Written over the course of 2016 and 2017 and recorded in the summer of the latter year by Frances Quinlan (songwriter/vocalist/rhythm guitar), Tyler Long (bass), Joe Reinhart (guitar), and Mark Quinlan (drums), Bark Your Head Off, Dog addresses disappointment, particularly in man's misuse of power, and relates accounts from the periphery -- one's attempts to retreat from the lengthening shadows of tyrants, both historical and everyday. It considers what it’s like to cast off longheld and misguided perceptions, yet without the assurance of knowing what new ones will replace them. Much like on Hop Along’s first and second records, Get Disowned and Painted Shut, Quinlan seeks in real time to work through these issues.
Throughout the album, one gets the sense that Quinlan is wandering in the thicket of a forest—a state of being that will feel familiar to longtime listeners—and on this outing, she hasn’t left a trail of breadcrumbs behind her. The album’s artwork, which Quinlan painted herself, invites the listener into that forest, as well. “There is a terror in getting lost,” she says, “the woods are at the same time beautiful and horrifying.” This curious wandering gives the album, both lyrically and musically, a heightened dimensionality.
Bark Your Head Off, Dog is, without question, Hop Along’s most dynamic and textured record yet. Self-produced and recorded at The Headroom in Philadelphia by Reinhart and Kyle Pulley, Bark Your Head Off, Dog features the familiar sounds that have always made the band allergic to genre: grunge, folk, punk, and power pop all appear, with inspiration from ELO to Elvis Costello to ‘70s girl group vocal arrangements. This time around, they’ve added strings, more intricate rhythms, lush harmonies (featuring Thin Lips’ Chrissy Tashjian), along with a momentary visit with a vocoder. In more than one place, Mark Quinlan drums like he’s at a disco with Built to Spill.
Most significantly, Bark Your Head Off, Dog shows the band at its strongest and most cohesive. Hop Along (which originally began as Quinlan’s solo project under the moniker Hop Along, Queen Ansleis) has never sounded so deliberate, so balanced. “So strange to be shaped by such strange men” is a line that repeats on more than one song on the album. “I’ve been thinking about that a lot. That I just deferred to men throughout my life,” Quinlan says. “But by thinking you’re powerless, you’re really robbing yourself. I’m at a point in my life where I’m saying instead, ‘Well, what can I do?’”

Produced by Jake Sinclair (Taylor Swift, Fall Out Boy),DEATH OF A BACHELORmarks the first release from Panic! At The Disco in nearly two years, following 2013's acclaimedTOO WEIRD TO LIVE, TOO RARE TO DIE!. The album has already generated significant steam - current single "Victorious" rocketed to #1 on iTunes Top Songs chart, # 1 on Billboard + Twitter's Trending 140 chart, while also trending worldwide on Tumblr and Twitter. The track is currently soundtracking postseason baseball coverage on the MLB Network and will also be featured in the trailer for 2K Sports' hugely anticipated "WWE 2K16" video game, set to debut Sunday, Oct. 25 during WWE Network'sHell In A Cellevent and then air across all WWE programming including USA Network'sWWE Rawand Syfy'sWWE Smackdown.
The first single off DOAB,"Hallelujah," made chart history for the band with a Top 40 debut onBillboard's "Hot 100" - Panic! At The Disco's second Top 40 hit and first since 2006's breakthrough classic, "I Write Sins, Not Tragedies." The album's title track, "Death of A Bachelor," has been described by Urie as, "It's like some Beyoncé beats with some Sinatra vocals. It's really crazy... [Sinatra's] music has been a major player in the soundtrack of my life. So it's only right that I return the favor and/or pay it forward."

released in july 2013 by count your lucky stars records (
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recorded and mixed by michael briggs of civil recording (civilrecording.com)
mastered by carl saff
two knights is miles debruin and parker lawson

