在广袤无垠的黄土高原上，只要风一刮起就会有漫天的黄沙，它会刮到个人的头发稍稍里，或是耳朵睫毛，或是鼻孔嘴巴里，也会藏在每户人家里的窗户缝隙处，没有来得及关住的汽车座位上，它所及之处都会盖上一层土黄。看似细碎的沙砾漫天飘荡，却能填满每一个缝隙，更能变幻成更大更强劲的风暴席卷每一寸土地，就像这股来自陕北后生生生不息的力量扎根在每个人的心里。
用“黄沙”一词比作自己的专辑，在每首歌里传达其经历，想法，感受，以及对未来的憧憬。“沙”一字也正如同当下年轻人的状态，渺小却又强大，事虽难，做则必成。用陕北方言的方式，让每一位听众感受到的“黄沙”更加具像化。只要风起，这股来自陕北大地的土，“黄沙”，便会扬向全国。

人总要在痛苦的洗礼中才能认清自己，改正自己。
—陀思妥耶夫斯基
一个常常在进行着接近自己限度的斗争的人总是会常常失败的。只有那些安于自己限度之内的生活的人才总是“胜利”，这种“胜利者”之所以常胜不败，只是因为他的对手是早已降伏的，或者说，他根本没有投入斗争。
—王小波
小狗不应该因为有大狗的存在而慌乱不安，所有的狗都应该大声叫。
—安东·巴甫洛维奇·契诃夫
在思考你自己时，绝不要包括那将你围绕的皮囊和那些依附于他们的东西。
—马可·奥勒留
要想改变世界，你必须从改变你自己开始；要想撬起世界，你必须把支点选在自己的心灵上。
—罗翔
一旦习惯了服从，便再也无法摆脱。
—让-雅克·卢梭
人是万物的尺度。
—普罗·泰戈拉
人生最大的悲剧并非是死亡，而是没有活过。
—维克多·雨果
人是应该被超越的某种东西，你们为了超越自己，干过什么呢？
—弗里德里希·威廉·尼采
假使有神，我怎能忍受我不是那神
—弗里德里希·威廉·尼采

2011 release from the American Electro Hip Hop duo consisting of rappers and DJs Redfoo, and SkyBlu. They are the son and grandson, respectively, of Motown record label founder Berry Gordy, making them uncle and nephew. Much of their music incorporates a theme of partying and drinking, and the group commonly refers to their music style as "party rock."

