"100 Greatest Albums of the 1980s" (Rolling Stone, 1989)
"100 Alternative Albums" (Spin, 1995)
"Top 99 Albums of `85 to `95" (Alternative Press, 1995)
"The Essential 200 Rock Records" (Rolling Stone, 1997)
"Top 100 Albums of All Time" (New Musical Express, 2003)

老电影经典名曲之手嶌风格重新演绎

The 15th anniversary reissue of Max Richter’s highly cherished sophomore album expanded with a bonus disc including an orchestral version of ‘On The Nature of Daylight’ and a previously unreleased 2018 take on ‘Vladimir’s Blues’, plus an elegantly rude remix of the same track by Jlin, and a swooning, technoid Konx-Om-Pax rework of ‘Iconography’
"The Blue Notebooks was originally composed in the run-up to the 2003 invasion of Iraq. Richter has described it as "a protest album about Iraq, a mediation on violence – both the violence that I had personally experienced around me as a child and the violence of war, at the utter futility of so much armed conflict." The album was recorded about a week after mass protests against the war. It features readings from Franz Kafka's The Blue Octavo Notebooks and Czesław Miłosz's Hymn of the Pearl and Unattainable Earth. Both readings are by the British actress Tilda Swinton."
Here’s our original review from 2004:
"Max Richter's 'The Blue Notebooks' is the 4th release on FatCat's 130701 imprint, an outlet for more orchestrated, instrumental material. 'The Blue Notebooks' is Max Richter's second solo album, a distinctive and adventurous work that is beautifully recorded and cinematic in scope. Opening with a text from Franz Kafka over a sparse piano melody, the album moves through gorgeous, heart-wrenching string swells of 'On The Nature Of Daylight' through to sparse but lyrical piano pieces; hazy, swirling atmospherics, avalanche pulse-beats and partially occluded melodies that recall Aphex Twin's SAWII; and to reverberant organ / choir recordings.
Utilising piano, cello, violin and viola, alongside electronic beats (made using a variety of antique electronics and Reaktor), spoken word passages and the occasional field recording, other sounds were generated via old guitar pedals and vocoders. Life affirming music."

35 tracks and just one name: Johann Sebastian Bach. Icelandic pianist Víkingur Olafsson continues his successful recording career with a collection of well and lesser known pieces by the famous baroque composer. The selection includes reworks by Bach himself of composers such as Vivaldi and Busoni and Transcriptions / Reworks of Chorals by Víkingur Ólafsson himself. Víkingur Olafsson’s interpretation of the baroque repertoire are crystal clear, modern and hauntingly beautiful. In his very own style Víkingur perfectly captures Bach as a master of balance whose music is the ideal combination of emotion and intellect, singing melody and sculpted counterpoint.

Fifty-year musical partnerships are rare. But the bond between keyboard virtuoso Chick Corea and master drummer Steve Gadd is legendary: five decades after they first met, Corea and Gadd are making some of the most vital, adventurous music they’ve ever created. Barn-storming funk-based workouts, dazzling and intimate lyrical excursions and Spanish-hearted improvisations set a new standard for no-boundaries jazz. And thankfully, they caught it on tape.
Chinese Butterfly, Corea & Gadd’s debut two-disc studio album, featuring five epic new Corea compositions, is scheduled for release January 19, 2018 via Concord Jazz. The album’s title hints at the rare and transfixing beauty of its music. Chick and Steve use their shared history of fearless innovation as a launching pad, pushing into new territory with an inspired band of collaborators: Benin-born guitarist and vocalist Lionel Loueke, saxophonist and flutist Steve Wilson, Cuban bassist Carlitos Del Puerto, and Venezuelan percussionist Luisito Quintero.
The album is the realization of a long-held desire that Chick and Steve shared, to work together more intensively. “Whenever Chick and I bump into each other, we’re always talking about playing music together,” Gadd says. “After many years of saying that, we finally put some time aside.”

