Experimental
Jun Ray Song Chang 豆瓣
9.7 (7 个评分)
Asa-Chang & Junray
发布日期 2006年5月30日
出版发行:
Leaf Spain
未来俱乐部 豆瓣
7.0 (23 个评分)
Duck Fight Goose
/
鸭打鹅
类型:
电子
发布日期 2016年8月12日
出版发行:
大福唱片
在一个未来反乌托邦世界里，外星生化人在地球着陆，释放出一股绿色的烟雾。这片迷雾实际上全由纳米尺寸的机器人构成，会随着人类的呼吸进入他们的神经系统，让他们立刻变得兴奋异常，跳起舞来。第一次接触就此发生。
也许没有什么地方比上海更能激发人们对于未来世界的幻想和焦虑了，鸭打鹅乐队的第二张专辑《未来俱乐部 CLVB ZVKVNFT》里描绘的，也正是这样一个科幻迷境。曾经被打上“数学摇滚”标签的他们在过去几年时间里已经完成了电气化的转变：完全抛弃吉他演奏，改用合成器和各色制作软件表达自己对于未来狂热而偏执的想象。韩涵和熊猫的合成器演奏时而危险阴暗，时而流光溢彩；33和JB组成的节奏组合，则平衡着凶猛冰冷的机械力量和温热的人类韵律。这张唱片中音乐内部本身的对立也正是乐队想要探索的主题：如何才能用机器的语言表达出复杂微妙的人类情感？科技进步之于人类文明究竟是良药还是倾覆？
《未来俱乐部 CLVB ZVKVNFT》一定程度上算是“概念唱片”——在创作过程中，深受《异形》系列电影、《辐射》等游戏影响的乐队发展出一个贯穿所有曲目的科幻故事。但这张唱片所涵盖的剧情可能显然不止一种：人类、外星人、人工智能之间的相互依赖和斗争，陌生事物和冲突带来的恐惧与兴奋，财富和科技带来的恩惠与诅咒等等，所有这些经典的主题足够每个人想象出属于他们自己的故事。鸭打鹅的音乐前所未有地低沉而尖锐，也更加细腻和富有层次感。同所有优秀的club一样，未来俱乐部如同黑客一般潜入人类躯体，阻断与“真实世界”的联系，用电气之声助你逃离这个星球，哪怕只是短短的一小时……
《未来俱乐部 CLVB ZVKVNFT》由大福唱片分别以数字、CD及双LP黑胶三种载体发行。鸭打鹅与DOC乐队的特别多媒体联合双城专场《林比克人》也将在上海和北京上演。鸭打鹅还将参加摩登天空今年秋天在芬兰及美国举办的音乐节。
也许没有什么地方比上海更能激发人们对于未来世界的幻想和焦虑了，鸭打鹅乐队的第二张专辑《未来俱乐部 CLVB ZVKVNFT》里描绘的，也正是这样一个科幻迷境。曾经被打上“数学摇滚”标签的他们在过去几年时间里已经完成了电气化的转变：完全抛弃吉他演奏，改用合成器和各色制作软件表达自己对于未来狂热而偏执的想象。韩涵和熊猫的合成器演奏时而危险阴暗，时而流光溢彩；33和JB组成的节奏组合，则平衡着凶猛冰冷的机械力量和温热的人类韵律。这张唱片中音乐内部本身的对立也正是乐队想要探索的主题：如何才能用机器的语言表达出复杂微妙的人类情感？科技进步之于人类文明究竟是良药还是倾覆？
《未来俱乐部 CLVB ZVKVNFT》一定程度上算是“概念唱片”——在创作过程中，深受《异形》系列电影、《辐射》等游戏影响的乐队发展出一个贯穿所有曲目的科幻故事。但这张唱片所涵盖的剧情可能显然不止一种：人类、外星人、人工智能之间的相互依赖和斗争，陌生事物和冲突带来的恐惧与兴奋，财富和科技带来的恩惠与诅咒等等，所有这些经典的主题足够每个人想象出属于他们自己的故事。鸭打鹅的音乐前所未有地低沉而尖锐，也更加细腻和富有层次感。同所有优秀的club一样，未来俱乐部如同黑客一般潜入人类躯体，阻断与“真实世界”的联系，用电气之声助你逃离这个星球，哪怕只是短短的一小时……
《未来俱乐部 CLVB ZVKVNFT》由大福唱片分别以数字、CD及双LP黑胶三种载体发行。鸭打鹅与DOC乐队的特别多媒体联合双城专场《林比克人》也将在上海和北京上演。鸭打鹅还将参加摩登天空今年秋天在芬兰及美国举办的音乐节。
LAST WALTZ 豆瓣
8.6 (25 个评分)
World's End Girlfriend
类型:
电子
发布日期 2016年11月26日
出版发行:
Virgin Babylon Records
今作のテーマは自身の名でもある「world's end girlfriend」。
18年間、作家自身が想い描き続けたその名が持つ根源のイメージ。
3.11後の世界、テロの時代における抵抗と祝福。
これまででもっともパーソナルな哲学と領域に深く踏み込んだ作品となっている。
世界中のどこにもない音世界で描かれた新作「LAST WALTZ」。
静寂と轟音、生音とプログラミング、旋律とノイズを自在に行き来し、
喜怒哀楽や善悪の彼岸も越え、全10曲70分ひとつの物語として描かれる。
「死の舞踏」のその先、「メメント・モリ」の向こう側。
震える地の上で踊り、放射される光と闇の中で最期まで遊びつづける。
ゲストミュージシャンとして
downyのギタリスト青木裕、湯川潮音、Piana等が参加。
アートワークは中国の現代美術家Jiang Zhiの作品を使用。
The album theme is his own name “world's end girlfriend”.
The writer keeps imagining fundamental images of that name creates, for 18 years.
It's Resistance & The Blessing , among the world after 3.11 and this terrorism-era.
This album is filled with most personal his philosophy. This one steps into his personal universe deeply.
