陳昇｜《我不是搖滾歌手》 Not a Rockstar
陳昇曾說，覺得自己不是個搖滾歌手，因為尚未抵那股氣質；倘若一定要說的話，也許他更接近一位吟遊詩人吧？背著故事走路，用歌把所見所感，訴說給人們聆聽。2026 年新專輯《我不是搖滾歌手》，便是這樣一位詩人對多年創作旅程的回望與再出發：不是宣言，而是把呼吸調回最自然的節奏，讓聲音替這位音樂詩人完成一段不急不徐的對話。
這張專輯向陳昇喜愛的八、九〇年代致意，卻不依賴懷舊。它借來那些年質樸而雋永的質地，吉他的線條、鍵盤的暈染、旋律與語詞之間恰到好處的空隙，用以承載今日的感受與疑問。你會聽見諷刺，也會聽見憐惜；會遇見對時代的質問，也會遇見對自身的打量。這些情緒並非為了姿態而排列，而是多年累積下來的生活秩序：把複雜留給歌曲，把簡單還給深處的內心。
37年來一路創作到現在，現在的陳昇，更懂得節制與留白。「搖滾」不再是音量與節拍的疊加，而是能否對世界保持敏感、對自己維持誠實。當外界要答案，他願意先把問題按下；當語言習慣喊叫，他選擇低聲說話，讓文字與旋律在更靠近內心的地方相遇。這份內斂並不寂寞，反而讓每個停頓都帶著指向，指向人與人之間仍可被理解的溫度，指向那些在變動之中依舊值得珍惜的價值。
作品的聲響分布，也像陳昇一路走來的足跡：除了另類氣息的流行搖滾，保留了骨幹的推進與幽微的反諷；有鋼琴主導的沉靜段落，把視線牽回到個人命運與記憶的紋理；還有承繼八、九〇年代的旋律美學，讓一整代人的共同記憶在耳邊慢慢成形。這些風格並置不是炫技，而是對「生命的複數」給出的誠懇註解：人同時可以敏銳、溫柔、諧謔，也可以困惑，而歌曲的責任，是把這些並存，保留下來。
「我不是搖滾歌手」聽來像是否定，讀久了卻更像一種自我要求：與其被名詞束縛，不如回到動詞，去寫、去唱、去面對當下。若說搖滾是一股氣，那麼這張專輯所追求的，是在日常裡持續生成那股氣的方式：在嘈雜裡保有分辨力，在疲憊時仍能對人事物投以善意，在看見荒謬之餘不忘看見人。這既是創作，也是修煉。
2026年《我不是搖滾歌手》並非總結，而是選擇把對話留在現在。它更像一本隨身筆記：記下此刻的語氣，記下行走過的旋律與餘韻，也記下仍然想問、仍然想唱的理由。當一個人選擇成為詩人，他所仰望的從來不是舞台的高度，而是聽者心裡留下的共鳴。或許在某個夜晚，你恰好把音量放低，讓歌與你並肩；那時你會明白，他說自己不是搖滾歌手，也許並非不願，或許是仍在路上，仍在尋找那股氣抵達的方式。
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〈革命家〉
這不是一首高舉旗幟的歌，而是一面照向內心的鏡。當「革命」變成自我辯解的口號、浪漫成為失敗的庇護所，他唱的其實是那種在理想與現實之間消耗殆盡的倔強。〈革命家〉帶著玩笑語氣，也藏著深刻的孤獨，在時代的喧鬧裡，每個人都想改變世界，最後卻只改變自己。這不是控訴，而是一種誠實的諷刺，一場對幻滅仍存溫度的自嘲。
〈Drill Baby, Drill〉
一首冷冽而諷刺的時代寓言。陳昇以近乎戲謔的筆調，描摹出慾望膨脹的世界，金錢、權力與麻木並行，笑聲底下是荒謬的共謀。節奏銳利、語氣輕快，卻越聽越覺悲涼。這首歌讓人想起他過去那些嘲諷現實的作品，只是如今的諷刺更溫柔，也更無力。當他唱出 “We are living in a wild, wild world”，像在對聽者輕聲提醒：別以為自己置身事外。
〈你是陌生人〉
寫給逝去的年代，也寫給仍在漂泊的人。這首歌像是一封沒有寄出的信，語氣平靜、情感卻深不可測。它談友情，也談離散；談記憶如何在時間裡慢慢失焦。旋律沉穩而明亮，像一種不願示弱的思念。〈你是陌生人〉的溫柔，來自對無常的體認：有時愛一個人，必須先學會離開。
〈錯愛〉
一首屬於夜晚的老派情歌。它回到九〇年代的浪漫語境，用簡單旋律包裹最難啟齒的告白。〈錯愛〉沒有怨，也沒有辯解，只是對「愛錯了也要誠實」的一次抒懷。男女之間的糾纏，被他唱成一種體諒，錯誤不再是罪，而是人生的必經段落。那種淡淡的滄桑，不是悲傷，而是理解之後留下的餘溫。

After a decade making the most of improvised recording spaces set in warehouses, trailers and lofts, Japanese Breakfast’s fourth album, For Melancholy Brunettes (& sad women), marks the band’s first proper studio release.