The Beginning is the sixth studio album by American hip hop group The Black Eyed Peas. The album was released on November 26, 2010 by Universal Music. The lead single, "The Time (Dirty Bit)", was released on November 9, 2010. The album debuted at number six on the Billboard 200 chart, with first-week sales of 119,000 copies in the United States.
On June 6, 2010, the band confirmed that they were working on a new album in an interview for The Big Issue. The album was described as a sequel to The E.N.D. will.i.am announced that the new album, which "symbolizes growth, new beginnings, and starts a fresh new perspective," will be titled The Beginning and was released on November 30, 2010. The album was officially announced in a press release on October 26, 2010.
Many singles were made available as promotional releases for the album. The first, "Do It Like This", was released on November 15, 2010, and the second, "Light Up the Night", on November 22, 2010. The Beginning was a part of Oprah's Favorite Things for 2010. The audience was given the album 11 days before its official release. A stadium concert tour is planned starting after February 2011. Having previously performed at stadiums on the South American leg of The E.N.D. World Tour will.i.am revealed he thought stadiums would be a more ideal.
The album debuted at number six on the Billboard 200 chart, with first-week sales of 119,000 copies in the United States. It is their third album to chart inside the top ten, but their lowest charting album since Elephunk, which peaked at number 14 in 2003. In the United Kingdom, the album debuted at number 17 selling 34,006 copies. Normally, selling over 30,000 copies is enough to get an album into the Top 3 or even the top spot however, due the usual strong competition in the autumn it failed to debut in the top ten however due to a performance on The X Factor it rose 8 places to number 9 and since spent 3 weeks in the top ten. In Canada, it debuted at number two selling 27,400 copies in its first week, being kept of the top spot by a margin of 200 copies behind Susan Boyle's The Gift. The album debuted at number one in France, selling 35,653 copies in its first week. It is The Black Eyed Peas' third consecutive number-one album in the country.
In Germany, the album debuted at No. 5 and started slowly to fall down. In its 3rd week, the album was at No. 9 but could jump to No. 7 the following week. Thanks to the success of the single The Time (Dirty Bit), the album rose from No. 7 to No. 2 in its fifth week, the album's peak position.
The Beginning received generally mixed reviews from most music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album received an average score of 47, based on 17 reviews, which indicates "mixed or average reviews".
Monica Herrera wrote for Billboard that "the music is expertly produced, but problems arise when Will.i.am claims the same of his wordplay. On the track "Don't Stop the Party," he chest-thumps, "Kill you with my lyricals/Call me verbal criminal." It's a silly boast for an artist who clearly focuses on beats over rhymes, and is probably better off for it." Kevin O'Donnell of Spin described the album as "one of the year's wildest sonic stews" and concluded "Pop's reigning peddlers of dumb fun are actually starting to sound stylishly avant-garde on their sixth album." The Guardian's Caroline Sullivan gave the album 3 out of 5 stars calling it "upscale hip-pop" and said that "the Black Eyed Peas have created an album similar to 2009's enormously successful The END, but with more Auto-Tune and less input from the wonderful Fergie." Rolling Stone reviewer Jon Dolan viewed that the album "largely picks up where The E.N.D. left off" and felt that "they give themselves over more fully than ever to the groove palette of club culture, stirring up electro funk, Euro-trance and classic disco". John Bush of Allmusic gave the album 2 out of 5 stars, and noted that although David Guetta only appears on one track "his production job for 2009’s “I Gotta Feeling” casts a long shadow on this record of don’t-stop-the-party jams and club-life tracks."
Entertainment Weekly writer Simon Vozick-Levinson gave the album a very positive review and stated "The Beginning wisely sticks with the heavier electronic beats they began importing from European clubs for The E.N.D. — a key ingredient that transformed the Black Eyed Peas from merely major stars to arguably the biggest chart act going Every song is piled high with sticky pop melodies, slick hip-hop rhythms, bright synth parts, and vocals that have been diced and processed to high heaven, all furthering the goal of maximum catchiness." Greg Kot of Chicago Tribune gave the album 1.5 out of 4 stars and called it "the quartet’s tamest, most hook-deprived album in the Fergie era" and stated "the music’s reliance on rhythmic and lyrical repetition (as opposed to progression and surprise) becomes wearying." In his review for The Independent, Andy Gill wrote "It's a textbook blend of the over-familiar and the electronically treated, though their use of auto-tune and digital-stutter vocal effects is a touch more restrained than usual. From there on, the aspect never extends beyond the dancefloor, with martial synth-stomp riffs, spartan electro beats and loping bass grooves driving tracks". Ben Ratliff of The New York Times gave the album a negative review and noted it similarities with its predecessor, The E.N.D. with few differences, "less of Fergie’s actressy, un-Autotuned belting (too bad about that), bolder two-step techno beats, more heavily draped synthesizer tones and a fascination with late ’70s and early ’80s pop radio." and found the lyrics "soggy" and "cynical". musicOMH writer Luke Winkie stated that "will.i.am's productions sound like the bare minimum one could throw together and call a beat, usually encompassed by a simplified drum sequence and a buzzsaw synth turned up to the red and repeated long enough for DJs to make their paycheck" and wrote "the band has a knack of elongating their elementally good ideas into preposterously tiresome compositions".

