On her fourth album, west coast artist Jessica Pratt expands the scope of her artistry, placing her sharpest songs to date within an ever-broadening pool of influences including spectral '60s pop, Hollywood psychedelia and bossa nova. Whereas Pratt's 2019 record, Quiet Signs, floated elegantly in the ether, Here in the Pitch is entrenched in more earthen characteristics, as the title suggests, and her craft is emboldened with a newfound gravitas.

Washington calls Fearless Movement his dance album. “It’s not literal,” Washington says. “Dance is movement and expression, and in a way it’s the same thing as music - expressing your spirit through your body. That’s what this album is pushing.”
Dance as an embodied form of expression signals a shift in focus for Washington. Where previous albums dealt with cosmic ideas and existential concepts, Fearless Movement focuses in on the everyday, an exploration of life on earth. This change in scope is due in large part to the birth of Washington’s first child a few years ago. “My mortality became more apparent to me, but also my immortality - realising that my daughter is going to live on and see things that I’m never going to see. I had to become comfortable with this, and that affected the music that I was making.”

The album features Washington’s daughter - who wrote the melody to “Asha The First” during some of her first experimentations on the piano - as well as a host of collaborators new and old. André 3000 appears on flute, George Clinton lends his voice, as do BJ The Chicago Kid, Inglewood rapper D-Smoke and Taj and Ras Austin of Coast Contra, the twin sons of West Coast legend Ras Kass. Washington further enlisted lifelong friends and collaborators Thundercat, Terrace Martin, Patrice Quinn, Brandon Coleman, DJ Battlecat and more.

Leeds Indie Frontrunners English Teacher Announce Debut LP ‘This Could Be Texas’. Preceded By Initial LP Reveals ‘The World’s Biggest Paving Slab’, ‘Nearly Daffodils’ And ‘Mastermind Specialism’, Which Were All A-Listed On The BBC 6 Music Playlist, English Teacher’s Remarkable Ascent Continues To Reach New Levels, Having Completed Sold-Out Debut UK And US Headline Runs Last Autumn, Following Their Thrilling Debut Appearance On Later With...Jools Holland. Announced As Independent Venue Week Artist Ambassador For 2024. Lead Singer Lily Fontaine Explains, “I Want This Album To Feel Like You’ve Gone To Space, And It Turns Out Its Almost Identical To Doncaster. It’s About In-Betweens, It’s About Home, And It’s About Desire Paths." In Several Songs, Fontaine Reflects On Growing Up As A Mixed-Race Individual In A Place, She Says, “Where Many Didn’t Have Any Tolerance Towards People Who Are Different” In A Post-Brexit Landscape.
The Debut Album By Leeds Frontrunners ‘This Could Be Texas’ Will Be Released On 12th April 2023.
Lead Singer Lily Fontaine Explains, “I Want This Album To Feel Like You’ve Gone To Space, And It Turns Out Its Almost Identical To Doncaster. It’s About In-Betweens, It’s About Home, And It’s About Desire Paths."

很少有人像 St. Vincent 一样，骄傲地把吉他摇滚的大旗扛进 21 世纪。最初她在担任 Sufjan Stevens 的巡演乐手时崭露头角，接着在 2007 年发行了首张专辑《Marry Me》，而后更以一系列广获好评的专辑与合作作品 (例如她与 Taylor Swift 共同创作的冠军单曲《Cruel Summer》)，奠定其吉他战士的声誉。

又名 Annie Clark 的 St. Vincent，其形象就跟其音乐一样百变。她于 2021 年发行复古概念专辑《Daddy’s Home》，以纽约 70 年代灵魂乐与华丽摇滚音景为灵感，设立其乐风和造型的分水岭，象征那白金色假发和时代广场式的宽大风衣从此一去不返。在《All Born Screaming》中，她更挥别制作了《Daddy’s Home》的常年合作伙伴 Jack Antonoff，首次亲自操刀制作。

“创作这张专辑时，我花了许多时间独自在录音室里工作，努力为自己找到新的音乐语汇。”St. Vincent 告诉 Apple Music：“我的其他专辑都是跟别人共同制作，但这张专辑的每个细节几乎都由我把关。促成此专辑的许多动力也就像我在想：‘好吧，我现在在录音室里，而一切都必须从混乱开始。’”

就 St. Vincent 而言，要利用这种混乱状态，首先要提炼出最自我的基本成分。从各方面来看，吉他手都是最后一批被模拟声响（analog）所定义的音乐人，他们得通过效果器、琴弦和音频信号传输，来创造特定音色，而这必须倚靠专业技能和手感，但有时这样的探索过程就十分混乱。

St. Vincent 表示：“我所谓的『混乱』，是指电在电路中的流动。无论是模组合成器还是鼓机，都利用混乱来玩出各种声响。我可能尝试了三小时，结果只做出六秒的片段，但那六秒捕捉到了凤毛麟角，很令人兴奋，而这极可能是只会发生一次的事，并且非常仰赖手感。于是我就用这片段来写出整首歌。”

专辑歌曲包含了带有泥沼般黏糊的、也令人心惊胆战的《Flea》，以及缅怀已故电音制作人 SOPHIE 的《Sweetest Fruit》，St. Vincent 巧妙平衡了明暗交织的乐声与情绪，而这并非她独力完成的。“我能够尽情探索、尝试和挥洒。”她说：“我还很幸运有许多好朋友参与了专辑录制，他们带来了很棒的能量。”知名鼓手 Dave Grohl、Warpaint 的 Stella Mozgawa，爵士鼓演奏家 Mark Guiliana 和威尔士音乐人 Cate Le Bon 等人都名列本作的制作阵容。

