逃狐是美國的一個獨立民間音樂樂團，創建於西雅圖。他們在2008年發行了自己的二張EP Sun Giant以及首張專輯Fleet Foxes，均獲得了不錯的銷量和評價。他們的第二張專輯Helplessness Blues在2011年5月3日發行。評論家認為他們的歌詞和和聲極為精緻。

There's a new Leonard Cohen album coming out this year. It's called Popular Problems, and will be released on September 23 on Columbia in commemoration of the legendary singer's 80th birthday. (Cohen was born on September 21.)
The new album was produced by Patrick Leonard and was recorded and mixed by Jesse E. String, with Bill Bottrell providing additional mixing.
Cohen's last album was 2012's Old Ideas.

22, A Million is part love letter, part final resting place of two decades of searching for self-understanding like a religion. And the inner-resolution of maybe never finding that understanding. The album’s 10 poly-fi recordings are a collection of sacred moments, love’s torment and salvation, contexts of intense memories, signs that you can pin meaning onto or disregard as coincidence. If Bon Iver, Bon Iver built a habitat rooted in physical spaces, then 22, A Million is the letting go of that attachment to a place.

2017 release, the sixth album from the British folk snger/songwriter. Semper Femina is an intimate, devoted exploration of femininity and female relationships, and among her finest work to date. Written largely on the tour that followed 2015's Short Movie and recorded in Los Angeles with production from Blake Mills, it is at once a distinctive and musically compelling collection of songs, run through with Marling's fierce intelligence; a keen, beautiful and unparalleled take on womanhood. Laura's debut album Alas, I Cannot Swim, her second album I Speak Because I Can, and her fourth album Once I Was an Eagle were each nominated for the Mercury Music Prize in 2008, 2010, and 2013, respectively. She won the Brit Award for Best British Female Solo Artist at the 2011 Brit Awards, and was nominated for the same award at the 2012, 2014 and 2016 Brit Awards.

18岁时凭借处女作《Sprained Ankle》获得《纽约时报》、NPR音乐台、Pitchfork、RollingStone.com、Noisey、The AV Club 等媒体一片赞誉的唱作人 Julien Baker，历经人们近两年的漫长期盼，终于带着新作《Turn Out The Lights》以及不变的灼灼真情回归。

在与 Death Cab for Cutie、Belle & Sebastian、Ben Folds 等人同台的同时，Baker 的成长亦有目共睹。录制于美国孟菲斯传奇录音室 Ardent Studios 的《Turn Out The Lights》，由 Baker 本人创作、制作，混音则请到 Craig Silvey（The National、Arcade Fire、Florence & the Machine）操刀。这是 Baker 在音乐与视野上的一次拓展，但在向世界抱持更开明态度的同时，她却未曾失却走入每个人心中角落的魔力。她继续用一种挥之不去的自白方式，思考自己与身边人的生活经历，道出我们共同的内心挣扎：尽管世界与人心充满灰色，我们还是要将其拥入怀中。

Big Thief return with U.F.O.F., their highly anticipated third record and first in a new partnership with 4AD.
It was recorded in rural western Washington at Bear Creek Studios with engineer Dom Monks, and producer Andrew Sarlo who was also behind their previous albums.
+ Available as an indie exclusive edition pressed on orange vinyl. One pressing only, don't miss out.
The New York-based band, featuring Adrianne Lenker (guitar, vocals), Buck Meek (guitar), Max Oleartchik (bass), and James Krivchenia (drums), has spent the last 4 years on an incessant world tour, winning the devotion of an enthusiastic and rapidly expanding audience.
Their songs represent an emotional bravery and realness that weaves intimate relationships with the listener, a phenomenon that has made them one of the most widely-respected bands of the current era.

莱昂纳德·科恩去世后的首张专辑，也是他的第15张录音室专辑，将于11月22日在全球发行。新专辑叫做《感谢伴我共舞》（Thanks for the Dance)，共9首歌，总时长29分17秒。--- LeonardCohen中文站

Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

Father John Misty—the former Fleet Foxes member Josh Tillman—has announced the follow-up to his great 2012 album Fear Fun. I Love You, Honeybear is out February 9 in Europe via Bella Union and February 10 everywhere else via Sub Pop.
The album was produced by Tillman and Jonathan Wilson (who also worked on Fear Fun), mixed by Phil Ek, and mastered by Greg Calbi at Sterling Sound.
In addition to the standard digital, CD, and 2xLP editions, the album will receive a limited edition deluxe 2xLP alternate cover on tricolor vinyl housed in something called a "Dioramic, Meta-Musical Funtime gatefold jacket". All CDs and LPs will come with a fold-out poster featuring photos by Emma Tillman, design from Alia Penner, and extensive “Exercises for Listening” written by Josh Tillman. CD and LP pre-orders will come with eight demos on cassette while supplies last.

