'08年2月6日に新作「archive」がリリースされます。
新曲＋新録を含めた、これまでのスリーピーの足跡を綴った、まさに究極盤！
初期からのファンの方も新しいファンの方も楽しんで頂ける内容になっています。
全12曲入り　\2,500（tax in）
＊収録曲の詳細は、追ってお知らせしますので、お楽しみに！

2014年8月に、桜木大悟(Gt,Vo,Syn)、市川仁也(Ba)、川上輝(Dr)の3人で活動開始。
様々なアーティストの音楽に対する姿勢や洗練されたサウンドを吸収しようと邁進し、
いつの時代でも聴ける、ジャパニーズ・ミニマル・メロウをクラブサウンドで追求したニュージェネレーション。
2016.04.20（wed）ON SALE
1st album『D.A.N.』

Khruangbin has always been multilingual, weaving far-flung musical languages like East Asian surf-rock, Persian funk, and Jamaican dub into mellifluous harmony. But on its third album, it’s finally speaking out loud. Mordechai features vocals prominently on nearly every song, a first for the mostly instrumental band. It’s a shift that rewards the risk, reorienting Khruangbin’s transportive sound toward a new sense of emotional directness, without losing the spirit of nomadic wandering that’s always defined it. And it all started with them coming home.

＝ 關於樂團 ＝
團名 Sweet John ，源自於專與情人、伴侶道別的「Dear John Letter」。
甜約翰擅長輕快且辨識度高的旋律、內斂且溫柔的呢喃。揉和多種器樂聲響以及風格，加上對於律動的完美掌握，編織出屬於甜約翰式的小品慵懶，獻給每位聽者心中，如此美好卻只能揮手告別的 Sweet John。
＝ 專輯介紹 ＝
甜約翰首張專輯《Dear》
「 遺忘這件事，是緩慢而溫柔的；
而痊癒，則是深刻而殘忍的。
而如果我不能再想妳了，妳仍要記得我們曾經一起喜歡的那首歌，親愛的。」
聯名推薦
「這條路是從花草清新走到了成人抒情，途中的騷樂洩漏他們有點黑肉底，整體白帥帥的，融合成這座都市的新浪漫派。」—— StreetVoice音樂頻道總監 小樹
「這是今年一張我很欣賞的新興樂團以及很期待合作的新生代製作人-鍾濰宇 一同製作的專輯」—— 四分衛Bass手 奧迪
「如果溫暖的歌聲是他們「甜」的表現，我想『約翰』應該是個活潑又聰明的俏皮男孩。表現力豐富的精緻編曲、加上雙主唱溫柔的吟唱，像是在躁動的世界裡被歌聲輕柔地包覆一樣，之前很幸運能在新團推薦的演出中與他們合作，希望他們的音樂能被更多人聽見」--創作歌手 廖文強
「甜約翰絕對是台灣新生代樂團最受注目的一支，少有的男女雙主唱民謠搖滾樂團，有著Indie Pop的時而甜美浪漫、時而迷幻哀傷；也有著受日系搖滾影響的狂躁跟本革派器樂演奏，首張專輯由新銳製作人小宇操刀，除了更扎實了本來的民謠搖滾基底外，更加入了一點另類電子元素，整張專輯無論在音樂性上、情感上都是上乘之作。」—— 金曲獎最佳單曲製作人＆佛跳牆樂團 吉他手 陳君豪
「這次不用湯師爺翻譯了！這就是驚喜！聽了保證又驚又喜！樂器的編曲充滿巧思，混音大膽卻細心，在浪漫迷濛男女人聲中，聽到2017的台灣樂團。」—— Hello Nico吉他手 李詠恩
「精緻編排繽紛的和弦，用微微的都會感，唱出城市青年的心底的呢喃。」—— 金曲獎最佳客語專輯/最佳演唱組合＆光引擎/肯周樂隊 吉他手 周岳澄
「團名源自於與愛人道別『Dear John Letter』，甜約翰儼然已成為新生代「芭樂」抒情金曲製造機。男女雙聲道，以慵懶的唱腔哼唱著不落俗的輕盈詞句，那朗朗上口的動感旋律，經由成熟迷人的電氣搖滾鋪陳，將那些晦暗的青春日常，染上明亮色澤。儘管每首歌曲的主題多半都緊貼著失落迷惘與寂寞苦澀，質地卻相當溫暖。可以是一刀斃命的深情歌，也可能是夜裡擁著入眠的小品，他們勢必有站上新聲代情歌代言人位置的絕佳潛力。」—— 文字工作者 戴居
簡介
生活包含許多層面，比如經歷一段愛情的結束或期待、失落隨著時間慢慢好起來的過渡期，而那些看似簡單平凡的畫面拼湊起來，即是生活。我們為它歌頌，為它流淚，偶爾悲傷或是喜悅，專輯內的歌曲也記錄著在過於緊湊的生存縫隙裡，突然因街景或某段記憶而被情感擁抱、泫然欲泣的片刻。
《Dear》 為甜約翰首張專輯 ，所有的歌曲都是第一人稱，沒有闡述道理，也沒有開導指點，反而是想帶領人走過這段旅程，用旅程中的風景構成豐富的記憶點與令人反覆回放的旋律線。為了讓歌曲更加成熟，甜約翰更與曾獲台北金馬影展－最佳原創電影音樂之作曲家曾韻方、知名製作人鐘濰宇以及日本作曲家Naoki Tsuji成立之Tsudio Studio進行跨國多方合作。
專輯設計特別主打“手寫”的概念，並收錄眾多樂迷手寫之字體，記錄這時期的你們／我們，青春僅有一次的你們／我們。

