來自冰島樂隊的第二張大賣大碟。不食人間煙火、令人流淚的音樂。

BIO:
Spurv have since 2010 performed melodic, instrumental post-rock inspired by Godspeed you! Black Emperor, Red Sparowes and Explosions in the Sky. Debut EP "Blader som faller til jorden og blir til nye trær" out now.
MEMBERS:
Gaute: Guitar
Gustav: Guitar
Hans-Jakob: Bass
Herman: Guitar
Inger: Violin
Ragnhild: Cello

For My Parents
After years of exploring, searching ourselves, and composing pieces here and there, we found ourselves with more questions than answers.
When we could not find these answers in the outside world, we were bound to turn inward. And so we went back to our roots.
This is something we wanted to do while we still have the chance. What cannot be explained in words to parents, we hope can be captured by these songs.
We hope that this album serves as a gift from child to parent. While everything else continues to change, this love remains a constant throughout time.
——Mono

This is Explosion In The Sky's 2nd album, and one of the most critically acclaimed records of 2004 and a massive word-of-mouth success story, going on to sell 20,000 copies in the UK alone. Features 5 tracks. Bella Union. 2005.

Throughout their six-year career, this Japanese quartet has ascended consistently in both popularity and critical acclaim. But still elusive is the successful translation of their powerful and violently beautiful live performances to their recordings, until now. Once again recorded by Steve Albini, the album extends the cinematic drama of 2003's "Walking Cloud And Deep Red Sky, Flag Fluttered And The Sun Shined" while surpassing the sinister heaviness of 2002's lauded "One Step More And You Die". If "Walking Cloud" was a nuclear winter, then "You Are There" is the post-war rebirth. This band isn't heavy like Black Sabbath. They're heavy like Beethoven.

The long waited fourth studio album from the moody and intense Texas instrumental band Explosions In The Sky. Known for bringing an emotional heft and sense of hope to a usually placid genre, Explosions In The Sky have experienced the kind of meteoric rise in popularity that flies in the face of music industry convention. Their songs run well past a length suitable for radio play or commercial music videos; they avoid performing in LiveNation/Clear Channel venues; they didn't jump to a major label; and they don't sing. They're also the very rare band that fans of Sigur Ros, Sufjan Stevens and My Chemical Romance can all agree on. EITS are not just an anomaly, they're a gateway. Recorded by John Congleton (The Roots, The Mountain Goats) at Pachyderm Studios in rural Minnesota, the album is a massive leap forward, showcasing a broader instrumental range and their most focused, efficient songwriting. Bella Union. 2007.

