When Rough Trade reissued the Pixies' seminal full-length debut album, Surfer Rosa, on CD, they added the terrific mini-album Come on Pilgrim as a bonus. While it's nice to have these two records on one disc, the sequencing of Come on Pilgrim after Surfer Rosa is a little disconcerting, since the two albums each have distinctive sounds that clash slightly. Steve Albini's production of Surfer Rosa is metallic and spare — it's in black and white, with no shades of grey and no color. Come on Pilgrim, on the other hand, is filled with greys and colors, and while the contrast between the two is certainly interesting, it would be more enlightening if the mini-LP was placed before Surfer Rosa. Nevertheless, some fans might like having both albums on one disc, but buying them individually is a better move and, in any case, a little more cost-effective as well.

老牌先锋实验乐队Sonic youth终于敲定了他们的精选辑《Hits are for squares》中的曲目。这张唱片将于6月10日在纽约、洛杉矶、芝加哥、三藩市、西雅图、波士顿、费城以及华盛顿特区的星巴克咖啡馆发售。当然，也可网上订购。
除了Sonic youth全新创作的单曲《Slow Revolution》之外，这张限量版CD中收录的歌曲都是由多位大名鼎鼎的人物精挑细选出来的心头大爱，这些人中就包括了红透全球的英伦乐队Radiohead、Pearl Jam乐队成员Eddie Vedder、傀儡乐队贝司手Mike Watt等等响当当的大牌明星。同时他们也为唱片撰写了封套说明文字。

Julianna Barwick's revelatory third full-length, Will, is a surprising left turn for the Brooklyn experimental artist. Conceived and self-produced over the past year in a variety of locations, the ominous, compelling Will is a departure from 2013's Alex Somers-produced Nepenthe. If that last record conjured images of gentle, thick fog rolling over desolate mountains, then the self-produced Will is a late afternoon thunderstorm, a cathartic collision of sharp and soft textures that sounds looming and restorative all at once.
Will comes off of Barwick's busiest period in her career to date following the release of Nepenthe--a spate of activity that included playing piano for Yoko Ono, performing at Carnegie Hall at the annual Tibet House concert with the Flaming Lips and Philip Glass, the Rosabi EP and beer created in conjunction with brewing company Dogfish Head, and a re-imagining of Bach's "Adagio" from Concerto In D Minor.
Barwick's life over the past several years has largely been lived in transit, and as such the genesis of Will was not beholden to location; Barwick worked on the album in a variety of locales, from a desolate house in upstate New York to the Moog Factory in Asheville, North Carolina, to Lisbon, Portugal, the first European city to embrace Julianna's music in 2007.
"I love touring, but it can be a wild ride," Barwick reflects on this cycle of constant motion. "You're constantly adjusting, assimilating, and finding yourself in life-changing situations." Those experiences played into and helped shape Will's charged, unstable atmosphere: "I knew I'd be playing these songs live, so I wanted some movement," she explains. "Something that had rhythm and low-end."
That sense of forward propulsion is largely owed to Will's synth-heavy textures, an ingredient she was inspired to add to her vocal loop-heavy formula after demoing a new prototype analog sequencer for Moog during last year's FORM Festival in Arcosanti, Arizona.
The electric current that runs through Will takes on various shapes of intoxicating instability: the orbiting chain of tones that wafts through "Nebula", the frizzy sine waves lying under the firmament of "Same", the haunting vocal echoes on opener "St. Apolonia" that were recorded late at night at a Lisbon train underpass, and the martial arpeggios that accompany Will's processional closer "See, Know".
Another new wrinkle that Will introduces in Barwick's sound: Mas Ysa's Thomas Arsenault, who lends his richly complex vocals to "Same" and "Someway" and weaves perfectly into Barwick's distinctive musical fabric. The album also features contributions from Dutch cellist Maarten Vos and percussion from Jamie Ingalls (Chairlift, Tanlines, Beverly).
Will is largely a product of ups and downs, a reflection of a life lived somewhere in between transience and standing still. "While making this record, there were moments of isolation and dark currents," Barwick admits. "I like exploring that, and I love when I come across songs that sound scary or ominous. I've always been curious about what goes into making a song that way." The beguiling, beautifully complicated Will is the result of that curiosity, as well as the latest proof yet of Barwick's irresistibly engaging talent as a composer and vocalist.

Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens's gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without neither myths nor miracle and this time around, his voice carries the burden of wisdom. Carrie & Lowell accomplishes the rare thing that any art should achieve, particularly in these noisy and fragmented days: By seeking to understand, Sufjan makes us feel less alone.

相识多年的Matt Berninger (The National) 与Brent Knopf (Menomena / Ramona Falls)组成了EL VY，并将于2015年10月30日通过4AD发行Return To The Moon。
这张专辑已酝酿多年，始于Matt与Brent近十年前的相识。当时The National和Menomena均刚刚在美国西海岸起步，演出的小场地常常一半观众都不到。两人在音乐品味上的一拍即合，使得二人来往日益密切，Brent发给Matt一些音乐小样，而Matt则会回给他歌词与旋律。在2014年冬天与2015年春天，两人聚到了一起，开始了这张专辑的创作。
Return To The Moon有着你所期望他们所产生的化学反应：Matt兼具黑色幽默与故事感的歌词，极具辨识度的旋律；Brent兼具俏皮与建筑感的编排，独具一格的制作。Brent解释说，他从不担心作品没有完成便发给了Matt，因为他知道Matt能够把它们变成绝妙的歌曲。
需要强调的是，The National和Ramona Falls都正各自准备着自己的新专辑，EL VY并不是这两个乐队的替代品或Side Project，而是另类音乐世界中的灵光一闪。
Matt说：“这张专辑比起我以往的任何作品都更具有自传色彩。细节并不都是真实的，是通过一些虚构的人物来讲述的，综合了形形色色的人物：我自己，我的妻子，以及我时常回想起的一些人。"

EL VY新专辑'Return To The Moon'四单。

Following last year's debut Sunken, the young Chicago psych band Twin Peaks return with a new LP, Wild Onion, out August 5 via Grand Jury.

。低传真、Nosie Pop与庞克精神骚动的惨绿青春乐章
。Nirvana、Pixies制作／录音大师Steve Albini合力打造
。乍现Nirvana《In Utro》时期粗犷不羁的狂躁能量
进入千禧年后，Lo-Fi曲风不但没有随着90年代而逝，反而冒出了许多如Wavves、Tapes’n Tapes、No Age等接棒新秀。2011年，来自美国克里夫兰的年轻人Dylan Baldi化名为Cloud Nothings，在Carpark厂牌下发行了首张同名专辑，以Lo-Fi精神与Noise Rock曲风纪录下乖戾躁郁的青春，满溢出来的青春张力，获得了权威音乐网站Pitchfork 7.9分的好评。
最新专辑《Attack On Memory》由曾经为Nirvana、Pixies打造无数经典的制作／录音大师Steve Albini合作，依旧弥漫Lo-Fi精神的粗犷活力，力道却更加成熟饱满。专辑开场曲〈No Future／No Past〉以抑郁的旋律开场层层堆叠出澎湃激昂的前卫缓飙格局；长度接近9分钟的〈Wasted Days〉，在Dylan Baldi声嘶力竭的畅快怒吼之后，让人血脉贲张的噪音音墙直扑而来；〈Fall In〉短小精悍的Punk曲式，令人联想起早期的Green Day；〈Stay Useless〉一曲所散发出来的青春活力，足以让人勾起窝在沙发上看【瘪四与大头蛋】那款属于90年代的回忆。
“当你孓然一身，便无所畏惧了。（When you got nothing, you got nothing to lose. ）”Bob Dylan在〈Like A Rolling Stone〉里这么唱着。这一无所有的匮乏，正如我们的青春，而没有什么音乐比简单粗糙的Lo-Fi精神，更能捕捉这段惨绿岁月，Cloud Nothings生猛带劲的音乐，正好可以让人重新燃起体内温驯太久的小宇宙。

Sinatra's sophomore effort sticks to her usual LP formula- a hit title track, a bunch of pop covers, and some unremarkable Lee Hazelwood songs. This Sundazed 1966 reissue also include bonus tracks 'The Last Of the Secret Agents', 'Until It's Time For You To Go', 'Lightning's Girl' and 'Feelin' Kinda Sunday' Which was recorded with Frank Sinatra. 1995.