理想是彼岸花　盛开在奈何道路
我徒有年轻的皮囊　带上黄汤　身先士卒
要是我一去无返　请为我祭奠
请记得　理想有毒
多少生灵为了理想涂炭，为了理想安心上路。老王乐队的音乐是我手裡探路的油灯，用急行军的速感，引领我，并相伴我前进。
摘了理想的彼岸花。孟婆却要我忘了滚滚尘世，她对我说：「懂的笑就不会恨了。」订定游戏规则的既得利益者啊，怎么道出的话如此不合时宜，所以我故作潇洒地不喝孟婆汤，我愿含恨九泉。
我多想打道回府，却困滞於这阴曹地府。
卓别林说：「人生近看是悲剧，远观是喜剧。」可我不只近看还亵玩焉。
我读过最好的时代和最坏的时代，读过经济大萧条，读过垮掉的一代，我以为读过的都是青史留名，而青史已朽、逝者已矣，可我怎麼还在经历这些早该超生的革命，谁又跟我说着革命尚未成功，我以为的已然过去都成为了现世报。
真是好傻好天真。
「我才是垮掉的一代。」我嚎叫着，妄想和艾伦・金斯堡斗争这集合名词的诠释权。这世道太耽溺了，人们不断显微那些强说的苦难和风雨、自我造神成悲剧英雄。片酬22K。
：「枉了寒窗下受辛勤。」
：「反正还有西北风喝到饱，还不用一成服务费。」
老王乐队的音乐是如此入世的黑色幽默。有时代的明哂暗讽。有呻吟的伤春悲秋。像似一只讣闻，自溺地写给廉价青春断肠弔唁，却又自大地写给整个社会壮志明心。
谁说「生於忧患，死於安乐。」可谁不是忧患并安乐着。这样算不算生死未卜？悠悠我心。
老王乐队掬起整个世代的无能为力，豪爽地一饮而尽，在酒精裡顷刻遁逃。可是啊，尼古丁让人在当醉时清醒。这个时代是如此对立的，连享乐亦如是。所以载浮载沉於这凡人间，吟颂这凡人歌。
苦闷世代在声响上迸发的极光
肉身百年　顽抗　体制万年
PR值98的莘莘学子　写下　pH值2.0的醒世恆言
老王乐队首张EP【吾十有五而志於学】