The new album "LAST WALTZ" is painted by a quite unique sounds world that anywhere of the world have not ever heard.
Coming and going freely between silence and roar, acoustic sound and programming sound, melody and noise.
That passes over Joy, Anger, Sadness, Humor, Good and Evil.
It draws as a story of 10 tracks in 70mins.
Beyond "Dance of Death", the other side of" Memento mori".
We are dancing on the shaking ground and keep playing in emitted lights and darkness until the end.
Guest additional musicians are Yutaka Aoki(downy), Shione Yukawa, Piana, so on.
The album cover artwork is a fantastic photograph by Chinese modern artist, Jiang Zhi.
18年間、作家自身が想い描き続けたその名が持つ根源のイメージ。
3.11後の世界、テロの時代における抵抗と祝福。
これまででもっともパーソナルな哲学と領域に深く踏み込んだ作品となっている。
世界中のどこにもない音世界で描かれた新作「LAST WALTZ」。
静寂と轟音、生音とプログラミング、旋律とノイズを自在に行き来し、
喜怒哀楽や善悪の彼岸も越え、全10曲70分ひとつの物語として描かれる。
「死の舞踏」のその先、「メメント・モリ」の向こう側。
震える地の上で踊り、放射される光と闇の中で最期まで遊びつづける。
ゲストミュージシャンとして
downyのギタリスト青木裕、湯川潮音、Piana等が参加。
アートワークは中国の現代美術家Jiang Zhiの作品を使用。
The album theme is his own name “world's end girlfriend”.
The writer keeps imagining fundamental images of that name creates, for 18 years.
It's Resistance & The Blessing , among the world after 3.11 and this terrorism-era.
This album is filled with most personal his philosophy. This one steps into his personal universe deeply.
The new album "LAST WALTZ" is painted by a quite unique sounds world that anywhere of the world have not ever heard.
Coming and going freely between silence and roar, acoustic sound and programming sound, melody and noise.
That passes over Joy, Anger, Sadness, Humor, Good and Evil.
It draws as a story of 10 tracks in 70mins.
Beyond "Dance of Death", the other side of" Memento mori".
We are dancing on the shaking ground and keep playing in emitted lights and darkness until the end.
Guest additional musicians are Yutaka Aoki(downy), Shione Yukawa, Piana, so on.
The album cover artwork is a fantastic photograph by Chinese modern artist, Jiang Zhi.
A Moon Shaped Pool 豆瓣
9.0 (208 个评分)
收音机头 Radiohead
类型:
摇滚
发布日期 2016年5月8日
出版发行:
XL
A Moon Shaped Pool is the ninth studio album by the English rock band Radiohead, produced by Nigel Godrich. It was released as a download on 8 May 2016. CD and LP editions will be released on 17 June 2016, followed by a "special edition" in September, containing two additional songs. Soon after its release the album was played in its entirety on BBC Radio 6 Music, presented by Tom Robinson.
