日本传奇音乐人/作曲家坂本龙一于3月29日正式发行全新录音室专辑《async》，这也是教授自咽喉癌康复之后的首张专辑，共包含15首歌（第15首歌曲只收录于黑胶中）。坂本龙一称新专辑的构思和录制均在纽约完成，是他来自于对日常对象、雕塑和自然的感悟。
坂本龍一の8年ぶりとなるオリジナル・アルバム!
Ryuichi Sakamoto has announced a new studio album, async, out April 28 via Milan. It’s the Japanese composer’s first studio album since 2012’s Three, with Jaques Morelenbaum and Judy Kang, and his first solo album in 8 years. Sakamoto recorded and conceived of the album in New York, taking inspiration from “everyday objects, sculpture, and nature,” according to a press release.

「真實」凝聚所有人類夢想
開創音樂全新紀元的超人類樂團
2018全英音樂獎『最佳英國團體』
金氏紀錄認證『地表最成功的虛擬樂團』
街頭霸王 GORILLAZ
2018全新創作專輯
及時行樂
THE NOW NOW
10座葛萊美獎禮讚、橫跨爵士／節奏藍調／流行領域傳奇大師George Benson、
18次葛萊美獎提名的美國西岸嘻哈/流行樂界狗狗霸主Snoop Dogg、
全美浩室音樂先鋒Jamie Principle紛紛前來站台！
收錄已在歐洲多國排行引發騷動的話題曲「Humility」、飄散陶醉聲頻的「Sorcererz」！
2018年甫拿下全英音樂獎『最佳英國團體』禮讚、多達11次葛萊美獎入圍，抱回『最佳流行重唱組合』殊榮，金氏紀錄認證『地表最成功的虛擬樂團』街頭霸王（Gorillaz）快速霸氣再戰歌壇！一次滿足視覺和聽覺雙感官享受，每則音樂都有其故事畫面的延續，街頭霸王也絕對不只是一個「虛擬」樂團這樣簡單，它是一個「真實」凝聚所有人類夢想，開創音樂全新紀元的超人類樂團！1998年由英倫搖滾的驕傲-布勒合唱團（Blur）主唱戴蒙（Damon Albarn）+曾搬上大銀幕的著名美國漫畫【坦克女郎Tank Girl】作者傑米（Jamie Hewlett），聯合將街頭霸王概唸成型，經歷暖身EP“Tomorrow Comes Today＂加上“同名專輯Gorillaz＂（2001）、“惡靈古堡Demon Days＂（2005）、“天涯海膠Plastic Beach＂（2010）、首張iPad創作“秋遊記The Fall＂以及“十年街霸：單曲精選The Singles 2001- 2011＂（2011）等專輯洗禮，突破全球千萬銷售！恣意揮灑多樣豐富音源，在街頭霸王的音樂世界中沒有什麼不可能，只有不斷的創新變化，提供樂迷永保新鮮的樂趣與驚喜！
2017年終結長達7年之久的等待，推出第5張錄音室大碟“超能人類Humanz＂，同時霸佔英美兩地流行榜亞軍席次，贏取倫敦標準晚報的滿分推崇，以及AllMusic(4/5)、Exclaim!(8/10)、NME(4/5)、Q(4/5)、英國衛報(4/5)、滾石雜誌(3.5/5)等傳媒高度評價！在街頭霸王神隱期間，戴蒙不斷寫歌、腦子轉著新的想法，雖然戴蒙率先送上醞釀多時的首張個人專輯“機器人生Everyday Robots＂、領導布勒合唱團問市睽違12年的全新專輯“魔鞭The Magic Whip＂，對於街頭霸王專屬的歌還是不斷累積，手邊早已準備齊全成推的新曲目，一部份已在』超能人類Humanz＂發表，一部份則篩選歸放在“The Now Now＂裡頭，相隔一年時間快速發片！不過，魔頭目前人在監獄裡，因此找來靈感來自飛天小女警裡面的反派角色王牌（Ace）暫代貝斯手職務。戴蒙提供出道至今令人愉悅且純粹的流行音樂，如同一張相當鮮明的個人作品，或者更確切地說是「阿D」的個人專輯！
受「當下」啟發，更關注在「現在」所發生事件中的“The Now Now＂，除了曾是The Rolling Stones、 Paul McCartney、Paul Simon指定客席鼓手，戴蒙自設品牌DRC Music夥伴Remi Kabaka再度協助製作外，還邀請Arctic Monkeys、Florence And The Machine、The Last Shadow Puppets等頂尖獨立搖滾樂團幕後推手James Ford連袂抬轎！選擇夏季發片就該提供如同「Humility」這般陽光迷人之作，外加10座葛萊美獎禮讚跨界爵士、節奏藍調、流行領域的傳奇大師George Benson協助，灌入Jazz Pop的慵懶愜意，已在歐洲多國排行引發騷動，勢必能成為2018年夏季之歌；再接再厲飄散陶醉聲頻的「Sorcererz」，在電子Synthpop音場貫穿圍繞下，一旁點滴潤飾的R&B、Funky元素堆疊，捕捉幸福夢幻的感動；快意旋律不停歇地延續到「Lake Zurich」，幾乎是純音樂的呈現，偶而穿插囈語般的念詞和重複合唱之聲，光靠明亮節奏也就足以挑起聆聽著愉悅心情；18次葛萊美獎提名美國西岸嘻哈/流行樂界狗狗霸主Snoop Dogg+美國浩室音樂先鋒之一的Jamie Principle合力站台「Hollywood」，一次次體驗街頭霸王實驗膽識，以及近乎完美詮釋力與編曲能耐，掀起令人期待的酷樂浪潮！

A Brief Inquiry into Online Relationships is the third studio album by English pop rock band The 1975, scheduled to be released on 30 November 2018 by Dirty Hit and Polydor Records.