「前往山頭的路途上，半夢半醒，世道在他們眼裡盡是不切實際的光暈。『洶湧的夢廉價的人／吃飯時與騙子簽下一紙空白的約／不承認現在才明瞭』所謂無妄合作社，便是一群刺破泡泡，重拾務實的人。歷經過往漫漫長路，音樂內化了龐克反抗意識、Grunge的不拐彎抹角以及Gary Moore式的藍調柔情。面對城市裡的虛無，你們的選擇又是什麼？」－－前Roxy Rocker DJ　Ready
無妄合作社，由主唱郭力瑋、吉他手謝秉男、貝斯手謝碩元、鼓手邱孝齊，四個不事生產的懶人所組成，自2016年成立以來在台北、基隆與台東等地進行創作，音樂受啟發自香菸焦油、林間野味與都市廢氣，嘗試在並不盡然令人愉快的社會境況中，既沉溺其中又欲掙脫文明的枷鎖。
無妄合作社甫成立，2016年即在東京高円寺的「No Limit 東京自治區」演出，2017年又與愁城的朋友們獨立舉辦「愁城鬧事」DIY倉庫派對，皆獲得好評。他們的音樂不受限制，以龐克為基底，融合藍調、民謠與油漬，並略具indie-pop的元素，在強烈的高低起伏中運用隱喻通向幽暗處，觀眾一邊衝撞一邊悵然落淚，是現場演出的常見景象。
《逃脫時間的鎖》收錄四首具代表性的歌曲，側寫著磨損的稜稜角角，供作悲傷的時候歡笑、輕浮的時候往下墜。但或許，最終的寓意仍然得放回自身，那些關於躁動、矛盾的反作用力，最終只能自己來解放自己。
但願，這張EP能擠出你我那些剩下的一點什麼。

Foxhead features 10 songs all lovingly packed into one aural ring pull can of panache drenched pop. Situated quite splendidly somewhere between trash, thrash, pop and jangle.

Produced by Nick Launay (Nick Cave, Arcade Fire) and recorded at Sunset Sound. Wrong Creatures is available today for pre-sale in all digital music stores and directly through the band’s online store.
The new single “Little Thing Gone Wild” is available for purchase as an individual track and everyone who pre-orders the album will receive the song immediately. In addition to the CD & Digital album version, a limited edition vinyl deluxe boxset will also become available in the coming weeks for pre-order on the official website.
Recorded in Los Angeles over the past few years, the bands taken many unlikely twists and turns, yet always remaining focused on the music and returning again to edge of the stage. “It’s a crazy making machine, it can chew you up as fast as it spits you out. A few years back we literally toured till the wheels came off and Leah’s brain literally started leaking out of her head” say’s Been. “It catches up with you, i know i’ve battled on and off with my own depression, and Pete’s head never came with any proper instructions. So you just gotta keep pushing buttons to see what happens.”
Wrong Creatures returns to the core of BRMC’s alchemy, yet plunges the knife in even further. From the Cave-esque murder balladry of “Haunt” to the garage punk of “Little Thing Gone Wild,” it runs the gamut allowing the band to flex every muscle in their armor. They remain opaque about the songs’ greater meanings, fearful of past misunderstandings. “I find myself writing about death a lot,” says Hayes. “I find myself having a discussion with death, which sounds dark. For me, it’s dark humor.” Talking about mortality allows Hayes to explore life’s great mistakes and regrets. Channeling them through rolling riffs and dirge-laden rhythms that stir the pot before reaching boiling point.
Ultimately, the band may well be survivors of an era where rock’n’roll can often be overshadowed by dance pop, and garish commercialism. Robert Levon Been; “We are truly an island – come hell or high water, so it’s usually best to dress accordingly. Though i’m not sure what the proper attire is when drowning in fire. But leather usually goes with everything.”
Black Rebel Motorcycle Club also announced their North American tour which will be kicking off on January 15, 2018 with dates in Washington DC, Boston, Brooklyn, Los Angeles, and more. The trio will also be hitting Europe and the UK for select tour dates this fall beginning October 23. Pre-sale for the North American tour dates begins today and general on-sale begins on September 15.