香港MCB杂志评出的欧美百张最具革命性专辑之一，评语为：“慑人澎湃的后摇滚史诗，产生无可比拟的情绪牵动作用。”
来自加拿大的Godspeed You! Black Emperor（好绕口的名字）的代表作，非常优秀的后摇，旋律、节奏、情感都把握得十分出色，专辑中的歌曲都是几十分钟一首的大部头，但听起来丝毫不觉得冗长，浑然一体。
以下引用VC网友“kumo”在MP3资源帖中的介绍：
我明白，Joy Division已被升上神台，所有低调死亡不快，全部都和他们有关。但如果我告诉那位旧同事，以及各位TMF网友，最近我发现了一支竟比Joy Division，甚至和我以往所有听过的低调音乐，还要更低调死亡不快的乐团，自命生活不如意的你，可会重拾点点人生兴趣，找来一听？我所说的，是来自加拿大Montreal的Post-Rock乐团Godspeed You Black Emperor!。
可能是笔者听歌年资尚浅也未定，但我真的从来想不到竟然有一支乐团，可以将我以往聆听过的所有低调、死亡、不快、不安、无助、绝望、悲愤、孤寂的音乐元素全部结集在一起，化为一首首长篇的末世乐章。纵然Godspeed的音乐没有旋律歌词，讯息亦只是透过零碎的街头演说及随意的录音片段来传达。但他们由三位结他手、两个鼓手、两个提琴手等所交织出来的高潮迭起、随时超过20分钟长的后摇滚交响乐曲，却要比很多有曲词唱的音乐，来得更清晰，及更具感染力。正因为Godspeed将一切重归于音乐本身，没有假意矫揉的虚饰，全部皆是发自内心的血肉情感演奏。
具体点来说，Godspeed的长篇乐章往往分为多个段落，你听到的可能是一段不安的街头演说，可能是一片Ambient声效，可能是由提琴发出的哀怨悲鸣，可能是由结他勾出的荒凉意境，却随时渐变为疯狂凌乱的Free Form摇滚弹奏，弹奏速度更是越来越风驰急激，仿似完全冲破了任何规范教条，不顾一切。我开始明白他们为何会采用Godspeed You Black Emperor!，这个源自日本某个黑夜飞车党称号，作为乐团的名字。
试过好几次听Godspeed，特别是最新的一张双CD专辑《Lift Your Skinny Fists Like Antennas To Heaven!》时，每每期待着乐章中那山雨欲来的一发不可收拾气势来临，仿佛将心中所有不快集中在一起，等待一息间全部爆发出来。是的，听Godspeed的音乐虽然很痛苦不安，但亦很美丽释怀，虽然一切只是暂时性的幻像。
其实据Godspeed的成员说，他们的音乐并不只属于低调死亡，正如新专辑的名称，便是希望透过诚实真切的音乐对话，能在末世困局之中找到出路。只是对我而言，却会选择继续紧握拳头，因为我从来也不相信，这个世界会有天堂
---
from

New EP from Athletics
Engineered & Produced by Kevin Dye
Mixed & Mastered by Gregory Dunn
Artwork by John Cannon

CRB 001
Mono《Hymn to the Immortal Wind》
黑洞唱片荣誉发行，Human Highway Records官方指定发行，中国地区独家发行！
温暖春意，黑洞唱片亮色系列正式起航，推出Post Rock界著名日本乐队MONO的全新专辑《Hymn To The Immortal Wind》中国地区引进版！
MONO乐队10年音乐里程之见证，首次运用交响元素，MONO后摇音乐全新超凡体验汇集于《Hymn To The Immortal Wind》。
全24页全彩色内页文案，7首出色作品，造就2009年最完美的概念性专辑！
发行时间：2009.4