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。

◎ 葛萊美獎肯定電氣雙搭檔睽違五年最新大碟
◎ 電子流行雙人組 Chairlift的Patrick Wimberly(Beyonce、Solange)+葛萊美肯定Dave Fridmann(The Flaming Lips、Weezer)聯合操刀；英國衛報+NME(4/5)皆給予高分推崇
◎ 美國才子Ariel Pink、法國Sebastien Tellier、紐西蘭鬼才Connan Mockasin前來協助
◎ 收錄包括打入美國另類數位單曲榜同名主打〈Little Dark Age〉等共10首高度期待新作
由Ben Goldwasser及Andrew VanWyngarden兩位音樂鬼才所組成的MGMT，以噪音搖滾和另類電子為根基，在其創作中融入Psychedelic Folk、Space-Rock、Disco-Funk、Synth-Pop等天馬行空的大膽元素，充滿喜悅的曲調中呈現多變風格，包容時髦與復古趣味並存的特異品味，更成為各大音樂媒體的世代新寵！2006年MGMT簽入Sony/Columbia，隔年發行備受樂壇矚目的首張處女作《Oracular Spectacular》，滾石雜誌大力盛譽「2008年最值得注意藝人」、英國BBC選為「2008年十大票選之聲」。葛萊美獎「最佳新人」和「最佳流行重唱和團體」提名，奠定作為當代另類搖滾全新指標與另人期待的重要地位。經歷《Congratulations》和《MGMT》兩張作品洗禮，一再提供截然不同的驚喜體驗，拿下一座葛萊美獎的喝采！沉寂五年之久，MGMT獻上全新大碟《Little Dark Age》，由電子流行雙人組 Chairlift的Patrick Wimberly(Beyonce、Solange)+葛萊美肯定Dave Fridmann(The Flaming Lips、Weezer)聯合操刀！美國Psyche-Folk才子Ariel Pink在開場的〈She Works Out Too Much〉協助電子合成器運用以及合音，大量的Synthpop增添躍動節奏感，復古中引發起舞情緒；Spin雜誌力薦：「冷酷且趣致」的首波同名主打〈Little Dark Age〉，登上另類數位榜第23名；法國New Wave/Synthpop的才子Sebastien Tellier+紐西蘭籍的Neo-Psychedelia/Dream Pop鬼才Connan Mockasin聯合在〈When You Die Gary〉中合音，宛如Gary Numan遺落的B-Side單曲；只有一句歌詞的演奏曲〈Days That Got Away〉，迷離中飄蕩一股幽異淒美輕煙，令人無比著迷！

Arthur Russell (born Charles Arthur Russell Jr.; May 21, 1951 – April 4, 1992) was an American cellist, composer, producer, singer, and musician from Iowa, whose work spanned a disparate range of styles.

“Growing up, people would always say I was too happy to be depressed, or too social to have anxiety,” says Liza Anne Odachowski, the critically acclaimed songwriter better known these days by her stage name Liza Anne. “In their eyes, because I was one thing, I couldn’t also be something else. I think we all exist in duality, though. I can be everything and nothing all at once.”
Duality is at the core of Liza Anne’s arresting new album, ‘Fine But Dying,’ her debut release for indie powerhouse label Arts & Crafts. Synthesizing the elegant sincerity of Angel Olsen with the wry lyricism of Courtney Barnett and the unapologetic candor of Feist, the music is both tough and vulnerable, bold and withdrawn, a helping hand and a middle finger. Firing on all cylinders with distorted alt-rock guitars and explosive drums one minute, hushed and delicate the next, it’s an eclectic collection that reflects the messy complications of growing up in the modern age, as the 23-year-old grapples with the fallout of falling in love, reckons with the patriarchy, and stares down the panic disorder she refuses to let define her. ‘Fine But Dying’ is the sound of an artist taking total control of her life and her art, a proud misfit crafting an aggressively infectious kiss-off to an industry (and a society) that’s tried to box her in from day one.