【关于Come Together!】Come Together！Chinese Football & Friends这张合集收录了国足翻唱披头士同名歌曲的录音室版本，还有2015年巡演每站嘉宾乐队的一支单曲，由野生唱片和珊瑚唱片联合发行。更多动态，请关注微博@野生唱片
Artists: Chinese Football / Oh!nullah / Emptybottles. / She Never Sings Our Songs / Future Orients / 谷水车间 / 花招 / Grace Latecomer / The White Tulips / LoveLetterTypeWriter / Sage of Time / Choked Zone / Fayzz / Noland / yourboyfriendsucks!
Buy:

"It felt like we were in a movie that had a totally implausible ending..."
Slowdive's second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: "The beauty of their crystalline sound is almost hard to believe, every note in its perfect place."
"It was just nice to realise that there was a decent amount of interest in it," says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive's stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears.
Deftly swerving what co-vocalist/guitarist Rachel Goswell terms "a trip down memory lane", these eight new tracks are simultaneously expansive and the sonic pathfinders' most direct material to date. Birthed at the band's talismanic Oxfordshire haunt The Courtyard - "It felt like home," enthuses guitarist Christian Savill - their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles' famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive's wake).
"It's poppier than I thought it was going to be," notes Halstead, who was the primary architect of 1995's previous full-length transmission Pygmalion. This time out the group dynamic was all-important. "When you're in a band and you do three records, there's a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record."
Drummer and loop conductor Simon Scott enhanced the likes of 'Slomo' and 'Falling Ashes' with abstract textures conjured via his laptop's signal processing software. A fecund period of experimentation with "40-minute iPhone jams" allowed the unit to then amplify the core of their chemistry. "Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like 'Sugar For The Pill' and 'Star Roving', which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed."
This open-channel approach to creativity is reflected by Slowdive's impressively wide field of influence, from indie-rock avatars to ambient voyagers - see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films.
"When I moved to America in 2008 I was working in an organic grocery store," recalls Christian. "Kids started coming in and asking if it was true I had played in Slowdive. That's when I started thinking, 'OK, this is weird!'"
Neil Halstead: "We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they're still interesting in a few years time. I don't know where we'd have gone if we had carried straight on. Now we've picked up a different momentum. It's intriguing to see where it goes next."
The world has finally caught up with Slowdive. This movie could run and run...

Qiii Snacks Records VS BoringProductions
Guangzhou VS Shenzhen

來自福州，低保真休闲音乐三人组 THE 尺口MP 首張 EP「愛」的第一首單曲。
也收錄在琪琪音像與無聊製造發行的2016-17 Sampler中。
First single from THE 尺口MP‘s upcoming debut EP「愛」.
Also featured in QSR×BP 2016-17 Sampler.
THE 尺口MP


credits
released January 23, 2017
錄音：THE 尺口MP
混音 & 母帶：Passerwoo
封面：阿星
Recorded by THE 尺口MP
Mixed & Mastered by Passerwoo
Cover art by 阿星

在首张专辑发行五年后，不优雅先生终于发布了历时一年多制作的第二张正式专辑——《阴天王国》。

《阴天王国》一共收录11首单曲，不优雅标志性的悦耳旋律在这张新专辑中继续体现得淋漓尽致，清丽的编曲，朗朗上口的副歌，“好听”是不优雅先生们从未丢掉的特质。

这张专辑由No Beijing运动标志乐队Snapline成员李青担纲制作人，作为音乐领域的先锋艺术家，李青与乐队的合作恰到好处地兼具了前卫与悦耳，使专辑呈现出颇具特质的独立青年之声。