Ütopiya? 豆瓣
9.1 (14 个评分)
Oiseaux-Tempête
发布日期 2015年4月30日
出版发行:
Sub Rosa (Alive)
ÜTOPIYA? not only continues their first album, but it extends it. The travels move this time to Istanbul and Sicily providing the food for its urgent energy and indomitable drive. While the structures still hint at moments of post-rock, they go further now, almost into the area of free-jazz yet without loosing a directness rooted in punk (highlighted perhaps by the presence of G.W.Sok from The Ex). In addition, the bass clarinet of Gareth Davis references both the roughest of experiments of Akosh Szelevényi and of The Stooges Fun House.
There are, so the story goes, sea birds that reveal themselves only at times of approaching storms. This story though, is a little more complicated. For some, the pipers riding the deluge, yet for the mariner the prophets in the lingering final moments of calm. Thus, ultimately, are they the creator or created if the existence
of one requires the other? It is this Mediterranean Sea that OISEAUX-TEMPÊTE chose to roam. In 2013, on a trip to Greece, they returned with an account of the political upheaval and spread of discontent which is now so easy to follow two years later. An album of tension, cinematographic as it rides the storms which it documents. A disc positioned, ultimately, in the statement.
More or less anchored in Paris, OISEAUX-TEMPÊTE is the result of the meeting between Frédéric D. Oberland & Stéphane Pigneul (members of both Farewell Poetry and Le Réveil des Tropiques) and Ben McConnell (Beach House and Marissa Nadler). For ÜTOPIYA?, the group is expanded with the addition of bass clarinet virtuoso Gareth Davis.
There are, so the story goes, sea birds that reveal themselves only at times of approaching storms. This story though, is a little more complicated. For some, the pipers riding the deluge, yet for the mariner the prophets in the lingering final moments of calm. Thus, ultimately, are they the creator or created if the existence
of one requires the other? It is this Mediterranean Sea that OISEAUX-TEMPÊTE chose to roam. In 2013, on a trip to Greece, they returned with an account of the political upheaval and spread of discontent which is now so easy to follow two years later. An album of tension, cinematographic as it rides the storms which it documents. A disc positioned, ultimately, in the statement.
More or less anchored in Paris, OISEAUX-TEMPÊTE is the result of the meeting between Frédéric D. Oberland & Stéphane Pigneul (members of both Farewell Poetry and Le Réveil des Tropiques) and Ben McConnell (Beach House and Marissa Nadler). For ÜTOPIYA?, the group is expanded with the addition of bass clarinet virtuoso Gareth Davis.
Fuck Off Get Free We Pour Light On Everything 豆瓣
7.6 (5 个评分)
Thee Silver Mt. Zion Memorial Orchestra
类型:
摇滚
发布日期 2014年1月21日
出版发行:
Constellation
Last September, at the Polaris Music Prize gala in Toronto, writer/Pitchfork contributor Jessica Hopper introduced shortlist nominees Godspeed You! Black Emperor by distilling their many achievements down to a single word: “no.” Which is to say, the Montreal ensemble’s success is a direct product of their refusal to engage in traditional music-industry practices or self-promotional glad-handing—an outlook that also extended to not showing up at the Polaris ceremony, nor gladly accepting the $30,000 purse they won later that night. (As per band tradition, they let their feelings be known via a collectively written communiqué.) However, offshoot band Thee Silver Mt. Zion—featuring Godspeed guitarist Efrim Menuck, violinist Sophie Trudeau, and bassist Thierry Amar, along with violinist Jessica Moss and drummer David Payant—has been more amenable to countering all that “no” with the odd “yes.” Though they share with Godspeed a deep suspicion of authority and institutions, and the faintest of hopes that sanity will prevail in a world gone mad, they’ve come to broadcast their ideas through more clearly communicated means: interviews, lengthy onstage addresses, lyrics we can all join in on, and songs that are both more outwardly anthemic and viscerally rocking than Godspeed’s slow-surging, side-long epics.