据说这张专辑的名字取材于一伙苏格兰人的涂鸦之作。在录制这张专辑的时候，乐队所有的成员都为自己订造了一个新的身份，Stuart变成“等离子发生器”，Dominic称自己为“恶魔”，John变为“肉上尉”，Brendan则更名为“遗迹”，而且每人都冠以Young Team的头衔，并且在录音前必须刮脸（除“遗迹”以外）净面，仿佛必须凭借如此的神秘仪式才能做出令他们满意的音乐。当然，结果也并没有让他们失望，这张1997年10月发行的唱片，仅在英国本土就已有了35000张的销量，直到现在依然从头至尾散发着炫目的光彩，并且被公认为是90年代最具影响力的作品之一。各种乐器的音效盘根节错，交相辉映，微波荡漾的声响闪烁于噪音喧腾的碎片之中，Mogwai用音符将日常瞬间流转的光影刹那间凝固成跌宕的声波，在经历阵阵惊天动的撞击后，悄然融化于我们的内心。10首歌曲听起来仿佛彼此没有开始也没有结束，因为在地铁呼啸而过震耳欲聋的巨响背后，我只有等待内心喘息不安的悸动姗姗而来。
开场的“Yes！ I Am A Long Way From Home”，从喃喃的记录片式的人声起步，慢慢地搅拌起低沉的Riff和清丽的弦音，然后在反复跌宕中，弦音的主旋律开始退居幕后，Mogwai敏锐地捕捉到声音和情绪达到高潮的交点，就在3：41秒的黄金分割点，狂沙漫卷的失真噪音拔地而起，前台的Solo扶摇而上，后台的和弦则开始反复推进，直到所有的音域重新恢复平静，直到心中的情绪慢慢尘埃落定。接踵而来的“Like Herod”，依旧如法炮制，先是两分半钟轻描淡写的弦音流动，而后，在经过短暂的类似终止性的间歇之后，噪音出其不意地扑向耳鼓，每次到这里我不禁心惊胆战，不知道那些心律衰竭的听众们该如何消化，更何况在这首将近12分钟的作品中，这样的安排还重复了一次，套用老崔的一句话，这声音真“像一把刀子”，近似于毫无节制的疯狂。“Katrien”紧凑的节奏下，终于有人声出场了，按照Mogwai的一贯风格，他永远都是躲在背景后面模模糊糊地哼唱，我无法听出来他在说写什么，因为那时候吉他的旋律和轰鸣完全占据了所有的空间和心智。而后登场的“Radar Maker”沉静了许多，键盘营造出的空旷声音，配合着偶尔能够察觉到的电子声响，彼此缓慢流动至尾，最后以略显嘈杂的自然声音结尾。第五首“Tracy”可能是这张专辑里最动听的歌曲之一，轻盈的吉他、不缓不急的鼓点和摇摆不定的电子轰鸣浑然一体，制造出遥远而空灵的未来感。而后的“Summer”是他们早先发表过的同名单曲的最初版本，依然传承了Mogwai静噪结合的特点，从静如止水到铺天盖地，怦然心动的声响滚滚而出源源不绝。“With Portofolio”可以说是Mogwai对声音大胆的试验，先是键盘制造的轻柔慢缓的清脆声，背景起伏不定的噪音若隐若现，等到键盘消失不见，背景的噪音暴风骤雨般从左耳轰炸到右耳，仿佛要用巨大的能量把大脑的所有神经彻底蹂躏一番。Arab Strap的Aidan Moffat的声音出现在“R U Still In 2 It”中，在软绵绵的吉他声中，喃喃自语的Aidan冷静地哼唱着被恋人抛弃的无奈和痛楚。紧随其后的“A Cheery Wave From Stranded Youngsters”在钢琴和鼓充满立体感的氛围中继续释放着人类内心空旷的情感，随意的蒙太奇式的剪接编排，各种乐器层叠的呤呤细语被放大成遥远而苍凉的回响。最后的“Mogwai Fears Satan”好像Sonic Youth1988年《Daydream Nation》的延续，悠远的笛声和凝重的鼓音飞翔在海潮般时起时落的噪音流中，而我们只有继续扭曲着，痛苦着，缠绵着……Mogwai用《Young Team》特有的声音，把隐藏在尘世中无奈的情感全部压成齑粉，而后再轻飘飘地撒向空中，让脆弱的灵魂随风而去。

We are proud to announce the first new recordings by Godspeed You! Black Emperor in a decade. Featuring two twenty-minute slabs of epic instrumental rock music and two six-and-a-half minute drones, ‘ALLELUJAH! DON’T BEND! ASCEND! provides soaring, shining proof of the band’s powerful return to form.

Having emerged from hiatus at the end of 2010, GYBE picked up right where they left off, immediately re-capturing the sound and material that had fallen dormant in 2003 and driving it forward with every show of their extensive touring over the last 18 months. The new album presents the fruits of that labour: evolved and definitive versions of two huge compositions previously known to fans as “Albanian” and “Gamelan”, now properly titled as “MLADIC” and “WE DRIFT LIKE WORRIED FIRE” respectively. Accompanied by the new drones (stitched into the album sequence on CD; cut separately on their own 7″ for the LP version), GYBE have offered up a fifth album that we feel is as absolutely vital, virulent, honest and heavy as anything in their discography.

We don’t have much time for mythology, but we’d be lying if we said the return of Godspeed You! Black Emperor in 2010 didn’t signify a whole lot to us as a marker from which to look back on the past decade, to reflect on what’s been gained or lost within the confines of independent music culture and what’s been gained or lost in the socio-political landscape writ large. Godspeed’s music will do that to you. It is music that bears witness to, channels and transforms this predominantly terrible, infuriating, venal and nihilistically sad story we’re all living, sharing, resisting, protesting, deconstructing and trying to change for the better. We think GYBE has once again provided a uniquely moving and compelling soundtrack for these acts of analysis, defiance and ascension.