PAN welcomes back Objekt for Cocoon Crush, his first LP since 2014’s Flatland. Over the past four years Objekt has continued to challenge conventions with his club output (the Objekt #4 single release and the Kern Vol. 3 mix CD for Tresor), while maintaining his reputation as a DJ who deploys impeccable technical finesse in crafting elaborate narratives from a diverse and challenging palette of electronic music.
Written between 2014 and 2018 in Berlin and on the road, Cocoon Crush once again sees the producer jettisoning the functional requirements of the dancefloor. Marking a further evolution from the youthful exuberance of Flatland, Cocoon Crush explores a more introspective side, with themes of human interaction resonating throughout the record as it ruminates on a spectrum of complex moods rooted in 4 years of sometimes turbulent personal experience.
Cocoon Crush represents an aesthetic departure from Flatland’s largely synthetic tonality, drawing from organic source material and natural textures to illustrate perplexing and unfamiliar sceneries in photorealistic detail. In Cocoon Crush, Objekt diverges further still from his musical influences to craft the purest manifestation of his own musical personality to date: an intriguing and enigmatic album whose reference points are hard to pin down, in which ghostly synth passages weave through mind-bending, weighty drums, and ASMR-triggering foley collages scrape and sparkle. Through meticulous sculpting, Objekt traces a rich and impressionistic journey through claustrophobia, hope, guilt, anxiety and joy, nested in layers of sonic detail which reward with every listen.
The album is mastered by Rashad Becker, featuring photography by Kasia Zacharko, and layout by Bill Kouligas.

特洛伊·希文·梅萊，是一名出生在南非的猶太裔澳洲歌手、詞曲作家、演員及YouTube名人。在台灣環球音樂官方冠上「美麗少年」之稱號。作為演員，希文在2009年的X戰警系列電影《X戰警：金鋼狼》中出演了少年時期的詹姆斯·豪利特，之後又主演了南非電影《馬鈴薯》三部曲