Carrie & Lowell sounds like memory: it spans decades yet does not trade on pastiche or nostalgia. Stevens's gauzy double-tracked vocals wash across the dashboard of long-finned, drop-top Americana, yet as we race towards the coast we are reminded that sunshine leads to shadow, for this is a landscape of terminal roads, unsteady bridges, traumatic video stores, and unhappy beds that provide the scenery for tales of jackknifed cars, funerals, and forgiveness for the dead. Each track in this collection of eleven songs begins with a fragile melody that gathers steam until it becomes nothing less than a modern hymn. Sufjan recounts the indignities of our world, of technological distraction and sad sex, of an age without neither myths nor miracle and this time around, his voice carries the burden of wisdom. Carrie & Lowell accomplishes the rare thing that any art should achieve, particularly in these noisy and fragmented days: By seeking to understand, Sufjan makes us feel less alone.

Fleet Foxes will release Crack-Up, its long-awaited and highly anticipated third album, June 16 on Nonesuch Records. Crack-Up comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band's 2008 self-titled debut. All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).
"A rich, ideas-driven record which pulls off a pretty unlikely feat: infusing Fleet Foxes' music with the same sense of transcendence and beauty that they managed the first time, now delivered with an added sense of expansive musical ambition. Confirms that rarest of achievements: a group somehow hanging on to the essence of who they are, while pushing their art into thrillingly unforseen places." Q Magazine
"At a time when indie-rock seems to be growing more culturally marginal by the day, Crack-Up is a defiant artistic statement, an album that dares to feel important." The New York Times
"Likely to be the most remarkable album you will hear this year...the return of one of the most original bands of this century." The Times
"Astonishing. Crack-Up may be the most anticipated release of the year; a welcome return. Ambitious, mature, meticulous." Uncut

Phoebe Bridgers wrote her first song at age 11, spent her adolescence at open mic nights, and busked through her teenage years at farmers markets in her native Los Angeles. By age 20, she'd caught the ear of Ryan Adams, who listened to her perform her song "Killer" in his L.A. studio, inviting her to come back and record it there the next day. The session blossomed into the three-song ‘Killer’ EP, released to much acclaim on Adams’s Pax-Am label in 2015. In the two short years since, Bridgers has toured or played with Conor Oberst, Julien Baker, City and Colour, Violent Femmes, Mitski, Television and Blake Babies among others.
On September 22nd, Phoebe Bridgers will release her debut full-length, Stranger In The Alps. From the weeping strings and Twin Peaks twangs of opening track Smoke Signals, to the simple heartbreak of Funeral and melancholic crescendo of Scott Street, Stranger in the Alps is a swooningly beautiful record with a gothic heart.

WRITTEN AND RECORDED
August 31st to Dec. 6th, 2016 in the same room where Geneviève died, using mostly her instruments, her guitar, her bass, her pick, her amp, her old family accordion, writing the words on her paper, looking out the same window.
Why share this much? Why open up like this? Why tell you, stranger, about these personal moments, the devastation and the hanging love? Our little family bubble was so sacred for so long. We carefully held it behind a curtain of privacy when we’d go out and do our art and music selves, too special to share, especially in our hyper-shared imbalanced times. Then we had a baby and this barrier felt even more important. (I still don’t want to tell you our daughter’s name.) Then in May 2015 they told us Geneviève had a surprise bad cancer, advanced pancreatic, and the ground opened up. What matters now? we thought. Then on July 9th 2016 she died at home and I belonged to nobody anymore. My internal moments felt like public property. The idea that I could have a self or personal preferences or songs eroded down into an absurd old idea leftover from a more self-indulgent time before I was a hospital-driver, a caregiver, a child-raiser, a griever. I am open now, and these songs poured out quickly in the fall, watching the days grey over and watching the neighbors across the alley tear down and rebuild their house. I make these songs and put them out into the world just to multiply my voice saying that I love her. I want it known.
"Death Is Real" could be the name of this album. These cold mechanics of sickness and loss are real and inescapable, and can bring an alienating, detached sharpness. But it is not the thing I want to remember. A crow did look at me. There is an echo of Geneviève that still rings, a reminder of the love and infinity beneath all of this obliteration. That’s why.
- Phil Elverum
Dec. 11th, 2016
Anacortes
//////////////////////////////////////
Available in physical form, very nicely made, from
P.W. Elverum & Sun
box 1561
Anacortes, WA
USA 98221