Multi-talented and flamboyant, Cee-Lo initially made a name for himself and his trademark crooning as part of pioneering Dirty South rappers Goodie Mob before he broke away in the early 2000s for a colorful solo route. Along with fellow Atlanta rappers OutKast, Goodie Mob laid out the blueprint for the Dirty South style during the mid-´90s, making serious waves with their debut album, Soul Food (1995). Cee-Lo was an important member of the group, often singing the hooks to many of Goodie Mob´s best songs (e.g., "Cell Therapy," "Soul Food," "Black Ice"). But the group didn´t last too long, and after a few releases over a five-year span, Cee-Lo split with Goodie Mob for a promising solo deal with Arista.
The deal came in the wake of Arista´s success with OutKast´s Stankonia (especially the single "Ms. Jackson"), not to mention the burgeoning neo-soul movement characterized by the likes of Alicia Keys, Jill Scott, and Macy Gray. Arista label head L.A. Reid no doubt sensed a lot of potential in Cee-Lo and gave him the green light to record a solo album. That album, Cee-Lo Green and His Perfect Imperfections (2002), sounded unlike anything else out there — unlike Cee-Lo´s past work with Goodie Mob, unlike his neo-soul contemporaries, and unlike pretty much anything else except the weirder corners of OutKast´s Stankonia album.
The album unsurprisingly never took off commercially, despite some colorful promotion on Cee-Lo´s part (a wild video for "Closet Freak" and a belly-baring live tour), and the tattooed big man went back the drawing board, returning in early 2004 with Cee-Lo Green Is the Soul Machine. This follow-up was just as free-spirited as Cee-Lo´s debut but was a more focused effort, anchored by some radio-friendly singles produced by big-money hitmakers Timbaland ("I´ll Be Around"), Jazze Pha ("The One"), and the Neptunes. It also featured some nice production by Cee-Lo himself. Interestingly, Arista released the album shortly after parting ways with Reid and also after experiencing enormous, Grammy-winning success with OutKast´s Speakerboxxx/The Love Below, an album (André 3000´s half, at least) that sounded quite a bit like Cee-Lo´s work.
In 2006, Cee-Lo enjoyed his greatest success to date as half of Gnarls Barkley, a duo also featuring producer Danger Mouse. "Crazy," the lead single from St. Elsewhere, the duo´s debut album, was an instant hit in the U.K. and steadily rose to the top of the charts in the U.S. by the end of the summer. The critical acclaim and commercial success of Gnarls Barkley awarded Cee-Lo the most attention he´d ever enjoyed in his career to date. Cee-Lo and DM followed it up with a second Gnarls Barkley album, The Odd Couple, in early 2008. After reuniting his original group, Goodie Mob, to play dates around the country in 2010, Cee-Lo recorded his third proper solo album, The Ladykiller, featuring an on-going dose of his unique take on soul, pop and hip hop in the 21st century, highlighted by the summery single “I Want You.” A frequent collaborator, Cee-Lo also worked with producer Jazze Pha for Happy Hour, Jazze Pha´s singing and rapping debut, with Cee-Lo co-producing and sharing vocals. In addition, Cee-Lo teamed up with PlantLife´s Jack Splash for the Heart Attack project.

In the two years since To Pimp a Butterfly, we’ve hung on Kendrick Lamar's every word—whether he’s destroying rivals on a cameo, performing the #blacklivesmatter anthem on top of a police car at the BET Awards, or hanging out with Obama. So when DAMN. opens with a seemingly innocuous line—"So I was taking a walk the other day…”—we're all ears. The gunshot that abruptly ends the track is a signal: DAMN. is a grab-you-by-the-throat declaration that’s as blunt, complex, and unflinching as the name suggests. If Butterfly was jazz-inflected, soul-funk vibrance, DAMN. is visceral, spare, and straight to the point, whether he’s boasting about "royalty inside my DNA” on the trunk-rattling "DNA." or lamenting an anonymous, violent death on the soul-infused “FEAR.” No topic is too big to tackle, and the songs are as bold as their all-caps names: “PRIDE.” “LOYALTY.” “LOVE.” "LUST.” “GOD.” When he repeats the opening line to close the album, that simple walk has become a profound journey—further proof that no one commands the conversation like Kendrick Lamar.