* * *

Hard to believe a full decade has passed since the release of Yanqui U.X.O., the last album by GYBE. Never a band to care for conventional industry wisdom, Yanqui was released shortly before xmas 2003 with little publicity and no press availability, no marketing plans or cross-promotions or brand synergies, with back cover artwork tracing the inextricable links between major music labels and the military-industrial complex. Driven by word-of-mouth from a passionate and committed fanbase galvanized by the group's sonic vision and its dedication to unmediated, unsullied musical communication, the album found it's rightful audience.

To suggest that such simple principles and goals have become harder to maintain and enact a decade later is an understatement. For all the contents and discontents – for all the "content" – of our present cultural moment, the idea of circumventing the glare of exposure, the massaging of media cycles and the calculus of identity management appears quaint, if not futile.

But Godspeed is looking to try all the same. The band wants people to care about this new album, without telling people they should or talking about themselves. They want to hold on to some part of that energy that comes with the thrill of anonymous discovery and unmediated transmission, knowing full well that these days, anti-strategy risks being tagged as a strategy, non-marketing framed as its opposite, and deeply held principles they consider fundamental to health as likely to be interpreted as just another form of stealth.

Truly, thanks for being open to hearing it.

The pride of San Marcos, Texas, THIS WILL DESTROY YOU are an instrumental quartet who play a cascading brand of cinematic rock music. "Young Mountain" is their formerly self-released masterstroke, a 6-song, 36 minute composition of aural brilliance that has already garnered an obsessed fanbase both in their home state and in underground circles worldwide. In spite of its previous CD-R-only incarnation, Decoy Magazine featured the album at #5 on their "Top 50 Instrumental Albums of 2005," ranking it ahead of SIGUR R'OS, PELICAN, and other successful modern acts. THIS WILL DESTROY YOU has catapulted quickly to the forefront of American instrumental bands in part due to their geographical lineage. In short, they are the natural progression and modern incarnation of all great Southwestern music from many generations past. Texas is in the blood of these four young men and every note they hang evokes the imagery and feel of traversing the long, lonesome highway of the! Southwest. Bands like THIS WILL DESTROY YOU and EXPLOSIONS IN THE SKY have become our new Americana and everyone from T-Bone Walker to Wild Bill Longley are resting more peacefully because of it.

8/31 小白兔唱片搶先發行！
阿飛西雅於2007年成團，2008年發表首張專輯《失語的鱷魚社會》，成為許多廣告及電影的配樂。雖然「音量太大」以及「沒唱歌」兩項特點，使阿飛西雅在台灣的演出頗難安排；但也跨越語言籓籬得到英語國家的注意。2010獲加拿大獨音樂媒體Exclaim!推薦，赴加拿大參與Indie Taiwan Tour巡演，2011受邀參與德州奧斯汀SXSW演出。
2012年的新專輯《提去買藥仔》表現出阿飛西雅的實驗傾向及搖滾本質。創作基本方向是「大塊音牆」和「粗糙的質地」，因為他們「開始想要粗暴地對待這個世界」。
為什麼會是《提去買藥仔》呢？阿飛西雅發現台灣其實充滿了藥味，大街小巷到處都有藥房，走到哪裡都會聞到一股化學的藥味，每一個家庭都有很多藥盒藥罐，吃感冒吃頭痛吃胃酸吃健康吃保肝，沒事吃有事吃更多。
「西藥房」這首歌以最少的破音表現傳統西藥房的那股藥味，加了點小號之後又有些許浪漫，或許走進裝櫥窗的西藥房可以有浪漫的故事發生。
「蚵仔寮」是一個關於海的歌，可能是因為污染或是魚腥味或是洋流的關係，台灣的海總是有一種「臭臊味」。但無論怎樣，海，或是漁村的人都是伴隨這樣的味道好幾個世代。把內心變成戲，把有點憂鬱寫成歌，其實很自然。
其中有部份歌曲在錄音室以半即興的方式接力完成，產生意外的好結果。
「鐵橋」強烈而戲劇化，彷彿坐在鐵橋上疾駛的火車。「秘密」就是秘密，每個人都有的東西。
專輯最後一首歌「No Dream Nation」，是最後完成的一首歌。可以說是阿飛西雅對於影響他們最大的樂團Sonic Youth的反應，Sonic Youth在成團三十週年之後宣布停止活動，「Daydream Nation」可以說是當年的另類國歌。「No Dream Nation」是致敬也可以說是為了向宣布停止活動的Sonic Youth表達：假解散，別騙！所以做了一個不結尾的結尾。
據說在錄音結束，體力虛脫的那個時候，團員無言，隨後喃喃道：「好想馬上再錄下一張！」既然能讓阿飛西雅這種發行速度緩慢，又愛搞東搞西的樂團意猶未盡，想必也會讓聽眾覺得有必要一直repeat…。
【名稱】：頭痛醫頭，腳痛醫腳
【拼音】：tóu tòng yī tóu，jiǎo tòng yī jiǎo
【釋義】：比喻被動應付，對問題不作根本徹底的解決。