Beginning with the haunting alt-pop smash “Ocean Eyes” in 2016, Billie Eilish made it clear she was a new kind of pop star—an overtly awkward introvert who favors chilling melodies, moody beats, creepy videos, and a teasing crudeness à la Tyler, The Creator. Now 17, the Los Angeles native—who was homeschooled along with her brother and co-writer, Finneas O’Connell—presents her much-anticipated debut album, a melancholy investigation of all the dark and mysterious spaces that linger in the back of our minds. Sinister dance beats unfold into chattering dialogue from The Office on “my strange addiction,” and whispering vocals are laid over deliberately blown-out bass on “xanny.” “There are a lot of firsts,” says Finneas. “Not firsts like ‘Here’s the first song we made with this kind of beat,’ but firsts like Billie saying, ‘I feel in love for the first time.’ You have a million chances to make an album you're proud of, but to write the song about falling in love for the first time? You only get one shot at that.”
Billie, who is both beleaguered and fascinated by night terrors and sleep paralysis, has a complicated relationship with her subconscious. “I’m the monster under the bed, I’m my own worst enemy,” she told Beats 1 host Zane Lowe during an interview in Paris. “It’s not that the whole album is a bad dream, it’s just…surreal.” With an endearingly off-kilter mix of teen angst and experimentalism, Billie Eilish is really the perfect star for 2019—and here is where her and Finneas' heads are at as they prepare for the next phase of her plan for pop domination. “This is my child,” she says, “and you get to hold it while it throws up on you.”
Figuring out her dreams:
Billie: “Every song on the album is something that happens when you’re asleep—sleep paralysis, night terrors, nightmares, lucid dreams. All things that don't have an explanation. Absolutely nobody knows. I've always had really bad night terrors and sleep paralysis, and all my dreams are lucid, so I can control them—I know that I'm dreaming when I'm dreaming. Sometimes the thing from my dream happens the next day and it's so weird. The album isn’t me saying, 'I dreamed that'—it’s the feeling.”
Getting out of her own head:
Billie: “There's a lot of lying on purpose. And it's not like how rappers lie in their music because they think it sounds dope. It's more like making a character out of yourself. I wrote the song '8' from the perspective of somebody who I hurt. When people hear that song, they're like, 'Oh, poor baby Billie, she's so hurt.' But really I was just a dickhead for a minute and the only way I could deal with it was to stop and put myself in that person's place.”
Being a teen nihilist role model:
Billie: “I love meeting these kids, they just don't give a f**k. And they say they don't give a f**k because of me, which is a feeling I can't even describe. But it's not like they don't give a f**k about people or love or taking care of yourself. It's that you don't have to fit into anything, because we all die, eventually. No one's going to remember you one day—it could be hundreds of years or it could be one year, it doesn't matter—but anything you do, and anything anyone does to you, won't matter one day. So it's like, why the f**k try to be something you're not?”
Embracing sadness:
Billie: “Depression has sort of controlled everything in my life. My whole life I’ve always been a melancholy person. That’s my default.”
Finneas: “There are moments of profound joy, and Billie and I share a lot of them, but when our motor’s off, it’s like we’re rolling downhill. But I’m so proud that we haven’t shied away from songs about self-loathing, insecurity, and frustration. Because we feel that way, for sure. When you’ve supplied empathy for people, I think you’ve achieved something in music.”
Staying present:
Billie: “I have to just sit back and actually look at what's going on. Our show in Stockholm was one of the most peak life experiences we've had. I stood onstage and just looked at the crowd—they were just screaming and they didn’t stop—and told them, 'I used to sit in my living room and cry because I wanted to do this.' I never thought in a thousand years this s**t would happen. We’ve really been choking up at every show.”
Finneas: “Every show feels like the final show. They feel like a farewell tour. And in a weird way it kind of is, because, although it's the birth of the album, it’s the end of the episode.”

如果说第一张同名迷你专辑是孔雀初试啼声的模样，一切未知的新鲜感；第二张专辑概念上便是孔雀开屏般「华丽」的展现。专辑名为《迷恋 ADDICT》，概念上整张专辑围绕着「迷恋的各种可能」为创作轴心，试图以不同于以往的创作模式为切入点，用清脆利落的方式描述爱情生活的各种场景。Deep House 的曲风上少了第一张的静谧迷雾，更多是灵骚律动的舞场浩室节奏，同时却也不乏琅琅上口的主唱旋律唱词。词曲方面先行创作二十多首歌曲，经过多次表演后去芜存菁，选出十首现场能量最强的歌曲收录在辑。 《迷恋 ADDICT》专辑创作概念以「迷恋的各种可能」作为出发点，从生活里取材，企图用清脆利落的乐曲描写平凡日常的浪漫与感性，将不同的浪漫场景融入在歌曲间，营造各种迷恋的华丽氛围。