But while Menuck has become a more confident and charismatic vocalist over the years, his lyrics are often rendered in broad-strokes, addressing faceless bogeymen (a Dylanesque procession of bankers, hangmen, and the like) and macro societal maladies, while rooting their more sanguine songs in communal, universal affirmations. So the great strides made on the band’s seventh album, Fuck Off Get Free We Pour the Light on Everything, aren’t so much musical—it’s a logical extension of 2010’s Kollaps Tradixionales—but philosophical: This time, it’s personal. The album is less concerned with asserting a specific worldview than examining the difficulties of keeping one’s moral compass steady in a society that’s becoming ever-more indifferent to the things you value—and how one must remain all the more resolute once kids enter the picture.
Menuck and Moss became parents in recent years; that’s their boy Ezra we hear in the new album’s opening seconds, delivering the band’s simple mission statement: “We live on the island called Montreal, and we make a lot of noise… because we love each other!” The experience of new fatherhood factored into some of the songs on Menuck’s scaled-down 2011 solo release, Plays High Gospel, but that intimate perspective is retained here amid Thee Silver Mt. Zion’s orchestro-punk onslaught, with the band’s usual big-picture concerns intensified by the lingering question of what kind of world their children will inherit.
True to the band’s “Memorial Orchestra” and “Tra-La-La Band” suffixes, Thee Silver Mt. Zion albums have always contrasted eulogy with euphoria, but on Fuck Off Get Free the feelings of joy and terror are one and the same. Rather than use violins to embellish their guitar riffs, the album’s monstrous opening track (which, like Kollaps’ “I Built Myself a Metal Bird” is the rare TSMZ song to just charge out of the gates without an extended build-up) fuses the two into the same dissonant frequency. But amid this sound of confusion, Menuck leads the band in a group chant that’s almost nursery-rhyme-like in its simplicity; that album title may seem like a mouthful to read, but it’s surprisingly easy to sing. Fuck Off Get Free’s most exhilarating song is likewise a maelstrom of conflicted emotions: over the course of its 14 minutes, “Austerity Blues” channels screeching cacophony into rousing catharsis, however, Menuck’s triumphant refrain—“Lord, let my son/ Live long enough/ To see that mountain torn down”—is undercut by the implication that the singer won’t be around to see the better world he’s fighting for. And that latent anxiety comes boiling to surface on the raging “Take Away These Early Grave Blues”, which refines the heavy-metal klemzer heard on Godspeed’s 2012 colossus “Mladic” into a more concentrated burst; Menuck coyly acknowledges this otherwise despairing song’s shout-along accessibility when he fashions a hook—“let them sing our/ pretty songs”—that recalls the similarly sarcastic chorus of Nirvana’s “In Bloom”.
But even the album’s actual pretty songs are suffused with grave prophecies: The deceptively gentle “Little Ones Run”—a piano ballad sung by Trudeau and Moss—presents a bedside lullaby that parents can sing to calm down babies during the next extreme-weather eco-disaster (“Wake up darling the moon is gone/ The sky’s a mess and falling down”). Meanwhile, the album’s emotional centerpiece, “What We Loved Was Not Enough”, is a comment on modern-age ennui that could conceivably waltz its way onto the back half of Arcade Fire’s Reflektor (if that album was a little less disco and a little more Dischord), however, for Thee Silver Mt. Zion, the cost of apathy is more severe than just social disconnection: “There’ll be war in our cities/ and riots at the mall,” Menuck warns, before repeating his most chilling prognostication four times—“all our children gonna die.” All the while, the rest of the band sings, “and the day has come, when we no longer feel,” the sweetest of harmonies couching the bitterest of sentiments—i.e. that numbing oneself to atrocities is the only way to endure them.
And yet, amid this procession of devastation, Menuck sees a sliver of a silver lining, when he sings, “kiss it quick and it’ll rise again,” and the album’s closing track, “Rains Thru the Roof at the Grande Ballroom (For Capital Steez)”, channels that cautious optimism into a dreamlike haze that's equally haunting and comforting. Its title name-checks the Detroit theatre where The MC5 recorded their incendiary 1968 debut, Kick Out the Jams, and the song is introduced by an interview clip in which guitarist Fred “Sonic” Smith issues a statement of purpose that Thee Silver Mt. Zion could easily claim as their own: “Music is a way of life, it’s more than just something you do on the weekend … it’s something you devote your life to.” But more than simply forge a spiritual connection between Thee Silver Mt. Zion and their proto-punk forefathers, the song’s central image—of a once-legendary venue reduced to ruins—serves as a symbol for the loss of radicalism in popular music.
