英国
No Feeling is Final 豆瓣
8.1 (7 个评分) Maybeshewill 类型: 摇滚
发布日期 2021年11月19日 出版发行: The Robot Needs Home Collective
‘No Feeling is Final’ was born from a place of weary exasperation. From the knowledge that we’re living in a world hurtling towards self-destruction. We watch as forests burn and seas rise. As the worst tendencies of humanity are championed by those in power; rage, fear, greed and apathy. We see every injustice, every conflict, every catastrophe flash up on our screens. We stay complacent and consume to forget our complicity in the structures and systems that sustain that behaviour. As the world teeters on the edge of disaster, we sigh and keep scrolling, the uneasy feeling in our stomachs eating away at us a little more each day.releases November 19, 2021

Order on vinyl (ships December/January)l: lnk.to/maybeshewill
2021年11月23日 听过 Let everything happen? tribute to 阎奕格?(no
英国
Famine, Putrid and Fucking Endless 豆瓣
Atvm
发布日期 2021年1月1日 出版发行: self
Harry Bray - Vocals
Tom Calcraft - Guitar
Luke Abbott - Bass
Francis Ball - Drums
Tracks 1, 3, 4, 5 & 7 by Atvm & Max Lester
Tracks 2 & 6 by Atvm & Tom Calcraft
Lyrics by Harry Bray & Max Lester
Track 3 by Harry Bray and Tom Calcraft
Recorded by Jake Saunders at Satellite Studios
Mixed & Mastered by Colin Marston at Menegroth, the Thousand Caves
Artwork by Harry Jenkins (IneptAliens)
Photography By Amber Yilmaz
license
Oxidized 豆瓣
Frontierer 类型: 流行
发布日期 2021年10月1日 出版发行: Blood Blast Distribution
In Search of Space 豆瓣
9.3 (7 个评分) Hawkwind 类型: 摇滚
出版发行: EMI
In Search of Space is the second studio album from Hawkwind, released in 1971.[2] It reached #18 on the UK album charts.
Black To The Future 豆瓣
7.5 (13 个评分) Sons of Kemet 类型: 爵士
发布日期 2021年5月14日 出版发行: Impulse!
Shabaka Hutchings leads his brass band on a propulsive mind- and body-moving record, advocating through music that change comes from speaking directly about collective oppression.
Fyah 豆瓣
8.8 (5 个评分) Theon Cross 类型: 爵士
发布日期 2019年3月1日 出版发行: Gearbox Records
As one of the key players of the London jazz scene, Theon Cross has been dominating airwaves and stages recently. He's part of a thriving family network of young London-based musicians who have regularly supported one another in stretching and re-shaping the boundaries of the jazz genre.
Additional side-projects include performing and recording with individuals such as Makaya Mcraven, Sons of Kemet, and featuring on Gilles Peterson’s compilation album We Out Here. Within all this noise, Cross has also been leading his own trio project with Nubya Garcia and Moses Boyd. The band released an EP back in 2015 and are now following up with a full studio album, ‘Fyah’.
Cross makes the tuba his own, mixing together early New Orleans bass line influences as well as the synth soundscapes and rhythms from modern grime and trap. His innovative style brings a new dynamic to the scene as he paves the gap between more traditional jazz styles and dance music.
credits
released February 15, 2019
Musicians
Theon Cross: tuba
Moses Boyd: drums
Nubya Garcia: tenor saxophone (Tracks 1-4, 6 & 8)
Wayne Francis (Ahnansé): tenor saxophone (Tracks 5 & 7)
Artie Zaitz: electric guitar (Tracks 5 & 7)
Tim Doyle: percussion (Track 5)
Nathaniel Cross: trombone (Track 7)
All tracks composed and arranged by Theon Cross.
Horn arrangements on 'CIYA' by Wayne Francis (Ahnansé) and Nathaniel Cross.
Recorded at Soup Studios by Giles Barrett and David Holmes.
Mixed by David Wehinm.
Mastered and cut by Darrel Sheinman and Caspar Sutton-Jones at Gearbox Records.
Instead 豆瓣
Collocutor
发布日期 2014年10月6日 出版发行: On The Corner Records
Ghosts On Tape 豆瓣
Blood Red Shoes 类型: 流行
发布日期 2022年1月14日 出版发行: Veleten Records / Jazz Life
“It’s been a loooong time since we both lived in the same city”, explains Steven. “I mean we actually wrote this album in LA at Laura’s place, then came to the UK to record it…and then everything went nuts”. Realising very quickly that they wouldn’t be able to release the album or tour until the world returned to some kind of normality, the band found their energies quickly spilled over into other projects. Laura-Mary started a podcast, Never Meet Your Idols, with her best friend in LA, interviewing everyone from Zack Snyder to Mark Lanegan to CHVRCHES. It is now about to start its third season. Steven started applying his love of electronic music by writing and producing other alternative artists like Circe, ARXX, Aiko and XCerts, racking up millions of streams in the process.