在夜深人静时，多情，
谁叫人爱之如狂，如迷。
当叹息成丝结，成锦，
把爱与相思化作，秘密。
——— 《望月》
“拾贰”之述
我是谁？会成为谁？在做什么？要做什么？
了解、接受并完善自己是非常重要的事情。
我是个自我的人，《拾贰》是我的首张专辑，所以它应该是展现本我的，充斥着我各种情绪的专辑。这张专辑里有《归，不归》等2016年至2017年写的作品，也有《望月》、《譬如你吐出的烟云》、为专辑创作的全新作品。整张专辑的歌词大多数都改自我日常所写的小诗，也可以说，听这张专辑便是窥探到我的三两内心世界。
在做这张专辑的最初，我刚处于还对音乐行业有点迷茫与无从下手的状态。反复思考着到底怎样的音乐才能被市场和大众所接受，反反复复，于是陷入一种低迷的情绪里。可我的音乐不允许我迷茫，它们敲打我，给我狠狠地扇巴掌，让我清醒过来。“我做音乐本来就不是为了取悦别人，如果是，那我为何不去尝试喜剧演员？”心中的自己这样告诉我：“我做的音乐，是为了取悦我自己。”
明确了方向和目的，那就只能义无反顾地去做了。但我也希望我的音乐会有很多人喜欢，因为这意味着我在取悦自己的同时，也可以结识更多臭味相投的人，这也代表着一种“认可”。
所以矛盾与和解形成了这张专辑，我命名它为《拾贰》，没别的，因为这就是我，我就是方拾贰。
如果你愿意，请用上你最棒的音响和耳机，把音量调好，进入我的世界。
---- 方拾贰
《拾贰》之解
这是方拾贰人生中第一张完整的专辑，但并未显得稚嫩。在聆听10首作品的过程中，会慢慢发觉暗藏在作品中的对仗与渐进，首尾相称的结构，各抒情绪却又气质统一的和谐。
1、未来东方
方拾贰与她的铁杆搭档制作人1229早前接连推出了《归，不归》、《山下》、以及双生共存的《酒事儿》与《94》，等共四首作品，无形中塑造出方拾贰最初的音乐人设，吸引到大批听众称奇惊艳，却很有难去定义这种新的风格。而直到方拾贰写出《望月》的歌词时，“未来东方”这个新鲜却又无比贴切的定义终于被脱口而出，也许华语乐坛可能会因为方拾贰而有了一个新的分类。
《望月》也因此成为专辑创作的核心主题，团队搭档特别邀请或许最能演绎出“未来东方”味道的电子制作人白天不亮担任制作。在白天不亮的“鬼斧神工”下，《望月》被赋予了神秘、清冷、深情、缥缈虚无的气质。旋律清幽不俗，词句间透着清爽，却又过耳不忘久听不腻。
为了专辑更具概念化，白天不亮特别为整张专辑序写《Intro》，而1229也完美主义得重新制作了《山下》，令“未来东方”的样貌更加完整统一。
2、爱情三瞬
在专辑筹备过程中，方拾贰通过日积月累的日常小诗，逐渐演化出《譬如你吐出的烟云》、《我送你月亮，你送我星光》、《水泥木屋》三段不同的爱情故事，而这三首歌也分别代表着恋、守与生——爱情的三个阶段。
提到令人难忘的浪漫，就不能不提近年炙手可热的独立音乐人及制作人sususu，虽然这次sususu与方拾贰是首次合作，却默契得将情与爱中的细腻、温柔与感动放大到极致。其中象征幸福的《水泥木屋》由sususu独自制作完成，代表热恋的《譬如你吐出的烟云》与寓意相守浪漫的《我送你月亮，你送我星光》，则以sususu与nencol组成的NOPANGPANG音乐组合的配置完成。
这三首歌都像方拾贰在sususu、NOPANGPANG的帮助下谱写的情书，传递给听者，再由听者传达给他们所爱之人。
3、意外之笔
《躁》作为整张专辑里色彩最浓重、“戾气”最重的一首歌，与其余9首歌显得截然不同。
这首词写于方拾贰与父母的一次争吵后，用方拾贰的话说：“我思绪混乱、头脑发昏地离开父母的座驾，快速钻进最近的地铁站，没有目的地得随着人流走，烦躁得写下了这首词。”
这首《躁》也是整张专辑里情绪的致低点，通过铁杆搭档1229富有张力的编曲还原给听众，也意外得展示了方拾贰极具特点的、市场濒缺的女中低音鲜有特质。这首反常的作品，似乎也预示着方拾贰新的可能性，作为最后一曲放在《拾贰》专辑最末，也便可视为她未来作品的Intro。
翻读这张专辑的幕后班底，也可称之豪华：李军、周天澈、李卓等均为汪峰、王菲、朴树、林忆莲、莫文蔚等华语乐坛天王天后的御用录音混音师；《酒事儿》《山下》中的朱家明则是著名的指弹吉他演奏家，也是寻光计划“师兄”——第一季左安西西的核心成员；中国最富盛名的母带工程师韩冬操刀整张的母带制作；同入选第二季寻光计划Shawee的音乐搭档mAjorHon，也协力两首作品的混音工程；还有丁培峰、何浩诚、国际首席交响乐团、xxxRonan、闫超等幕后音乐人的加持。
出品：虾米音乐寻光计划/山下工作室
发行时间：2018.5
唱片编号：XA-028
监制：山下工作室
总制作人 ：1229/方拾贰
编曲：1229/白天不亮/sususu/NOPANGPANG
录音及制作协力：闫超
混音工程：李军/周天澈/李卓/mAjorHon
母带后期：韩冬
企划/文案 ：方拾贰/赵宗
平面设计：Annsey赵宏韬
logo及封面字体设计：卢熙玮
平面摄影：竹十口
造型/化妆：蓝小可
MV拍摄：腔调广告《94》
实体发行：星外星音乐
海外数字发行：风潮音乐

