The Flashbulb returns with his most ambitious release to date, spanning 3 years and a move across country. The tools include robotic rhythm machines, personally developed hardware and software synthesis, months of field recording, and dozens of orchestral and choir performers seemingly blended Jordan's signature production ethic.

Mirror Touch explores spaces of isolation, loneliness and how it feels when the line between self and other becomes blurred. The record title refers to the condition "Mirror Touch Synesthesia" and the physiological experience of empathy. How can you know yourself, when in public you become everyone else? The songs explore the quest to maintain artistic self-integrity in an industry that seeks to homogenize. Solitary in their process of collaboration, Himes and Vicario produce the music, while Sullivan crafts lyrics and melodies, their attempt at self-preservation against the ever-changing expectations of what music should or should not be. Combining their style of upbeat melodies with a backdrop of darker lyrical themes, an inquiry into their artistic process ultimately reflects a balance between earnest head nods to their favorite sounds with a fierce loyalty to their own sense of self.

虽然这是Chris Garneau的第一张唱片，但却丝毫没有生涩的感觉，相反，歌曲散发的魅力是很有深蕴的，足可以让人沉醉。他走的风格路线还是比较低迷的，伤情的，是一张听了可以让你跟着沉沦的唱片。歌曲的伴奏主要以钢琴为主，甚至常常一首歌曲只有钢琴在游走，虽然简单，不过就在简 单之中，给了听众最直接最简洁的触动。

Go Mirage is the 3rd full-length album from Chicago cinematic-rock trio To Destroy A City. This follow-up to 2014's post-rock paragon SUNLESS has an added immediacy due to the soaring nature of guitarist Michael Marshall's step toward the mic. Yes... There are vocals! Post-rock for the most part, has mainly utilized vocals as a texture or afterthought. Yet, To Destroy A City have adeptly included vocals into their cinematic tapestries with ease, and in the process added another layer of melody, modesty, and a surprising sense of hope to their already affecting guitar-driven compositions. There is an air of instant gratification with Go Mirage. It seems to push you forward to the next horizon, much as its title might suggest. Idealists might bark that To Destroy A City can't continue to fly the post-rock flag with such a vocalic album. The enlightened will find that the addition of vocals places the band as contemporaries to artists such as Caspian, Mogwai, and Album Leaf which have effectively used vocals as key components in their music. Go Mirage is out Oct. 20th on compact disc, 180gm oxblood vinyl, and 180gm transparent yellow with oxblood haze vinyl.

慵懶的聲音，帶著些許迷幻的感覺。
Beach House是一支於2005年成立於馬里蘭州巴爾第摩的雙人dream pop和indie-rock樂隊。他們熨人心脾的音樂與Mazzy Star和Nico風格很像。他們的首張同名專輯在2006年Pitchfork Media排名上位列第十六位。