在这张专辑中，不优雅选择全中文创作所有歌词。经历更多沉淀之后，乐队认为中文作为母语更能完美阐释创作者微妙丰富的情绪和意境，这些精心写就的歌词完整地展示了乐队的精神世界。将中文的韵律和节奏与乐队的风格进行融合并不是一个水到渠成的过程，最终历经一年多的精心打磨，他们通过这张专辑准确表达了内心。

双主唱与默契的和声早就在演出中成为不优雅的标配，新专辑中他们继续放大了这种特质，通过和声呈现出更加丰富的层次感。不仅于此，相比五年前，这张专辑在配器上也呈现出了更多的可能性：李增辉在《黑色维纳斯》中富含爵士风格的萨克斯演奏，《变化》、《明日世界》中加入了小号、圆号与弦乐等元素，这些在创作之初就迸发出的编曲灵感最终在录制当中完美呈现了乐队的构想，带来更具回味和深邃的听觉感受。

乐队曾在《红星20号》纪念专辑中翻唱了经典老歌《干杯朋友》，此次专辑录制，他们重新制作并收录了这首歌。坠入深井般的混响演唱，悠扬的口风琴，团簇密集的失真和滑棒吉他演奏，这首老歌经过不优雅别具一格地演绎，成为一首充满迷幻风味的Shoegaze作品。

对乐队而言，不优雅不曾用风格限定自己，在创作态度上始终坚持独立。从少年步入青年，世界终结并非轰然巨响，而是一声叹息，曾经的英雄与伙伴逐渐销声匿迹。不优雅三人也在普通的过活，经历挫折和喜悦。然而隐藏着并不意味着背叛，还有一支你喜欢的乐队没有解散，他们活着并继续忠于内心，疲于奔命但也未停止创作，这张五年磨一剑的专辑，有他们对世界的全部热情。

Chinese Football乐队带着新加入的女鼓手、新的客串乐手和四首新歌回归了，不变的是宅男志趣和抓耳旋律以及那些有关青春和挫败的故事。
沉迷于自我世界的你，直到屏幕出现“Here comes a new challenger！”，才意识到这不是单机模式。正如生活这款游戏，新的玩家加入，是对手也是伙伴，是机遇亦是挑战。你不一定要击败他，但你尽力了，就能尝到喜悦。

如果无意间听到《余波》，你大概会怀疑这是一张来自上世纪末的唱片——九十年代浪漫的复古鼓点，器乐音色充满老式舞厅的斑斓，还有时下很难听见的传统合声。《余波》像是生长着一副老灵魂，那种旧式的诗意和优雅有时让这支年轻乐队显得有些不合时宜。
两年前的首张EP《愚梦方醒》里不抱希望的少年如今寻找着对抗生活的方法，一面小心翼翼地观察自己和世界的距离，一面享用着路上的瞬息万变、川流不息。
经过一次重要的成员变更，22岁的主唱/吉他手沈帜整理了乐队近两年的作品，和贝斯手肖强、鼓手李文共同完成了卧轨的火车第一张正式专辑《余波》。这张唱片由在万晓利、边远、海草少年军、鸭听天等多支乐队担任乐手的独立制作人/录音师李平操刀，并由美国知名母带师Josh Bonati完成母带制作——令乐队兴奋的是，这位母带师曾制作了他们喜欢的Lo-Fi怪才Mac DeMarco的唱片，其经手的乐队里还有Beach Fossils, Wild Nothing, The Soft Moon, Psychic Ills, DIIV等这些耳熟能详的名字。
与通常的录音室专辑不同的是，这张唱片所有的器乐部分，是在义乌隔壁酒吧的演出空间里完成的同期录音。隔壁酒吧坐落城郊山野，由一座废弃道观改造而来，住着疯癫奇怪的老板们，随时都有喝不完的酒。道观声场天然独特，高悬的顶梁结构便于那些迷离的旋律自在游走。恰逢盛夏，乐队三人和录音师李平同住山上，日夜呼吸着慵懒的空气。一切在不息的蝉鸣里进行，往往从午后开始一天的录音，断断续续到深夜。偶尔强迫症发作，免不了在电脑前一遍遍梳理每个音符到天明。但遇上了雷雨，几个人也不急，索性停下来喝一杯。
虽然怀着他们年轻的忧虑，但梦幻多变的旋律里写满了属于这个年纪的甜蜜与沉醉，饱满的情绪像青春期的“余波”层层荡开。整张唱片弥漫着矛盾的色彩感，隐现干燥的异域旋律很迷人。既不失《沙》这样有血有肉的躁郁，也有《柠檬白兰地》的温柔深情。《灰》里穿插的萨克斯即兴是录音时的神来之笔，错落的戏剧感打破了原有的规整。《魂断记》更是跳出旧作框架，沈帜的念白像是梦醒之后的诉说，抽离慵懒。
《余波》里有种虚弱，但这种源于敏感的虚弱毫无疑问是动人的。沈帜的歌词干净但生动，在飘渺中隐藏着困惑和怀疑。他们忠实自身的无力，忠诚于生活的无意义，青年们的冲动却在他们身上以另一种方式呈现。在这张唱片里，沈帜也不再像《愚梦方醒》里那样毫无保留的用力抒情，而是让虚弱易碎的情绪在声音里流淌，在器乐营造出的层层叠叠的氛围里缓慢发酵。
《余波》像是从更遥远的未来对记忆发出可有可无的感怀，又仿佛是描绘着另一个世界的现实，目光所及是失落小城里的日常，人间的欢声笑语在空气中来回穿梭、回响。

