Washington, D.C. experimental, jazz, punk and improvisational scenes and is a celebrated visual artist as a weaver. DownBeat Magazine describes her as “An absolute virtuoso”, NPR Music says “instrumental intimacy swept up in arrangements that cluster around her voice, as delicate and as imposing as a sheet of falling ice.”. Janel leads and writes for her free jazz sextet, Ensemble Volcanic Ash “a rarity..ahhh-vant garde at it’s finest." -Capital Bop. Leppin and Alcorn also recorded the composition “Thick Tarragon” by Eyvind Kang from the album Visible Breath on Ideologic Organ. Leppin appears as a string arranger on many recordings on labels from Dischord Records to Sacred Bones.
"I was introduced to music at an early age and have been playing music since I was three years old when I sat underneath my mother’s spinet piano and pressed the foot pedals while she played and sang classical and church music in our living room. In grade school I played viola, in middle school cornet and then guitar; then at the age of twenty-one I found the pedal steel guitar.
Of all the circuitous paths through life, music is the one I chose (or perhaps it chose me) - there has always been a certain magic, feeling the vibrations through my bones as a child and now as an adult. With that magic, there has always been, for me, a need to wade deeply then swim in those vibrations and communicate what it feels like - an experience beyond pleasure or pain, beyond emotions. A feeling of transcendence but also of being rooted like a tree in the earth below. A connection with that mysterious universe of musical vibrations, vibrations within vibrations, and the spaces between in which stillness is only relative.
I view the instrument I play, the pedal steel guitar, not as an object to be mastered, but as a partner with which to share with the listener a meaning, depth, and hopefully profound awareness of each fragile moment we’re together. It is this dynamic of which I try to be cognisant in both my writing and performance.
There are basically four directions to the music I play and have played for years - the composition and recording of my own music, adaptation of adventurous works of music written by others that speak to me in a personal way, free improvisation with like-minded musicians, and collaborations with various outlier musicians on the fringe of music and society who have important things to say. as an object to be mastered, but as a partner with which to share with the listener a meaning, depth, and hopefully profound awareness of each fragile moment we’re together. It is this dynamic of which I try to be cognisant in both my writing and performance.”
–Susan Alcorn

They have dented corners, slightly dinged sleeves and may also have ring wear. This should not affect playback. Sonic Youth Live In Moscow on limited edition 2xLP. Recorded live at Orlyonok concert hall, Moscow, April 12-13, 1989. Sonic Youth: Kim Gordon, Thurston Moore, Lee Ranaldo, Steve Shelley.