catalog no. ELV040
credits
releases March 24, 2017

On House of Sugar, his third full-length for Domino and ninth overall, (Sandy) Alex G inhabits a diverse range of musical and emotional points-of-view (often simultaneously), in turn illuminating the tension that hides in the shadow of desire. Giannascoli began writing these songs in the fall of 2017, having just finished a tour for House of Sugar’s acclaimed predecessor, Rocket, and moved into a new apartment in Philadelphia. Whereas with earlier efforts, such as 2011’s self-released Winner or the landmark 2014 release DSU, he’d write numerous songs fairly quickly, with House of Sugar Giannascoli worked at a steadier pace, concentrating on fewer songs and laboring over each one more than before. Throughout the process Giannascoli worked closely with Jacob Portrait, who mixed both Rocket and its predecessor, 2015’s Beach Music, and here helped to balance each of House of Sugar’s dense, multi-faceted tracks. As the product of extended focus and planning, House of Sugar emerges as Giannascoli’s most meticulous, cohesive album yet: a statement of artistic purpose, showing off his ear for both persistent earworms and shifting textures.

“之所以将专辑命名为‘发光生物’，是因为它描绘的是从身体内部散发光芒的生物。”谈及第八张原创专辑《Luminescent Creatures》时，创作歌手青叶市子告诉 Apple Music。这张专辑弥漫着幻想氛围，与她上一张专辑《Windswept Adan》（日文名《アダンの風》）有一定的延续性。当时，青叶从环游冲绳群岛的体验中汲取灵感，携作曲家梅林太郎、摄影师小林光大、音响工程师葛西敏彦一同创作了《Windswept Adan》，静谧而富有想象力的声音引发了超越国界的共鸣，青叶的欧洲、美国巡演也都收获了超高人气。

这张前作的最后一首歌的标题，就是“Luminescent Creatures”（日文名：アダンの島の誕生祭）。此后，青叶继续游历群岛，朝着更深更远的音乐世界游弋，之后重新聚焦于“发光生物”这一主题。“地球诞生之初浮游生物便已存在，一开始只是随波逐流，但它们想要传递信息，于是开始发光，我觉得那模样实在是很可爱。”似乎揭露了大千世界奥秘的青叶，继续说道：“而它们之所以发光，是因为意识到自己只是孤独的个体。虽然从生物进化的角度来看，这一过程顺理成章又很简单，但我却被这个浪漫的故事打动了。人类亦是如此，当我们涌起强烈的情感，或是爱上别人的时候，体内的细胞仿佛也在闪闪发光。我希望能珍存这种内心与身体的原始反应，便取了‘发光生物’这一标题。”

新专辑延续了前作的制作班底。虽然上一张专辑是四年前发行的，但在此期间，青叶一直与自己信赖的梅林合作着，对方一直都“保持着高强度创作习惯”。首先青叶会制作 demo，再与梅林一起研究编曲。有时梅林会在青叶边弹吉他、边哼唱的 demo 上自由编曲；有时两人会分工负责不同段落；有时也会将各自写好的旋律融合在一起。此外，摄影师小林提供的视觉灵感，音响工程师葛西塑造的声响，也成为专辑不可或缺的部分。“这些诞生于地球的原始生物的故事，同样存在于人类社会，怀着这样的想法，我们齐心协力创作出这张专辑。所以我认为，这是一张属于‘我们’的专辑。”聆听这张专辑，你能感到时间的流转无穷无尽。在这样的氛围中，听青叶亲自解读其中的几首歌吧。

<b>《COLORATURA》</b>
“虽然这首歌在后半段才零星出现几句歌词，但人声却编排得感染力十足。我并没有受制于歌词，而是想表现出生物忽明忽灭、颤动地活着的姿态，所以在编排人声时，我将焦点放在这一方面，专注于音乐自身所构建的世界。”

<b>《24° 3′ 26.98″ N, 123° 47′ 7.5″ E》</b>
“这首歌歌名的经纬度指向一座灯塔。梅林在听过我拨弄吉他、吟唱波照间岛的民谣曲调后，填充编曲。我对演唱民谣也没什么讲究，只是先针对特定地区做些调查，接着自然而然地跟随灵感歌唱。就像是听到朋友哼一首好听的歌，然后自己也模仿着唱起来一样，只不过这首歌刚好是波照间岛的神事仪式上所吟唱的歌。我们称这首曲子为‘witty’（ウイティ，俏皮而随意）。”

<b>《mazamun》</b>
“这首歌的标题意指‘魔物’，读作‘mazamun’（マザムン）。一位在岛上认识的朋友曾告诉我：‘我们家有 mazamun 哦。’虽然很多人害怕、忌讳 mazamun，但他们带我去传说中 mazamun 出没的地方时，我一点都不怕。于是我意识到，所谓‘恐惧’并非源自令人感到恐惧的事物本身，而只是感到恐惧的人的内心感受。与岛上的女性长辈们交流后我发现，有些人认为自己能与 mazamun 和谐共处，这种想法是很美的。这首歌便以此为视角，表达的是那些我们曾经惧怕的事物，其实是我们的朋友，是最能理解我们的人。”