As faithful guardians of the Ciani Musica Inc. studio vault Finders Keepers Records twist the key and return to their collaborative series of previously unreleased music from one of the most important and influential composers in the history of multi-disciplinary electronic music. Open-minded, unpretentious, enigmatic and consistently inspiring, Suzanne Elizabeth Ciani would shatter the mould and invert the stereotype of electronic composers in the early 1970s with a bona fide education in classical music, a clear understanding of technology and a genuine will to communicate and naturalise electronic music.
All of these unique attributes, coupled with her natural charm and generosity, would win her success and notoriety in the colliding worlds of art, film, advertising, theatre, dance and eventually popular recorded music in the latter part of the 21st century – a multifarious achievement which remained unrivalled by any of her contemporaries, regardless of gender, conquering many male-dominated platforms and breaking creative ground in the process. It is exactly these key factors that would form the basis for this multifaceted musical project that is stored within the grooves of the record you are now holding. This electronic soundtrack for an operatic, ecological, scholastic, science fiction theatre production for children of all ages not only further reveals Suzanne's vibrant and versatile skills as an experimental musician and narrative sound designer but also highlights her European heritage - working to the script of Milanese librettist Gian Carlo Menotti and a cast of forward-thinking fellow Italian-American creatives (including Giorgio Armani and Fiorucci in the wardrobe department). Originally written and performed in 1968, and gaining worldwide acclaim throughout the 1970s, Gian Carlo Menotti would update and revise his play for the turn of the 80s which called for a new approach to the music and sound effects - all of which would make their world premier in New York high school theatres in April of 1980. "I was honoured to have been selected to create a new electronic score for Gian Carlo Menotti’s opera for children," Suzanne told Finders Keepers. "The original production had been in 1968 and I felt that the electronic music component could be more playful and less abrasive than the original production." For this task Suzanne would approach the brief with the same zeal and tenacity that she continues to apply to all her work by reinventing the process, challenging convention and supplying the audience with something they have never experienced before. For Help, Help The Globolinks Ciani would give Menotti's well-travelled aliens a brand new voice and with reinvention she communicated with a young audience keen to hear the genuine sounds of the future while retaining melodicism and personality quite potentially overshadowing the "human" casts exceptional abilities and challenging the director’s and writer’s authority in true Ciani style: "I recall meeting with Maestro Menotti at his home in New York City," recalls Suzanne. "Later I was told that he was upset by the size of my credit on the poster."
Unlike many successful electronic composers, Suzanne, as a serious and genuinely revolutionary artist, managed to evade the obvious typecasting of her music through the medium of shlock sci-fi cinema (Swiss composer Bruno Spoerri readily observes that all the best space film scores veered from this pairing) but within the realms of opera and education Suzanne found her perfect channel (scratching her other cosmic cinematic itches with android music in The Stepford Wives and as "the first female composer to score a major Hollywood movie" with The Incredible Shrinking Woman release one year after The Globolinks redux debut). Furnishing a plot of an ecological alien intervention worthy of a Magma youth starter pack and realigning early pioneering electronic operas such as Karl-Birger Blomdahl's Aniara or Remi Gassman's Electronics for family consumption, this virtually undocumented work by the hardest working woman in VCO business is finally preserved after just a handful of exclusive theatrical airings over 35 years ago. Having honed her craft in the close company of late synthesiser designer Don Buchla (a company of whose development she played a key role) it is plain to see how the young Suzanne Ciani combined roles as an abstract artist and an astute technician in equal measures, a rare duplicity which would be essential The Globolinks and all our musical quests for a brighter future.
released November 10, 2017

Now the CD+2DVD package Life on the Murder Scene fans the flames of fanatiscism with live performances, demos and rarities, including over 4 hours of footage of live performances, MTV2 $2 Bill, MTV Discover and Download, plus Sessions @ AOL, and Live @ Launch. The love affair with My Chemical Romance has just begun.