And through that lens, the parenthetical shout-out to Pro Era rapper Capital Steez—who threw himself off a New York City building in late 2012—makes more sense, as a requiem for a kindred, politically outspoken voice silenced before his time. But for all the sorrow couched in Menuck’s trembling tenor, there is a sign of life amid the Grande Ballroom rubble: “The glass in its windows are still breathing,” he sings, suggesting the same anti-establishment ethos that fuelled a band of Motor City delinquents in the late-60s, and his own cabal of Montreal outsiders in the late-90s, and a teenaged Brooklyn MC in the early 2010s will persist long after he’s gone. Back in 2003, when this once-instrumental band was still literally finding its voice, Thee Silver Mt. Zion asserted their core ideology by naming their third album This Is Our Punk-Rock, and the increasingly aggressive albums released in the interim have made the members’ hardcore roots all the more apparent. But to ensure that the contrarian, questioning spirit of punk endures through future generations, Fuck Off Get Free reminds us of one of the key principles of hippiedom: teach your children well.
But while Menuck has become a more confident and charismatic vocalist over the years, his lyrics are often rendered in broad-strokes, addressing faceless bogeymen (a Dylanesque procession of bankers, hangmen, and the like) and macro societal maladies, while rooting their more sanguine songs in communal, universal affirmations. So the great strides made on the band’s seventh album, Fuck Off Get Free We Pour the Light on Everything, aren’t so much musical—it’s a logical extension of 2010’s Kollaps Tradixionales—but philosophical: This time, it’s personal. The album is less concerned with asserting a specific worldview than examining the difficulties of keeping one’s moral compass steady in a society that’s becoming ever-more indifferent to the things you value—and how one must remain all the more resolute once kids enter the picture.
Menuck and Moss became parents in recent years; that’s their boy Ezra we hear in the new album’s opening seconds, delivering the band’s simple mission statement: “We live on the island called Montreal, and we make a lot of noise… because we love each other!” The experience of new fatherhood factored into some of the songs on Menuck’s scaled-down 2011 solo release, Plays High Gospel, but that intimate perspective is retained here amid Thee Silver Mt. Zion’s orchestro-punk onslaught, with the band’s usual big-picture concerns intensified by the lingering question of what kind of world their children will inherit.
True to the band’s “Memorial Orchestra” and “Tra-La-La Band” suffixes, Thee Silver Mt. Zion albums have always contrasted eulogy with euphoria, but on Fuck Off Get Free the feelings of joy and terror are one and the same. Rather than use violins to embellish their guitar riffs, the album’s monstrous opening track (which, like Kollaps’ “I Built Myself a Metal Bird” is the rare TSMZ song to just charge out of the gates without an extended build-up) fuses the two into the same dissonant frequency. But amid this sound of confusion, Menuck leads the band in a group chant that’s almost nursery-rhyme-like in its simplicity; that album title may seem like a mouthful to read, but it’s surprisingly easy to sing. Fuck Off Get Free’s most exhilarating song is likewise a maelstrom of conflicted emotions: over the course of its 14 minutes, “Austerity Blues” channels screeching cacophony into rousing catharsis, however, Menuck’s triumphant refrain—“Lord, let my son/ Live long enough/ To see that mountain torn down”—is undercut by the implication that the singer won’t be around to see the better world he’s fighting for. And that latent anxiety comes boiling to surface on the raging “Take Away These Early Grave Blues”, which refines the heavy-metal klemzer heard on Godspeed’s 2012 colossus “Mladic” into a more concentrated burst; Menuck coyly acknowledges this otherwise despairing song’s shout-along accessibility when he fashions a hook—“let them sing our/ pretty songs”—that recalls the similarly sarcastic chorus of Nirvana’s “In Bloom”.
But even the album’s actual pretty songs are suffused with grave prophecies: The deceptively gentle “Little Ones Run”—a piano ballad sung by Trudeau and Moss—presents a bedside lullaby that parents can sing to calm down babies during the next extreme-weather eco-disaster (“Wake up darling the moon is gone/ The sky’s a mess and falling down”). Meanwhile, the album’s emotional centerpiece, “What We Loved Was Not Enough”, is a comment on modern-age ennui that could conceivably waltz its way onto the back half of Arcade Fire’s Reflektor (if that album was a little less disco and a little more Dischord), however, for Thee Silver Mt. Zion, the cost of apathy is more severe than just social disconnection: “There’ll be war in our cities/ and riots at the mall,” Menuck warns, before repeating his most chilling prognostication four times—“all our children gonna die.” All the while, the rest of the band sings, “and the day has come, when we no longer feel,” the sweetest of harmonies couching the bitterest of sentiments—i.e. that numbing oneself to atrocities is the only way to endure them.