In a perfect world, the Red Hot Chili Peppers disbanded upon hearing this catastrophic slab of kinky trip-funk. I'm not sure that Jane's Addiction ever amounted to more than a dreadlocked amalgam of their titanic influences (Rolling Stones, Led Zeppelin, Velvet Underground), but I do think that God granted Perry Farrell a slim window of genius before banishing him to an oblivion of balderdash-mouth. You know you were up waiting for Britny Fox or a Bulletboys video on the Adam Curry-hosted "Headbanger's Ball" when Jane's Addiction's "Mountain Song" blew your mind. As hallucinogenic as it was socially conscious, this album's chief irony was that its killer numbers were revisitations of songs from the band's debut ("Jane Says", "Pigs in Zen"). God bless the West Coast every now and then. --William Bowers

跟许多灵魂歌手一样，Otis Redding也是在教堂的唱诗班里得到音乐启蒙教育的。他出生于1941年九月，父亲是浸信会的牧师。喜爱音乐的他，高中都没有毕业就辍学了。有一次，他在一家医院里打工，还因为忘情的在大厅里歌唱而遭到开除。
为了能够接近他所喜爱的音乐，他在家乡找了一份工作，替当地一支合唱团担任打杂的小弟，偶尔也客串演唱。1962年，他开车送合唱团的成员到曼斐斯的某家唱片公司去试音，由于主角不是他，在录音的过程中，他只好乖乖的坐在角落里，合唱团录完之后，他忍不住表示自己也很希望能有机会录音。在录音时间还剩余二十分钟的情况下，唱片公司老板同意让他试试看。
他录了两首歌，第一首让老板觉得太像他从小崇拜的老牌黑人摇滚歌手Little Richard，第二首则是一首抒情的歌谣曲「These Arms of Mine」，老板虽然并不是特别的欣赏，还是决定予以发行，结果却意外的成了他的第一首进榜单曲。
其后的几年间，Otis Redding陆续又有了其他几首R&B的畅销曲，包括「Pain in My Heart」、「Security」、「I've Been Loving You Too Long」、「Respect」以及替他赢得更多注意的歌曲，翻唱自滚石合唱团经典的「(I Can't Get No) Satisfaction」等等。其中发表于1965年的「Respect」在1967年由Aretha Franklin成功的翻唱并且夺得冠军，轰动了歌坛。
只是当时他的知名度仅限于黑人，对于绝大多数的白人来说，仍然没有几个人认识他。为了替他宣传，唱片公司安排了巡回演唱的行程，把他的名声传到了欧洲，尤其是英国和法国，接著他们回到美国，参加蒙特利流行音乐节的演出。他是最后上场的，也是那次活动中唯一的灵魂歌手，而在他上台的时候，已经过了午夜，疲累的白人观众很多都在打瞌睡了，根本无心注意这位他们几乎毫不认识的黑人歌手。
Otis Redding以一首充满活力的「Shake」，炒热了现场，使得他在那次演唱会中的表现成了传奇。而由于他也是第一次接触到那种嬉皮听众，他颇有感触，演唱结束之后，他在停靠在旧金山附近的一艘游艇上写下了「(Sittin' on) the Dock of the Bay」这首歌。1967年十二月七号，他进入录音室，把这首歌曲录制下来，在歌曲的开头，他加上了海浪和海鸥的声音，用柔和的节奏，唱出了一个孤独男人心中的渴望。
三天之后，十二月十号，他结束了威斯康辛的一场演唱之后，登上了他刚刚购买的双引擎小飞机，准备前往康乃狄格去演出。当时的他，可以说是志得意满，因为不但他的「Respect」被灵魂歌后Aretha Franklin唱红，他本人也刚被英国著名的Melody Maker读者票选为全世界最佳的男歌手，取代了过去八年由猫王所霸占的宝座。
那天的气候十分不利于飞行，空中弥漫著浓雾。起飞之后不久，飞机就在离机场四英里的地方失事坠毁，很快的沉没在冰冷的湖水中，Otis Redding就这样结束了他短短的一生，只活了二十六岁。跟他一起丧生的，还包括了飞机的驾驶员、他的仆从和Bar-Keys乐队的四名团员。
四千五百位歌迷和亲友参加了他的丧礼。在他过世之后，唱片公司发行了「(Sittin' on) the Dock of the Bay」，很快的就直冲榜首，成为他一生之中唯一的冠军曲，可惜他自己却享受不到那些荣誉了。1980年，他的两个儿子跟一个表弟组成了「The Reddings」合唱团，翻唱了「(Sittin' on) the Dock of the Bay」，并且得到第五十五名，成为有史以来第一首由原唱者的后人重新唱红的冠军曲。