小时候有玩过一种叫「琉璃嗝夯」的乐器，玻璃制品，唢呐的样子，喇叭口是由极其薄的玻璃闭封住的。「琉璃嗝夯」的发声原理很简单，用嘴对着瓶口轻轻地吹、吸、吹、吸，喇叭口极薄的玻璃面就会一凸一凹， 一凸一凹，发出嗝、夯、嗝、夯的声响。那时侯，我们一点也不小瞧它，对其进行了深入的研习，发明出用手、腋、膕窝等部位演奏的技巧，这就是我愿称其为乐器的原因。
我的创作跟所有我的听都有关，包括那些我并不喜欢的，被动与不经意间听到的。以至于，我无法保证那些我不喜欢的，对我的影响不甚。有段时间，我认为这世上根本没有百分之百的原创。回响这个词，我中意了很久，因为它很接近无法言说的“ 现实的样子” 。跟朋友说起这张《回响》歌集，我还会说两个字：“ 清楚” 。这些最远迄今2 4 0 0 年的禅诗、偈诵， 先是触动了自己，时常在早课后吟诵，日久成了歌，这非百分之一百的原创，於我，却绝无仅有。如同「琉璃嗝夯」的嗝与夯，来路去处不见，彼此难究，回响，却声声历历。
「界」以正命， 却常作烦恼、是非滋生之所。七贤嵇中散，越过琴笛鼓铃，了知“ 声无哀乐” 。大师吴清源，越过黑白敌我，见“ 棋盘如天宇浩荡，落子如星辰位列” 。世上并没有那么多笨蛋，却有数不尽无法将结论落实下去者。何歌手这些拙编陋唱，意不在声，耽搁闻者宝贵生命的同时，愿我们，闻性有响。哪怕如起晨的闹铃也好，因为醒来，就不是睡着。

我们设法做一张真正意义上的唱片，于是《台风》诞生了。科特琳娜•加缪在《孤独与团结》中有一句话：“我总是觉得身处大海之上：在巨大幸福的中心受到威胁。”这是我们创作《台风》的初衷。台风，意味着被动接受，且无力反抗。当这种被动感占据着你大部分生活的时候，就巧妙地形成了人们常常诉说的压力。它像一个漩涡，但压力和台风不一样，台风短暂停留，压力无孔不入，甚至有可能，你终其一生都在被动接受。根本不存在出口，也找不到出口。这场台风曾经在我们内心翻滚地跃跃欲试，现在我们将它捕捉，为荒诞的世界平添一点意义。
主唱：王海洋
电声吉他：刘遥
原声吉他：刘遥、王海洋
贝斯：康淮钰
鼓：董宇
键盘：冯文翔
倍大提琴：李梦圆
萨克斯：刘冬
打击乐：郭子敬
合声：赵婉辛
采样：王海洋
音效：黄磊
录音／混音：郭子敬
录音监制：王海洋、刘遥
企划：以太
封面出境：毛毛
专辑封面设计：涂婓
We managed to make a real album and “Bull’s Eye”was born. Katrina Camus has a phrase in solitude and solidarity: "I always feel on the sea: threatened in the center of great happiness."This is the original intention of our creation of “Bull’s Eye”. A typhoon means passive acceptance and inability to resist. It subtly forms the stress when this sense of passivity occupies most of your life. It is like a whirlpool, but the pressure and the typhoon are not the same. The typhoon stops for a short time, and the pressure is pervasive. It is even possible that you have been passively accepted for the rest of your life. There is no export at all . This typhoon has been trying to get excited in our hearts. Now we catch it and add a little meaning to the absurd world.

您好！2018年愚人节之际，为您奉献首张同名全长专辑，动物园钉子户乐队的情意之作。
简单顺畅的旋律，回旋不停的噪音，每一个音符的残响都包裹了大家全部的爱与真诚，只为您。

歌手？
主唱？
创作人？
这些都不重要。
重要的是作品。
而作品的背后有多少故事和多少工作人员会被提及？
所以
决定
仅以此专辑献给为“音乐”这件事情疯狂的音乐家们和背后的工作人员。
这些疯狂的人，在不同的时代，都努力留下属于自己的声响。
于是，一个歌手本身的名字不再那么重要，重要的是当专辑名被说起时，希望背后的名字都被记起。