And yet, amid this procession of devastation, Menuck sees a sliver of a silver lining, when he sings, “kiss it quick and it’ll rise again,” and the album’s closing track, “Rains Thru the Roof at the Grande Ballroom (For Capital Steez)”, channels that cautious optimism into a dreamlike haze that's equally haunting and comforting. Its title name-checks the Detroit theatre where The MC5 recorded their incendiary 1968 debut, Kick Out the Jams, and the song is introduced by an interview clip in which guitarist Fred “Sonic” Smith issues a statement of purpose that Thee Silver Mt. Zion could easily claim as their own: “Music is a way of life, it’s more than just something you do on the weekend … it’s something you devote your life to.” But more than simply forge a spiritual connection between Thee Silver Mt. Zion and their proto-punk forefathers, the song’s central image—of a once-legendary venue reduced to ruins—serves as a symbol for the loss of radicalism in popular music.
And through that lens, the parenthetical shout-out to Pro Era rapper Capital Steez—who threw himself off a New York City building in late 2012—makes more sense, as a requiem for a kindred, politically outspoken voice silenced before his time. But for all the sorrow couched in Menuck’s trembling tenor, there is a sign of life amid the Grande Ballroom rubble: “The glass in its windows are still breathing,” he sings, suggesting the same anti-establishment ethos that fuelled a band of Motor City delinquents in the late-60s, and his own cabal of Montreal outsiders in the late-90s, and a teenaged Brooklyn MC in the early 2010s will persist long after he’s gone. Back in 2003, when this once-instrumental band was still literally finding its voice, Thee Silver Mt. Zion asserted their core ideology by naming their third album This Is Our Punk-Rock, and the increasingly aggressive albums released in the interim have made the members’ hardcore roots all the more apparent. But to ensure that the contrarian, questioning spirit of punk endures through future generations, Fuck Off Get Free reminds us of one of the key principles of hippiedom: teach your children well.
Millions Now Living Will Never Die Spotify Discogs 豆瓣
8.9 (42 个评分)
Tortoise
类型:
摇滚
发布日期 1996年1月1日
出版发行:
Thrill Jockey
Millions Now Living Will Never Die was the second album by the Chicago-based band, Tortoise. Released in 1996 by Thrill Jockey Records, Millions...' is widely renowned as a groundbreaking album for post-rock: an uncredited review from Outersound.com declares that not long after the album's release, the group was "hailed as godfathers of the American 'post-rock' movement".
The album's title comes from a phrase used in the Jehovah's Witness faith in the early 1900s;
The album's title comes from a phrase used in the Jehovah's Witness faith in the early 1900s;
Shaking The Habitual 豆瓣
8.7 (12 个评分)
The Knife
类型:
电子
发布日期 2013年4月16日
出版发行:
Brille
Crystal Castles (II) 豆瓣
7.5 (21 个评分)
Crystal Castles
类型:
电子
发布日期 2010年4月19日
出版发行:
Polydor Ltd.
The second self-titled album for the Canadian duo was recorded in a variety of places, including a garage in Detroit, a church in Iceland, a cabin in Canada, and a real music studio in London.