For this from that will be filled is the debut album by Clarice Jensen, artistic director of the American Contemporary Music Ensemble (ACME). The album explores the variable differences between acoustic and electronic sound as well as depiction of the simulated and the unconscious. It was originally conceived as a collaboration between Jensen and the artist Jonathan Turner as an audio-visual work, but is here presented in it´s pure audible form.
Building on a long and romantic tradition of solo cello repertoire, Jensen expands and confuses the familiar sound of the cello through the use of effects pedals, multi-tracking, and tape loops recorded at variable speeds, presented in works she has written for herself as well as a piece she conceived together with Icelandic composer Jóhann Jóhannsson. Also featured is Michael Harrison’s Cello Constellations for multi-tracked cello and sine tones, written for Jensen, which meditates on long, sustaining tones.
With For this from that will be filled, Jensen has made an incredibly strong first album that feels like a surreal and futuristic journey through an alternate timeline.

The music on this split release arrives remastered after its initial release via C40 cassette a year or so ago. Likeminded souls Eva Saelens (inca Ore) and Liz Harris (Grouper) are in brilliant form on these recordings, so it's great to hear them in a cleaned up format - though of course with these two, it's fairly difficult to tell where the muddy cassette hiss ends and the foggy, dusty old recordings begin. It seems as though Acuarela have struck up a decent balance between the characterful muck of the original recordings and the cleanliness inherent to a digital reissue, and the vaporous melancholy of Inca Ore on tracks like 'Chipiturca Eva Emmolada' and 'Michael I Will Meet You At The End Of Time' sounds marvellously intangible, each muffled electric keystroke and ghostly vocal annunciation rendered in a morose and ethereal haze. The Grouper tracks are a little harder to pin down, sounding a little less approachable than recent form has dictated: 'Little Gray Cat' is taut with spooky harmony and 'Poison Tree' is a disembodied moan. By the time we get to 'Fallow', Harris starts to come out of the shadows, blasting out a beacon of drone before withdrawing into the cloaked freeform melodies of 'A Light Change.' CD split releases seldom work out quite so well as vinyl or CD: there's no easy dividing line between the two artists - no side A, or side B - so instead there's always a possibility of disjointedness. These two artists complement each other brilliantly however, and this always feels resolutely like a 'proper' album. Highly Recommended.

Students of Decay follow up last year’s incredible 'All My Circles Run’ album by Sarah Davachi with this new album by French horn player, field recording and audio installation artist Anne Guthrie.
Guthrie takes auditory snapshots of an abandoned city; fragments of song drifting out of basements and across alleyways and muffled conversations, coalescing into an evocative soundsphere that’s gently arranged to give the feeling of a directed narrative unfolding before your ears.
There’s a real art to this kind of field recording and Guthrie manages to neither over-simplify nor colour her recordings too much. Through much of this album the sounds are so alien and beautiful it’s impossible to work out if what you’re listening to is real or artificial; neatly mimicking the way our memory works. When a voice appears towards the end of Serious Water, it jolts you back to the mundane world around you.
Including "posthumous contributions from the artist's grandfather, a jazz pianist; obsolete media palimpsests (some vanity, some necessity); tap dancing on a peeling floor…” there’s something almost disturbing about the personal narrative on display here, as the label describe it…”an unsettling and strangely beautiful album - akin to something on the tip of your tongue, which, before you can name it, slips away into forgetting”.