随着岁月的流失和成长的痛苦，我们不断的迷失，再迷失。而身后所有的人、事物，甚至是自己都在经历着遗忘或者被遗忘。所有的一切都已变得功利和世俗，包括音乐。走在被遗忘的边缘，例数着“感恩之死”，“大门”，“地下丝绒”等昔日的先锋。我试图去回忆一切，却发现他们虽然如此的遥远，却依然使人兴致盎然。
十月的到来，使我突然想起Shannon Hoon和他的Blind Melon乐队。曾经在No Rain，Change等歌曲中带给我无限快乐的Hoon，已离去八年。在怀着一种悲伤和失望的心情中，我试图去唤醒他们的一切。
在昔日的嘻皮之都，1989年美国西岸的洛杉矶，阳光还是依然充足、明媚，空气中照旧撒发着那种自由、和谐的味道。在这懒洋洋、而使人感到万分惬意的地方，一群年轻人的笑声似乎使整个城市都有些好奇，他们笑的是如此的开心。来自于西点的吉他手和贝斯手Rogers Stevens和Brad Smith，结识了成长在东部的Shannon Hoon，以及宾夕法尼亚的吉他手Christopher Thorn和他的同伴鼓手Glen Graham。于是，顺其自然的，即将重塑嘻皮精神的Blind Melon由此诞生。而各自不同的成长环境和背景好像从一开始就注定了Hoon和“盲瓜”们音乐经历中的戏剧性和艺术的交融性。
当他们把只有四首作品的demo集The Goodfoot Workshop寄到各个唱片公司后，随即就引发了Capital唱片公司的注意，而最终在Blind Melon成军后的两年签下了他们。然而，在经历他们的第一张正式录音的唱片时，情况到真的是一波三折。与老牌艺人Neil Young长期合作的制作人David Briggs担任了他们的首张EP ：The Sippin’ Time Sessions的录制工作。但是，对于一个崭新的富有嘻皮精神、满腹想法的年轻乐队，老Briggs好像也有些束手无策，成品的风格和乐队格格不入，远远的背离了Blind Melon那种饱满的热情和朴实无华的乐风，在失望和不满的情况下，Hoon和Blind Melon迎来了一个苦闷的时期。
在这段唱片出版裹足不前的时期，Hoon通过其姐姐的关系熟识了经典摇滚乐团Gun N’ Roses的Axl Rose。Axl深深地为Hoon的才能所感动。随即邀请Hoon为他们的专辑Use Your Illusion中的一些歌曲做背景和声。其中，就包括那首日后被广为传唱Don’t Cry。甚至到了最后，Hoon的身影就乾脆出现在Gun N’ Roses的音乐录影带中，如果Blind Melon就此告一段落的话，也许Gun N’ Roses真的会完全的吸纳Hoon。接下来的1992年，还没有专辑作品的Blind Melon还是凭借着良好的口碑和在音乐圈中不可忽视的影响力，被力邀参与了“MTV 120分钟”的演出。好像这就意味着他们的好运气从此开始。
同年，随着Temple of the Dog，Pearl Jam等乐队的王牌制作人Rick Parashar的到来，乐队重新投入到的专辑录制工作中。然而这次合作，Hoon和“盲瓜”们终于找到了自己的感觉，他们的心情也随着天气一样进入了无比风光的9月——Blind Melon的处男同名专辑正式问世。这张才华横溢的作品中，Parashar对他们的出色洞悉打开了Hoon的内心和才华的大门。Hoon独特的嗓音以及对于歌词的天赋使Blind Melon看起来是那么的出众。在Dear Ol’ Dad中，是Hoon对于未来美好的向往 “I'm like a pigeon that’s spreading its wings to fly away to better things”。歌曲Change则被认为预言着Hoon的死亡，大致是因为包含着这样的词句：“when your deepest thoughts are broken, keep on dreamin boy ，cause when you stop dreamin its time to die”以及“When life is hard you have to change”等等。专辑中最出色的歌曲（不用说，也是Blind Melon最经典的作品！）No Rain和我们分享的是关于九十年代嘻皮精神现实生活的故事，Hoon出生在（对他来讲）是一个错误的年代，一切都得不到理解，只有孤独和不断逃避“All I can say is that my life is pretty plain，You don't like my point of view。Ya think that I'm insane。Its not sane... its not sane”，“…all I can do is read a book to stay awake。It rips my life away but its a great escape...escape...escape”。他们的处女作无论是从歌词到演奏技术上（尤其是Soak the Sin，Deserted等歌曲）都表现出他们已是一支成熟的乐队。当然，这就意味着，他们有理由相信自己会得到更多的关注。
虽然，Blind Melon的现场演出很多，在1993年，他们还参与了Neil Young，Lenny kravitz的巡演。但是直到94年，他们才正式以自己的名义进行演出。也正是在94年，乐队得到了他们所期盼已久的回报，同名专辑为他们带来了格莱美提名的最佳新晋乐队以及最佳摇滚表演奖。还参与了同年的Woodstock以及9月Rolling Stone的演唱会。乐队的第二张专辑的录制也在Andy Wallace的监制下展开了。
次年，专辑Soup于8月发表。成熟化的Hoon和他的Blind Melon使整张专辑的风格更趋向民谣化，作品更加平实，但不乏流畅的旋律和饱满的吉他riff。歌曲2×4，Dumptruck，Wilt等延续了同名专辑中Soak the Sin的Blues-oriented路线；Skinned是关于连环杀手Ed Gein的故事；而Walk则是一首动听的Folk Rock作品；在New Life中，表现了Hoon此时此地真实的心情，此前的一个月，Hoon的女友为他们带来了第一个孩子，这使Hoon得以重拾希望，再次审视自己的生活：在歌中他这样的唱到“'Cause now she's telling me she'll have my baby，and a faithful father I am to be。When I'm looking into the eyes of our own baby，Will it bring new life into me?”，“I'll always try to　justify the way I've been behaving”莫明奇妙地的是歌中却同时充满矛盾和迷惘的词句“How to live in a world we live in now”。这好像是一种暗示，并非Hoon不在意这燃起的新的希望。然而，这却使他加剧挣扎在自己的现实世界和理想世界中，并且他的身体也每况愈下。10月21日，Hoon被发现由于吸毒过量死于乐队的巡演车上。这本是个可以预料的结果，但每个人都没有想到这一天会如此早的到来。
——这一年，他只有28岁。
之后，乐队不得不陷入了困境。没有了Hoon，就等于失去了乐队的灵魂。直到1996年，乐队的其他成员才将Hoon生前已录制好的歌曲加入乐器，以他女儿Nico Blue的名义出版了最后一张专辑Nico。不用说，这也是对Hoon的纪念。并且，专辑的部分收入将捐献给MAP（Musicians Assistant Program），用来帮助那些吸毒的艺人摆脱毒品和酒精的困扰。专辑中，收录了他们成名作No Rain的Accoustic版本，Stevens和Smith创作的第一支作品Soul One，还有两首歌曲和John Lennon有关：向Lennon致敬的John Sinclair和Hoon从Albert Goldman所著的《the Lives of John Lennon》书中汲取的灵感的All That I Need。这是一张最接近Hoon的唱片，他那天真、神奇的嗓音生动地展现了一个九十年代真正的嬉皮。伴随着CD机中一遍又一遍的歌曲Life Ain’t So Shitty，这个关于Hoon和“盲瓜”短暂的故事该说再见了！然而，在每一个糟糕的不能再糟糕的日子里，你是否会有Hoon的那种Life Ain’t So Shitty的感觉呢？
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from