Having worked together on Laura–Mary’s forthcoming solo mini album Town Called Nothing and restless from the lack of touring, the duo started jamming out in rehearsal rooms, which led to the light-speed writing, recording and release of the impossibly-titled Ø EP in the summer of 2021. Which concludes what the band call an “off year”. And that brings us back to GHOST ON TAPE. It appears that like David Lynch’s The Lost Highway, nothing is linear in the world of Blood Red Shoes. Written and recorded before their most recent EP, GHOSTS ON TAPE is a huge jump into new terrain for the band.
Musically and emotionally their most mature work, it is a complex, imaginative, and very gothic development on their sound. Musically, it leaves almost no trace of their former selves.
“We’ve always been outsiders right from the very beginning” says Steven. “This album is really about us asserting ourselves as our own little island”, he adds. “We have made an entire career out of being told what we are “not”, of being rejected, of not fitting in, and this album is us deliberately pushing into all of our strangeness, emphasising all of the things that make us different”. Obsessed by true crime and murder podcasts, many songs on the record are told in character and explore the dark psyche of those at the pinnacle of outsiderdom: serial killers. GHOSTS ON TAPE paints a picture of a dark and unsettling world. It is the sound of a unified and confident duo who know exactly who they are, even if the wider world doesn’t really get it. The sound of two people who have spent their entire adult lives making music together and who, more than ever, are finding new pathways for their creativity.
“Ultimately this album is an invitation”, explains Steven. “It’s us saying, this is our world, these are our darkest thoughts and feelings - our ghosts - caught on tape. You are welcome to join us. Come and embrace the strange”.
Agor 豆瓣
9.0 (7 个评分) Koreless 类型: 流行
发布日期 2021年7月9日 出版发行: Young
Arriving a full 10 years after his debut single, Welsh producer Lewis Roberts’ first album is a bravura display of brain-bending editing that’s more concerned with big feelings.
Presentism 豆瓣
Cam Deas & Jung An Tagen 类型: 电子
发布日期 2021年4月30日 出版发行: Diagonal
PRESENTISM
Within the philosophies of time, three oppositional schools compete: Eternalism describes the phenomenon of time like a strip of film - the past and the future do exist, are real, but the present is merely a human concept. The growing block theory, maybe the most intuitive of the three, states that the present continually creates the past, but the future is unwritten. Presentism on the other hand argues that the only thing irrefutable is the present and that the past and the future are both unreal. By applying these three concepts to music, we may end up with a number of strategies to rethink what we consider as given.
I would like to propose that there has been has been a slow shift in how music was perceived. Improvised music, prior to notation, can be considered as presentistic, manifesting itself only in the present, it’s only traces of existence written in memory. With interpretation and notation, the perception shifts more to a growing block. The mind got a hold of the past, but the future still remained a very unstable realm - once the hand made a mistake with an instrument or the voice was interrupted to catch a breath. Obviously the advent of the recording introduced an absolute future and with it the concept of eternalism in music. Furthermore the introduction of the loop..., applied in its most extreme way within techno, embeds the listener in a coherent body of past and future, even with a view of the timeline - first on the record, later on the waveform. A car, racing on the Autobahn, free to move in both directions. Of course, one could argue that the state of ecstasy in which techno is consumed compresses time into a perfect present, the psychological present, which is defined as 2-3 seconds with the equivalent of 1 bar by 120 bpm…
But staying for the moment with the first thought, we can ask the questions: is the loop the defining property of techno? What happens if we remove the certainty of the next kick, eroding the temporal and structural integrity of the genre? Presentism is a project based on one temporal randomised pulse, denying our ability to foresee the next kick and obscuring the possibility to form loops. Yet it upholds timbres and instrument references common to the genre. The aleatoric function acts like an agent of presentism in an eternalist domain. Like improvisation, it has the ability to remove a stable future and at the same time blur the memory by forming insignificant patterns. Intensification usually benefits from a balance between control and the prospect of collapse. The temporal shuffle of techno is the attempted surrender of control of the past and future to the present.
- JAT more
Last Smoke Before The Snowstorm 豆瓣
7.6 (5 个评分) Benjamin Francis Leftwich 类型: 民谣
发布日期 2011年6月20日 出版发行: ℗ 2011 Dirty Hit Records Under Exclusive License to Vagrant Records
2022年2月7日 听过
Dirty Hit惹
英国
Cloud Seed 豆瓣
Vex'd 类型: 电子
发布日期 2010年3月22日 出版发行: Planet Mu Records
We Love The City 豆瓣
Hefner 类型: 流行
发布日期 2000年1月1日 出版发行: Virgin
Hefner were a British indie rock band formed in east London in 1995
Interform Untunnel 豆瓣
Bass Clef 类型: 电子
发布日期 2022年2月8日 出版发行: Self-Released

bassclefbass.bandcamp.com
bassclefbass.bandcamp.com
bassclefbass.bandcamp.com