<b>《tower》</b>
“这首歌的创作方式很特别，我和梅林各自写了一半，前半部分出自我手，后半则由梅林接续。不过，我们并没有交换、参考各自的创作，而是在同一天分别都创作了华尔兹曲调，调高也恰好相同，于是我们把它们合并了。”

<b>《FLAG》</b>
“我几乎都是先写歌词，再从文字所描绘的风景和场面中寻觅旋律的创作灵感。这首歌一开始就有一个完整的故事雏形，我便在此基础上思考怎样给它配乐。这首歌是一个极其晦暗的世界，在没有一丝光亮的黑夜中，一面旗帜被狂风吹起，猎猎作响。我怀着这种想象，创作了它的旋律。”

<b>《Cochlea》</b>
“我与负责演出服装的工作人员和演员朋友聊到‘想去看鲸鱼’，于是就一起去了奄美大岛。在那里，我们和一对鲸鱼母子同游，它们的身影消失后，船长将水下麦克风伸入海底，并用船上的扬声器播放了鲸鱼的声音。我用 iPhone 录下了这段声音，并将其融入了这首歌。原本的声音更清晰一些，经过多重效果处理才变成了现在的音色。”

前作『マホロボシヤ』から2年ぶりとなる新作は、儚くもしなやかなオオミズアオをモチーフに、
水月鏡花をその声色とガットギターで表現した、神秘的な詩曲集。
自らの師でもある山田庵巳のカバーを含む全10曲収録。

Ichiko Aoba is a Japanese singer and songwriter who was born in Urayasu, Chiba and raised in Kyoto Prefecture, Japan. She is signed to the record label Speedstar Records.

その島には、言葉がありませんでした。 2020年1月に活動10周年を迎えた青葉市子が、新たに立ち上げた自主レーベルhermine(エルミン)よりリリースする通算7枚目となるフルアルバム。 南の島を題材にした"架空の映画のためのサウンドトラック"をテーマに、作曲家の梅林太郎を迎え、これまでのクラシックギターと歌の弾き語りにとどまらない、新たな境地となる1枚。

陈粒 首张专辑 《如也》
没签公司，没有团队，没有包装，单枪匹马，一个人一把琴，每首单曲网络点击都非常火爆，在各个原创音乐排行榜上也常居榜首。在办了四次场场爆满的民谣专场后，陈粒终于发布了自己的首张专辑 《如也》。
“要挣钱，要养家，要过好日子，当时就那个水平，别人也都那么干，限制太多，给钱太少，社会不开明，市场不成熟，都是理由。但今天谁要听这些理由？大家只看结果，任何理由没有，这就是你干的，你的历史。 ”
点开她的豆瓣小站，最显眼的位置永远留给这段话。
“我以为十个听歌的人里面，只有一个人会去看现场。” 陈粒这样对大家说。可事实：第一次办专场：广州站，320人，长沙站350人，武汉站，505人......在即将进行的首专巡演中，前几站的预售票也是出票两小时就售罄，成都站甚至还没发布开售的消息就在两小时内售罄。这对于一个进军民谣不到一年的歌手来说算是相当令人吃惊的好成绩了。
却从没有任何所谓的“偶像包袱”，常和微博上的乐迷欢乐互动，演出空隙里时不时来一段儿“单口相声”，给乐迷签名直接签“老公”二字，时而自黑时而自恋。这一切平易近人的举动，也都让广大乐迷对陈粒好感倍增。
陈粒已发布的单曲，几乎是首首好评。《奇妙能力歌》，诗。《祝星》以爱人的名字命名，直接又美好；《历历万乡》充满江湖气息，大气不失细腻；《性空山》作词绝美，陈粒的独特嗓音更把这首好词演绎得毫无缺憾；《走马》更是简陋的demo版就潦倒了一大片文艺女青年，当然也有直男。
首张专辑《如也》除了录入六首备受好评的已发布单曲之外，陈粒也为乐迷们带来了九首全新单曲，数量质量都堪称良心，却也是水到渠成。九首新歌，仍然一如既往地有她独特的风格，既有对自由的追逐，也有对恋人的渴慕。
2015年3月起，她将带着这张《如也》进行全国大范围的巡演，当她路过你的城市，不妨走进livehouse，听一听这个传说中现场比录音更棒的声音。
实体专辑的设计也跳出常规，值得珍藏。陈粒在微博上承诺，到了演出现场，见专辑就签，追着你给你签。
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