Location: Atlanta, Georgia

前Throwing Muses的主音和灵魂人物Kristin Hersh的第一张个人专辑《Hips and Makers 》是她音乐事业迄今为止最为成功的作品，其中的代表作与Michael Stipe（R.E.M.）合唱的"Your Ghost"在广播电台热播后，这张专辑受到广泛关注和好评，它最终的销量居然超越了Throwing Muses以往的任何一张的专辑。
《Hips and Makers 》由大名鼎鼎的前Patti Smith乐队的吉他手Lenny Kaye担任制作，他也曾为Suzanne Vega制作，但Hersh的声音无论精致脆弱还是粗粝的咆哮的程度都远胜过Suzanne Vega。这是一张几乎全部原声音响的专辑，一把acoustic吉他和大提琴、钢琴简单穿插其中，凸显了绝望、内省自我剖白的特质，尽管录制完成仅用了2周的时间，它却凝结了Hersh巨大的悲痛和内在的坚韧，其中A Loon、Me and My Charms、The Letter是这种情绪最好的反应，而Beestung这样的音乐小品仿佛记忆中的泛黄的镜头闪回，不经意地触动听者淡淡的思绪。
这张专辑Hersh创作了一些很优秀的作品，经常出现在现场演奏的列表中，如：Your Ghost、Beestung、Sundrops、Velvet Days、Cuckoo等等。它完美的展现了Kristin Hersh音乐上过人的天赋和独具一格的创造性，尽管这也许是一个病态的天才。

在浏览AMG的时候看见这支乐队的,四星半的评价,漂亮的封面,和Matador响亮的厂牌吸引了我!

音乐的奇妙在于让我不断的去探询,不断的惊喜,最后得出的结论是-------这个世界上的乐队太多了,而且是那么的不同，色彩斑斓，你喜欢的也许就等着你去发现,去聆听,去享受!

在Google上没有这张专辑的一丁点儿介绍,但是我可以很负责的告诉你,《The Dirt of Luck》是你不该错过的一张专辑，女主唱的嗓音，和编曲的音色让人感受到那是90年代纯正的Indie Rock之声！时而点缀的一些亮色的旋律，叮叮咚咚的很让人喜欢！

Wild Flag is a Portland, Oregon- and Washington, DC-based female supergroup consisting of Carrie Brownstein, Rebecca Cole, Mary Timony, and Janet Weiss. The members of Wild Flag have played in numerous and notable bands including Sleater-Kinney, Helium, Quasi, The Minders, Stephen Malkmus and the Jicks, and others. In April of 2011, they went to Sacramento, California, where they recorded their self-titled album with engineer Chris Woodhouse at the Hangar. All tracks were recorded live except for the vocals.

Portland, Oregon’s Muscle and Marrow write music that is at once harrowing and intense—yet also plaintive and vaporous. Formed in 2013 by Kira Clark (voice, guitar) and Keith McGraw (drums, sounds), Muscle and Marrow quickly discovered their distinctive sound. Taking inspiration from visual and feminist art, as well as contemporary poetry and literature, Muscle and Marrow is an entity that is as thoughtful as it is powerful, and as experimental as it is immediate. Their debut album The Human Cry was released in June 2014 by Belief Mower Records. Its songs were arresting and hysterical, but also distinctly feminine. Pitchfork called it “gorgeous” with Clark’s voice alternating between plaintive wails and guttural moans that soared over waves of pulsing drums and stifling guitars.
After the release of The Human Cry, Muscle and Marrow toured across the United States, playing alongside bands like True Widow, The Body and Author and Punisher, before heading east to record a new album. In October, 2015, the duo posted up at Machines with Magnets (The Body, Lightning Bolt, Marissa Nadler, Deer Tick) in Providence, RI with producers Seth Manchester and Keith Souza to record what was to become their sophomore album, Love. The band took their time in the studio and laid down seven tracks that delve deeper into electronic territory and incorporate the familiar droning guitars, rumbling synth and tribal drums throughout. Clark’s vocals are ghostly and chilling—almost unnerving at times—weaving intricate layers over a sprawling web of guitar and McGraw’s rumbling textures and drums. Clark commented, “With The Human Cry, the songs were much more straightforward guitar and drum songs. I would hand Keith entire songs already written, but with this record we toiled away at the computer adding electronic elements and a lot of vocal layering, almost like my voice (being many voices) is desperately trying to reach some sort of surface, to break through, but ultimately cannot.”
Lyrically, Love is powerful and more realized, with elements of joy, strength and anger present. During the album’s writing process, Clark lost a family member and much of the lyrical content focuses on loss, but also on love in general. How to love better, more and at all, and what happens when someone else loves you—the trap of that love but also the freedom it affords. Additionally, Love touches on feminism and female archetypes, a topic that Kira Clark is very interested in. She commented, “It’s cathartic and alluring for me to delve into feminine madness because, of course, that character is inside me somewhere all of the time and to give her permission to surface in my art is powerful.” These new songs are just as beautiful and complex as those on the band’s debut, but on Love, Muscle and Marrow push their craft further, bringing them to the frontier of avant-garde dark music.
Album artwork by Evelyn Bencicova. Package design and layout by Kevin Gan Yuen.