2007 vinyl LP pressing of this classic from Jonathan Richman and friends. Compiled of demos the band recorded with John Cale in 1973, The Modern Lovers is one of the great Proto-Punk albums of all time, capturing an angst-ridden adolescent geekiness which is married to a stripped-down, minimalistic Rock 'N' Roll derived from the Art-Punk of the Velvet Underground. As he says in the classic two-chord anthem 'Roadrunner,' Jonathan Richman is in love with the modern world and Rock 'N' Roll. He's still a teenager at heart, which means he's not only in love with girls he can't have, but also radios, suburbs, and fast food. But beneath his adolescent posturing, Richman is also nakedly emotional, pleading for a lover on 'Someone I Care About' and 'Girl Friend,' or romanticizing the future on 'Dignified and Old.' That combination of musical simplicity, driving Rock 'N' Roll, and gawky emotional confessions makes The Modern Lovers one of the most startling Proto-Punk records. It strips Rock 'N' Roll to its core and establishes the Rock tradition of the geeky, awkward social outcast venting his frustrations. More importantly, the music is just as raw and exciting now as when it was recorded in 1973, or when it was belatedly released in 1976. Get Back.

This music is first and foremost about what can be done together, live in a room, to both transcend and reclaim ourselves from the noise of public living. I’m waging a sort of secular, one-man liturgy here; a public act grounded in ritual. These songs offer wordless hymns and pulsing harmonic frameworks one might use to focus their own contemporary values. Instrumental music particularly offers the opportunity for personal interpretation and reflection. In this ever-fucked world, that seems perpetually in short supply.
“To engage with ritual is to engage with time. I needed to create a way to play solo that would let me wield the temporal freedom of expressive instrumental music with the full palette of modern electronic forces. I banned backing tracks, click tracks, and even live looping - anything that would enforce a strict grid. I wanted time back in electronic music.
“I also wanted the body back; our rituals begin with the physical. All sounds originate from me kicking a drum, playing the violin, or various natural percussion sources. I built software that lets me do all this, free here". This offers an unprecedented amount of control over this music’s elastic sense of time. Electronic music without the grid. There’s so much space in this music, it’s just essential - listening to a phrase decay in the room before proceeding. Likewise, there are no overdubs in these recordings; it’s just me, 6 mics, and 3 video cameras.
“Yes, the whole record’s also on video: a Video Album. We avoided the recording studio, preferring a spacious hall in what was once a psych ward and then a schoolhouse. Again, I’m trying to pull you into the live ritual, into the room. A video isn’t a live event but it does evoke it. I bring my own artifacts: triangles, a pasture bell, and tuning forks in particular: I use these as first order musical instruments, beginning with a percussive strike and then, while resonating, processed through my bridge into shifting melodies.
“So there’s a bunch of new stuff here. Real novelty isn’t an indication of quality but it does require a bit of bravery perhaps. We need to take chances.
“But enough about not-me. I’ve been creating instrumental music a long time now, under my own name and via bands (Slow Six, Wires Under Tension). I’ve also built software a long time - yes, I do this for Google. I did my time in Princeton’s PhD program for music composition, NYU’s Masters of computer science program, and at Bard studying creative writing. I worked live sound for years at NYC clubs now gone (CBGB’s, Brownies) while immersing myself in minimalism, working sound for a music festival produced by Mr. Glass and assisting LaMonte Young. As a string arranger I get to work with lots of great artists including John Congleton, This Will Destroy You, and Meshell Ndegeocello to name a few. I’ve worked as a bike messenger, snowboard instructor, and Emergency Medical Technician...buy me a whiskey and I’ll tell you the rest…”
– Christopher Tignor