I HATE WHEN DRAKE RAPS
DRAKE SINGS TOO MUCH
DRAKE IS A POP ARTIST
DRAKE DOESN’T EVEN WRITE HIS OWN SONGS
DRAKE TOOK AN L
DRAKE DIDN’T START FROM THE BOTTOM
DRAKE IS FINISHED
I LIKE DRAKE'S OLDER STUFF
DRAKE MAKES MUSIC FOR GIRLS
DRAKE THINKS HE’S JAMAICAN
DRAKE IS AN ACTOR
DRAKE CHANGED
ANYBODY ELSE > DRAKE …
YEAH YEAH WE KNOW
—Drake

Astroworld (stylized in all caps) is the third studio album by American rapper Travis Scott. It was released on August 3, 2018, by Grand Hustle Records, Epic Records and Cactus Jack Records. The album follows his second studio album Birds in the Trap Sing McKnight (2016), and his collaborative album Huncho Jack, Jack Huncho (2017) with Quavo. The album features guest vocals from Kid Cudi, Frank Ocean, Drake, The Weeknd, James Blake, Swae Lee, Gunna, Nav, 21 Savage, Quavo, Takeoff, Sheck Wes and Don Toliver, among others. Production was handled by multiple high-profile producers, including Mike Dean, Allen Ritter, Hit-Boy, WondaGurl, Tay Keith, Tame Impala, Frank Dukes, Sonny Digital and Thundercat.

7 月 20 日，88rising 首張廠牌全明星陣容合輯《Head In The Clouds》正式發佈，這是一場真正屬於亞洲青年音樂人的夏日狂歡。
88rising 家族旗下的亞洲最具開創性音樂創作者們——Rich Brian，Joji，Higher Brothers，NIKI，AUGUST08 和 Keith Ape 彙聚在一起，邀請他們的音樂好友——03 Greedo，Yung Bans，Playboi Carti，BlocBoy JB，Famous Dex 等，將音樂集體創作變成現實。就像 Rich Brian 所說：“我們想創造一個永恆的唱片，一個真正專屬於夏天的唱片！” 來自不同文化背景和地區的音樂聚在一起，將不同音樂創作理念和藝術觀點互相衝擊、融合，衝破地域和文化的壁壘，迸發出極大的青春能量。像 Joji 所說 “《Head In The Clouds》就是瘋狂的人聚集在一起，創造更瘋狂的東西。”
發佈夏日合輯並不是 88rising 今夏唯一的團體活動，作為專注搭建東西方青年文化橋樑的開拓性音樂和藝術團體，88rising 還將在 9 月的洛杉磯舉辦首場音樂節 “Head in the Clouds”，同時開啟多倫多、紐約、芝加哥、亞特蘭大、三藩市等 16 城巡迴演出。這個夏天，和 88rising 的年輕音樂人們一起製造美好回憶，度過一個真正的瘋狂夏日。

After teasing fans with a cinematic trailer, Lil Uzi Vert has revealed the tracklist for his upcoming album Eternal Atake. In addition to the previously released singles “That Way” and “Futsal Shuffle,” the album also includes a song called “Urgency” featuring Syd, and “Chrome Hearts Tags” which is set to a beat made by Chief Keef, as Uzi pointed out in a tweet. Find the full tracklist, featuring 14 more songs, below
Eternal Atake—which has yet to receive an official release date—is Uzi’s long-anticipated follow-up to 2017’s Luv Is Rage 2. Read Pitchfork’s Overtones feature “The Unlikely Resurgence of Rap Rock.”

“每个人都认识你，但是你真的认识自己么？”
这个问题，困扰我很久。
你们所看到的，并不是真的我。生活中，我和大多数人一样，平庸，怯懦，保守......而舞台上那个骄傲不羁的Rapper，都是X带给我的。
这张专辑的名字是《Dear X》，其实X是我体内的另一个自己，我们不可分离却又独立寻在。是X在反抗另一个怯懦的我。她支撑着我一直前行，所以这首《Dear X》是我写给另一个自己的。
制作专辑的想法诞生于困境中我和自己的对话，不知道什么时候开始，难眠的夜里，只有她陪我，聆听我的苦闷。我需要她陪我继续完成接下来的旅程。
我希望这张专辑能传递出一种讯息：“在我们野蛮生长的过程中，都会进入到自我怀疑的泥沼，试着把重心回归自己，心怀感恩，忠于内心才会赢得更多的可能性。”
关于说唱，大家总是喜欢听激烈的针锋相对，但无休止指责和攻击并不是我的作派。关于这点，《Dear X》就很特别：它是我走出困境，审视自我的真实故事.
我想把自己的故事传递给尽可能多的人。“希望每个人都能遇见自己的Dear X，变得更强大。”