时过夏末乐队首张唱片，拾柒贰肆出品。
更多信息即将更新。
欢迎关注乐队小站

“如果遥远天际中散烁的星星也有声音的话，那它听起来一定像是Mogwai这样”——《NME》杂志
又是几个苏格兰的孤独男人——Mogwai，和Arab Strap同属Chemikal Underground公司，以及后来北美最大的另类音乐公司Matador。受Sonic Youth和My Bloody Valentine的深处启发，甚至还有The Smashing Pumpkins(其实听听“Gish”未尾，便知Billy Corga也是在巨大的噪音中冰冷的质疑生活的变数)，当然还有Slint(后摇滚的启蒙人之一)90年代初就有的示范表演，只是Mogwai更迷于制造有巨大声响的哀伤之曲，徐徐推进沉稳的沉思，“Mogwai曾认为一段好的旋律，即使不断重复地演奏十分钟也会是好听的”。
相比Tortoise、Experimental Audio Research、Movietone等后摇滚代表，Mogwai稀少的人声反而是最多的，他们埋头精调细琢，爆发时比Bedhead更内敛些。用了大量新的吉它音色，把鼓调成如沉闷心跳的节奏，贝司厚重、缓和的流淌，淡然的声音若即若离的在音乐的边线，大段大段华丽轰鸣的段落起起伏伏。“当史诗般作品“Mogwai Fears Satan”结束整张专集的时候，Mogwai提升了整个后摇滚音乐的水平，创造新的音乐革命和情感力量，不同于所有当代的吉他为基本乐队的东西。”他们让音乐回归到心灵的无援之处，放弃了人声有时候对音乐过份的虚饰和为难，后摇滚实际上比摇滚乐多了更多可能的音乐语言，于“无声”处，音乐是第一位的，所以我想不是后摇滚结束了摇滚乐，而是新血滋生了新肉，后摇滚让摇滚乐有了另一重生命力。
1997年Mogwai《Young Team》问世时，不该的是这一年Radiohead的《OK Computer》大行其道，几乎拿走了所有的盛誉(而今又有多少人还在为《OK Computer》竖起耳朵就不得而知了)，好像没有人不喜欢滥美之词并热衷参于，总有一些人为了省事和嫌麻烦而容易满足追随。
世界由此喧嚣，愤怒大行其道，而它并非一律可贵，Mogwai也有啸杀感肆起的乐段，却嗜好把愤怒深埋在各种声效的表层下，他们坦诚了无助的脆弱，熨烫人心，由此得以自救，Mogwai不诅咒爱，却把矛头指向了生活对个性和人性的伤残，缓解了我们常年心头积压的心悸。
少年心气般的兴奋《Young Team》过后，1997年精选辑《Ten Rapid》是1995 -- 1997年大批单曲的合集，可整个音乐的音色和概念上感觉还是有一贯性，象是同时期的作品。如其他后摇滚乐队一样，Mogwai做得非常精细，变幻莫测的音色和反复的乐段，也象其他乐队一样充满睿智。他们找来了Mercury Rev的成员及监制Dave Fridman(Dave以往较叫好的作品包括为Flaming Lips制作的唱片)，泡制了1999年《Come on Die Young》，“年轻人你快点死吧”——每个人的内心都是有魔鬼的，权势、容貌、名利、荣辱上太多太多的杂念让心魔在无止的滋长，它们合力抹杀了爱，以龌龊为乐，退化到像动物一样撕杀。“Come on Die Young”，要不到后来都会变成了“Mogwai”。谁都想活的好点——“在三十岁的时候人们都希望有条捷径可以走”，“Mogwai Fear Satan”(魔鬼面对馓旦)就是Mogwai对人生的一次嘲讽。