Written, arranged, and performed by Yohuna.
Yohuna is Johanne Swanson.
Adelyn Strei sang, played guitar, and co-wrote "Golden Foil".
Felix Walworth played drums.
Emily Sprague played mellotron.
Warren Hildebrand played bass.
Owen Pallett played a lot of things.
Production and engineering on "Creep Date" by Jake Yuhas and Miles Coe.
Produced by Yohuna and Owen Pallett.
Engineered by Owen Pallett and Mark Lawson.
Mixed by Owen Pallett and Warren Hildebrand.
Mastered by Warren Hildebrand.
Design by Brian Vu.

Off the Wall is the fifth studio album by the American pop musician Michael Jackson, released August 10, 1979 on Epic Records, after Jackson's critically well received film performance in The Wiz. While working on that project, Jackson and Quincy Jones had become friends, and Jones agreed to work with Jackson on his next studio album. Recording sessions took place between December 1978 and June 1979 at Allen Zentz Recording, Westlake Recording Studios, and Cherokee Studios in Los Angeles, California. Jackson collaborated with a number of other writers and performers such as Paul McCartney, Stevie Wonder and Rod Temperton. Jackson wrote several of the songs himself, including the lead single, "Don't Stop 'til You Get Enough".
The record was a departure from Jackson's previous work for Motown. Several critics observed that Off the Wall was crafted from funk, disco-pop, soul, soft rock, jazz and pop ballads. Jackson received positive reviews for his vocal performance on the record. The record gained positive reviews and won the singer his first Grammy Awards since the early 1970s. With Off the Wall, Jackson became the first solo artist to have four singles from the same album peak inside the top 10 of the Billboard Hot 100. The album was a commercial success, to date it is certified for 7× Multi-Platinum in the US and has sold 20 million copies worldwide.
On October 16, 2001, a special edition reissue of Off the Wall was released by Sony Records. Recent reviews by Allmusic and Blender have continued to praise Off the Wall for its appeal in the 21st century. In 2003, the album was ranked number 68 on Rolling Stone magazine's list of the 500 greatest albums of all time. The National Association of Recording Merchandisers listed it at number 80 of the Definitive 200 Albums of All Time. In 2008, Off the Wall was inducted into the Grammy Hall of Fame.

Emeralds are John Elliott, Steve Hauschildt and Mark McGuire. "Does It Look Like I'm Here'" is the third official album by Emeralds (after "Solar Bridge" on Hanson, and the self-titled LP on their own Wagon and Gneiss Things imprints, as well as countless small edition tapes and CDRs on a host of labels) and once again it presents another radical new direction for this Cleveland trio. It sees the group moving from playing single oscillator analog synthesizers to really complex analog and analog/digital hybrid as well a great deal of guitar synthesizers, not to mention fine tuning their skills as brilliant tunesmiths. Simply put, the results are outstanding. Comprising of a number of tracks from their recent ultra limited 7" vinyl series on Wagon, as well new compositions exclusive to this release. This fine selection of tunes surpass anything they have achieved in their 5 year career. Perfect melodies intertwined with ripping sequences and a guitar sound that floats perfectly throughout. Although most tracks cover new ground in that they follow a shortened 'pop format', more long form cuts such as the towering "Genetic" and the title track will give fans of their earlier work something to grab onto, or totally let themselves go depending on the state of mind. Having spent all their lives in the relative isolation of Cleveland means their music has developed into a vital, stunning unique hybrid that may have not been able to blossom in more active urban centres. "Does It Look Like I'm Here'" heralds a turning point for all those involved and is perfect vivid soundtrack to emerge out of the recent harsh grey winter. Fresh, shiny and totally essential.

Dave Lombardo加入后的首张专辑！

Sumerlands explode onto the scene with their incredible self-titled debut album of classic heavy metal. Inspired by the timeless guitar-driven sound of the 70's & 80's, Sumerlands feature former Hour of 13 / Atlantean Kodex vocalist Phil Swanson and renowned producer Arthur Rizk (Inquisition, Power Trip, Pissgrave) on guitars and behind the boards! Powerful guitar riffs and galloping rhythms meld flawlessly together with soaring vocals and pristine production to create strong, hook-filled, moody anthems. This is a new wave of American Heavy Metal at its finest!