Produced by Grammy Award winner Blake Mills, the record sees front-woman and songwriter Michelle Zauner pull back from the bright extroversion that defined its predecessor Jubilee to examine the darker waves that roil within, the moody, fecund field of melancholy, long held to be the psychic state of poets on the verge of inspiration. The result is an artistic statement of purpose: a mature, intricate, contemplative work that conjures the romantic thrill of a gothic novel.
For Melancholy Brunettes follows a transformative period in Zauner’s life during which her 2x GRAMMY nominated breakthrough album Jubilee and her bestselling memoir Crying In H Mart catapulted her into the cultural mainstream, delivering on her deepest artistic ambitions. Reflecting on that success, Zauner came to appreciate the irony of desire, which so often commingles bliss and doom. “I felt seduced by getting what I always wanted,” she says. “I was flying too close to the sun, and I realized if I kept going I was going to die.” The plight of Icarus and other such condemned ones lends For Melancholy Brunettes its most persistent theme, the perils of desire. Like light dispersed, its spectral parts take the album’s characters through cycles of temptation, transgression and retribution. On “Orlando in Love” — a riff on John Cheever’s riff on Orlando Innamorato, an unfinished epic made up of 68 ½ cantos by the Renaissance poet Matteo Maria Boiardo — the hero is a well meaning poet who parks his Winnebago by the sea and falls victim to a siren’s call, his 69th canto (even in the lofty realm of classical myth Zauner has a soft spot for innuendo). “Honey Water” plumbs the quiet rage of a woman married to an unfaithful man, watching him cede again and again to lust like a base insect perpetuating its own demise.
Sadness is indeed the dominant emotional key of this record, but it is sadness of a rarified form: the pensive, prescient sadness of melancholy, in which the recognition of life’s essentially tragic character occurs with sensitivity to its fleeting beauty. Zauner finds space enough inside it for glimmers of hope. They are the consolations of mortals that poets before her have called out to and that poets after will continue to rediscover: love and labor, and though they run like tonic resolutions through the record’s many episodes, they sound most saliently on its final song, “Magic Mountain,” an engagement with Thomas Mann’s famous novel of the same name. For her, making any work feels like scaling a mountain, but from the perch of For Melancholy Brunettes, she surveys the future.

Grammy nominated and Mercury Prize nominated Laura Marling is back with her eighth studio album Patterns in Repeat. Now eight albums and 15+ years into her career as one of the most acclaimed, prolific and respected songwriters of her generation (multiple Grammy nominations, Mercury nods a Brit Award and more), in Patterns in Repeat Laura aims to occupy different spaces and continues to surprise: "Laura Marling is not quite who you might think she is".
Drift have an exclusive hand-signed print to bundle with the cream vinyl pressing of this album.
Written after the birth of her daughter in 2023 (and recorded with her in the room beside Laura), Patterns in Repeat now finds Laura reflecting on her own experience becoming a mother. The sounds are grounded in a specific and revelatory time in Laura's life, but more broadly dives deeper into her reckoning with the ideas and behaviours we pass down through family over generations.