‘How To Be A Human Being’ is a scrapbook of the bands time spent on the road, gathering memories and perceptions of different types of people from all around the world.
Unveiled in mid May as Annie Mac’s Hottest Record, ‘Life Itself’, the first single from the album, has already elevated the band’s sonorous buzz to a whole new level. The track is an immersive, exotic and characteristically off-kilter earworm, reintroducing the band in the wake of their sensational ascent into a force to be reckoned with.
Glass Animals’ debut ‘Zaba’, released on Paul Epworth’s label Wolf Tone, has so far sold nearly half a million copies worldwide and amassed a staggering 200 million Spotify streams, obliterating all expectations simply by word of mouth. Their anomalous rise has gained the Oxford four-piece a legion of fans all over the world, including festival appearances at the likes of Falls in Australia, Coachella, Bonnaroo, Lollapalooza, Glastonbury and has resulted in the band playing 2 sold out headline shows at LA’s 2000-capacity Wiltern and NYC’s 3000-capacity Terminal 5.
To those expecting another album like Zaba, this album may end up as a disappointment. Glass Animals found success on a rather unique and creative sound and continued to expand their inner-weirdness and creativity by not playing it safe, instead opting for more ambition. This approach has paid off admirably as How to Be a Human Being is more than just a collection of stories told through characters like the ones on the album’s art, but is also a showcase of the band’s talent. Taking this talent, expending as much creative energy and ridiculousness as possible while deviating from their beloved sound, the result is an album that one would be hard pressed to find a comparable output to; and that’s a fantastic dilemma.

Electric Lady（电妞）来自北京，成立于2012年10月，最早是一支BLACK SABBATH致敬乐队，历经一段时间的磨合后，结合60 70's布鲁斯、厄运、石人、迷幻、老摇滚等元素，形成了成熟的乐队风格，并积累了大量听众。
乐队以科幻，机器人，神秘学等作为表达主题。并带有大量即兴成分，每次现场的演奏都有很多不同之处。
专辑的制作来之不易，经历了两年的录音。从2013年末起开始录音，14年经历了贝斯手考研，主唱的离队，甚至吉他手父亲的去世等诸多不利因素，直到2015年中才完成录音，在经过几个月的混音和制作之后就有了这张气势磅礴的专辑。其中不乏对人性的思考，对宇宙，对生命的未来，对老一辈摇滚艺人的致敬等元素。
收录8首歌，CD版，限量500张。