而Mogwai的感性一面也是纯净、真切的，欲说还休的“Cody”的余味绕梁三尺，“如果我试图让你停下脚步，你是否也会想让我停留，古老的歌一直萦绕，直到最后的时刻，悲伤的歌让我回忆起儿时的旧友，如果这就是命运，我想我只能离开……”
爱是一个高温的主题(Mogwai好些起伏颇大的段落很适合给《37度2》中贝蒂那段失控的街头奔跑做配乐)，有时候她的冰冷比热更令人嗜好，我们经常忍不住像怀疑生命一样对它，如果说生命无常，爱情何尝又不是更脆弱的呢？“End”是无声的所在，比Joy Division“The Eternal”还可怕的青春衰曲，它可能有三个以上的版本？写此曲的时候Mogwai们平均年龄不到22岁，22岁——大部份这个年龄的人还在街上用着父母的钱，回家在卧室里苦恼，算计着爱情和明天，而他们给了未完青春最好的沉思。
2001年《Rock Action》好像评论有些低落，但却是《Young Team》后最给人印象深刻的作品。名为“Rock Action”(摇滚行动)，这又是具有讽刺意味的名头。《Rock Action》结合了富于棱角的扭曲噪音，具有推动力的鼓点，Tortoise般的电子构架，尤以长达九分钟的史诗般作品“2 Rights Make One Wrong”为佳，以铜制乐器，弦乐，Banjo，行云流水般的吉他，时隐时没的人声编制成一层层意犹未尽的音墙，它让我们的耳朵良久的幸福着……
Mogwai得到了不单是英国及欧洲后来也有美国评论界太多的赞美，在独立音乐同仁当中也得到了许多的尊敬。他们每每赶走了陈腐的气息，建立了自己的音乐美学体系，对所有的赞美都当之无愧。后来甚至也深情款款的翻唱了Guns N' Roses的“Don'T Cry”，在其主页上就有这首曾经博得不少少女之心的歌，不过你听了之后就明白这仍然是Mogwai一以惯之的作风，他们一直在试着用最好的方式来表达自我，并让艺术的血液得以畅通。
“对于我们的东西，这世界还没做好准备，” Suart Braithwaite却一锤定音的说过，是的，他们还年轻着，Mogwai如今的平均年龄不超过26岁，大胡子Dominic Aitchison今年可能26了，Stuart Leslie Braithwaite更是1976年5月10日生，在后摇滚的阵营里他们还没到“向后看”的时候，他们享受着音乐，甩掉“陈年往事”的累赘，把生命中多余的包袱远远甩在了脑后……
每一个夜晚都是心衰者的逃离，生命无可把持，每个地方都有这么多的陈词缆调，如果这就是命运，我想我只能离开。让我们一起跑，跑过城市，跑过山谷和平原，在风中跑，跑过了无尽的年岁，跑过了绝望也跑过了温暖，让身后的东西统统腐烂吧……