Cate Le Bon 不仅在专辑同名曲中献声，也为遇到瓶颈的 St. Vincent 提供指引建议。“我发现自己有点太纠结于细节，每个自行制作的音乐人都会遇到这种状况。”St. Vincent 说：“于是我打给 Cate 说：‘我需要妳来帮我一下。’我想，在制作过程中，当我需要有人握着我的手，拍拍我的头，递给我啤酒，然后说‘一切都会好起来’的时候，她就是那股让我安心的力量。”

虽然 St. Vincent 在《All Born Screaming》中成功捕捉了血淋淋的人生经历，包括各种不确定性和每个昙花一现的瞬间，但旋律仍旧琅琅上口。“对我来说，这张专辑就像地狱里的某一季。”她说：“就像你跪着爬过碎玻璃，不过是用一种有趣的方式。我们最终得出的结论是：‘对，人生确实很难，但值得去过，我们必须好好生活。既然不能跳过、闪躲，那不如就走一遭吧。’它布满了黑与白，以及火焰的颜色，我认为这张专辑的音乐听来就是如此。”

Last February, Caroline Polachek shared one of the best albums of 2023: her fourth solo LP, Desire, I Want to Turn Into You. Now, on Valentine’s Day, she’s back with Desire, I Want to Turn Into You: Everasking Edition, a new version of the album featuring seven additional tracks and four new songs.
The new Everasking Edition includes the previously-released duet version of “Butterfly Net” featuring Weyes Blood, as well as the song Polachek premiered on Stephen Colbert’s show last October, “Dang.” Also featured are four new songs, titled “Meanwhile,” “Coma,” “Gambler’s Prayer,” and “Spring Is Coming with a Strawberry In the Mouth,” the latter of which is a cover of an Operating Theatre song.

The Smile is a new band that includes Radiohead’s Thom Yorke and Jonny Greenwood with Sons of Kemet’s Tom Skinner, as well as Radiohead’s longtime producer Nigel Godrich. The name is taken from a poem by Ted Hughes.

Alynda Segarra’s fantastic new album revives the folky textures of previous records to grapple with American myths and tragedies. It’s part folk-punk memoir, part spiritual invocation.

I loved the juxtaposition of the harshness of the rope and the softness of the flower, I think the entire theme of this record revolves around that juxtaposition

The record’s cover art — which references Prince’s 1988 album “Lovesexy,” among others — visually encapsulates where Uchis is in my life and career, some 11 years after releasing my first mixtape: in the center, with my naked body wrapped tightly in rope as a colorful palette of pastel orchids paints the empty spaces.

You have to put in double the work. It’s only my second album in Spanish so it’s almost like I’m putting out a sophomore album. I do have this sort of overwhelming feeling like I have to work twice as hard to be seen. At the same time, it’s interesting and invigorating in that way because there is still so much that I want to do in both spaces

I promises we’ll be hearing more new music from me as I plan to drop another album later this year

《Suí 水》为李竺芯首张全台语创作专辑，与金曲音乐家锺兴民合作；以天马行空、幽默大胆的词曲创作和真切的歌唱诠释，激荡出革新有趣又富含艺术性的编曲，挑战台语音乐不曾触碰的主题与全新听感：从心理到生理，呈现女性自我探索过程中的精彩冒险；如水一般变化万千的氛围，汇聚成一张能与欧美流行音乐并列聆听的专辑，带来前所未有的国际台语新潮流。
揭开专辑序幕的“阿美蝶”“水”，以有趣丰富的曲风探讨社会定义与自我认同的美；仿佛置身在法国厨房的“足芳足芳”挑战打破台语音律，像是烹饪一道无国界料理般，让人想一再品尝；在【音乐主理人】节目中备受瞩目的“拌拌咧”重新编曲，大玩 Band sound 跟 Afrobeat 的碰撞；“拄拄仔离开”仿佛在耳边低语不舍，浪漫的编曲凝结出空气中的微酸心情；欧陆电音曲风、歌唱声线反差极大的“悬踏仔咬跤”幽默翻玩台湾迷因，却又让人深切感受到爱情中如高跟鞋咬脚的美丽与痛苦；以女性本位探讨身体的“荷尔蒙”“Sakura Gansha”则以灵魂乐和演歌元素唱出身心的起伏；其中还有管弦乐编制，作为纪录片电影‘台湾超人’的主题曲“伍冬拾冬”；与吉他和弦乐重新诠释的“台湾查某囝（诚心推荐版）”述说著台湾土地与人情的温暖感动。
好听、好吃、微酸少冰，一首首听下来让你惊奇发现：怎么可能？哪会这呢《Suí 水》

在过去的25年里，MONO探索了诸如黑暗与光明之间的关系；在灾难面前的希望；以及出生与死亡的双重性等主题。在他们的第12张完整专辑《OATH》中，他们思考了组成生命的时间，以及如何充分利用这段时间。
与长期的朋友和合作者Steve Albini一起录制和混音，《OATH》像日出般展开，慢慢上升的管弦乐和铜管部分，整个乐队在加入辉煌之前细细品味着氛围。在专辑的71分钟里，MONO以多种方式反思了时间和生命的主题。MONO特有的歌曲演变的不慌不忙，融入了一种优雅的氛围，将《OATH》推向了新的高度。
MONO挑战自己进行了一场普遍而具有关联性的存在主义审视，并以《OATH》的形式回应，这张专辑提供的是仁慈的思考，而不是短暂的喘息。

EP「Our Latest Number」以来、約 6 年ぶりのリリースは、「the book about my idle plot on a vague anxiety」(2005)、「For Long Tomorrow」(2009)、「HEAR YOU」(2015) に続く 4 枚目のオリジナル フルレングス アルバム!

此为24年新专辑首发单曲