Crystal Castles 豆瓣
8.0 (43 个评分)
Crystal Castles
类型:
电子
发布日期 2008年3月18日
出版发行:
Phantom Sound & Vision
“世界上能动能静并且最激动人心的乐队”当下非CYRSTAL CASTLES 莫属了。这支来自加拿大多伦多的电子乐队为一男一女两人阵容，ETHAN KATH 和 ALICE GLASS，做的是如今最时髦的8 BIT THRASH，他们的音乐被认为是非常具有创新意识的。CRYSTAL CASTLES 能象现在这样有超高人气不仅仅是因为乐队自身的才华和团员自身的努力，同样也因ENTHAN KATH 之前将BLOC PARTY 等众多著名大派乐队的歌曲做了出色的混音版本。
Crystal Castles成立于2003年，可谓是迅速崛起。在过去的两年里面他们成功的在美国，澳洲以及欧洲各地举办了无数演出。后来在各大杂志网站的访谈中CC说到其实他们刚开始的时候并没有心去做一个乐队，他们只是按照自己的兴趣喜好去把各种声音混合起来。第一张单曲 “ALICE PRACTICE”的制作发行完全也只是一个巧合，ALICE 当时是在为一个话筒做SOUND TEST。直到后来把这首歌放到MYSPACE上以后他们才意识到自己当时自己的这个无意行为如今对广大乐迷多么具有威慑力了。后来便有许多家唱片公司陆续找上门。
到今天为止，CC在西方国家的火暴程度无人能比。他们在MYSPACE上的网页已经有将近2800000的访问率。他们现在已经开始不知道第几伦的美国巡演了。我本人在去年9月看过CC 与 METRIC的共同专场，没有见过比CC更出色的乐队，哪怕是如今已经成为摇滚明星的METRIC，在与其相比之下也显逊色。
Crystal Castles成立于2003年，可谓是迅速崛起。在过去的两年里面他们成功的在美国，澳洲以及欧洲各地举办了无数演出。后来在各大杂志网站的访谈中CC说到其实他们刚开始的时候并没有心去做一个乐队，他们只是按照自己的兴趣喜好去把各种声音混合起来。第一张单曲 “ALICE PRACTICE”的制作发行完全也只是一个巧合，ALICE 当时是在为一个话筒做SOUND TEST。直到后来把这首歌放到MYSPACE上以后他们才意识到自己当时自己的这个无意行为如今对广大乐迷多么具有威慑力了。后来便有许多家唱片公司陆续找上门。
到今天为止，CC在西方国家的火暴程度无人能比。他们在MYSPACE上的网页已经有将近2800000的访问率。他们现在已经开始不知道第几伦的美国巡演了。我本人在去年9月看过CC 与 METRIC的共同专场，没有见过比CC更出色的乐队，哪怕是如今已经成为摇滚明星的METRIC，在与其相比之下也显逊色。
你睇斜陽照住嗰對雙飛燕 豆瓣
9.0 (58 个评分)
永遠懷念塔可夫斯基
类型:
摇滚
发布日期 2009年7月1日
出版发行:
indie
「永遠懷念塔可夫斯基」以俄國導演塔可夫斯基命名，樂隊自我介紹中表示，前身為電影分享會，後來演變成各種文藝活動，其中兩名成員－－My Little Airport的阿P與Pixel Toy何山的音樂演出廣受好評，而成立樂隊。 惟樂隊只出版過一張作品《你睇斜陽照住嗰對雙飛燕》便告解散。
The King of Limbs 豆瓣
7.7 (101 个评分)
Radiohead
类型:
摇滚
发布日期 2011年2月19日
出版发行:
XL Recordings
The King of Limbs is the eighth studio album by English alternative rock band Radiohead, produced by Nigel Godrich. It will be released on 19 February 2011 as a download in MP3 and WAV formats, followed by a physical CD release in the UK on 28 March [1] and a special "newspaper" edition on 9 May 2011.[2] The "newspaper" edition will contain "two clear 10-inch vinyl records in a purpose-built record sleeve, many large sheets of artwork, 625 tiny pieces of artwork, a compact disc, and a full-colour piece of oxo-degradable plastic to hold it all together".[3]
The album was announced on Radiohead's website on 14 February 2011, five days before release.[4] The name of the album possibly refers to an oak tree in Wiltshire's Savernake Forest, thought to be 1,000 years old.[4] The tree is a pollarded oak, referring to an ancient technique for harvesting timber for fencing and firewood. Though it does not feature on maps, the tree is said to be 3 miles (4.8 km) from Tottenham Court House, where Radiohead recorded part of their previous album In Rainbows.[5]
The album was announced on Radiohead's website on 14 February 2011, five days before release.[4] The name of the album possibly refers to an oak tree in Wiltshire's Savernake Forest, thought to be 1,000 years old.[4] The tree is a pollarded oak, referring to an ancient technique for harvesting timber for fencing and firewood. Though it does not feature on maps, the tree is said to be 3 miles (4.8 km) from Tottenham Court House, where Radiohead recorded part of their previous album In Rainbows.[5]