已故说唱歌手Juice WRLD遗作专辑《Legends Never Die》将于本周五（7月10号）正式发布！专辑将包含15首歌曲！

街区故事（Block Story）
是继2019年KEY.L第一张个人专辑「KEY to L」之后第二张录音室专辑，经历一年的打磨终于确定在2020年10月10日正式发布数字专辑，实体专辑也将在近期发布。
专辑以街区为背景，时空的交错，融汇了街头的爱恨情仇，在第一人称和第三人称视角不停切换来讲述街区中发生的故事。
因为一首HeyKONG，一通来自过去的电话，去到日本东京街头取景拍摄MV，寻找若有似无的Dejavu。
专辑最后一首歌「以邦之名」采样了海上钢琴师斗琴高潮片段，「家书」加入了俄罗斯风情，以「街区故事」的传统Eastcoast结合Key.L的中式唱腔拉开了街区的夜幕。
「KEY to L」第二章节开启。
音乐风格
关于「街区故事」专辑的制作阵容，依旧保留了「KEY to L」的原班人马，KEY.L与老搭档：金曲制造机$CC731，AKA诸葛孔明的BBC，开着空中巴士笑看苍生的船长梁笑生AirBus130在新专辑中融合了Eastcoast，Trap，BoomBap，G-Funk等，在此基础上加入了中国五声音阶的旋律手法进行创新，衔接了新老时代的音乐风格，歌词以传统的多押韵为基础，传承了Hip-Hop根源的批判性和生活的写实，在Flow的运用上跳脱常规的框架，打破地下与地上的界限，试着雕琢出属于KEY.L独一无二的风格。
KEY.L刘聪，如货币般流通。

你是否曾经想过「逃离」？ 从抵触到抗拒，在忍耐的临界达到逃逸速度， 最终逃离城市，逃离人群， 逃离铺天盖地的焦虑和无处不在的消费主义陷阱， 逃离现实生活，达到另一个宇宙。 Feezy 就突破了时空的壁垒，为自己创造了一个未来的宇宙。 作为直火帮 Revenge Season 的第一步，Feezy 的首张个人专辑《2098:启示录》正式发布！ 词曲、录制、混音、母带几乎全部由 Feezy 个人完成，这是一张 100% 属于 Feezy 的专辑。专辑收录了 13 首作品，在冰冷的现实中开辟了一个充满矛盾与温情的 Cyber World。 在这个专属于 Feezy 的宇宙中，你可以读取到 Feezy 的想法，看到他的左脑与右脑的博弈，以及他和朋友们的争执与和解。对了，专辑还邀请到了高嘉丰、辛巴 SIMBA、KALA、Weird Dane、未来星 B3Rich、梦徐 MX、11 和 Runrund 一同参与，当然，老朋友 XZT、Zigga 以及 yb 也不会缺席这趟旅程。 准备好和 Feezy 以及他的朋友们一起逃离这个世界了吗？上车，绑好安全带！

“无相之相”《PHASELESS》由PaceMak1r与其制作人Blazo联手制作。本专12首不同曲风打破传统保守的Hiphop音乐形式，本专12首歌曲各自由不同曲风进行呈现，打破了国内传统的说唱音乐专辑的形式，不仅包含了Boombap、Trap、Pop、Soul、R&B、Rock、Gospel等音乐类型，曲风更是从80年代的老摇滚采样贯穿到2020年的new wave新风格，使得这张专辑更加全面更佳具备音乐性。