Andy Stott’s first release since 2016 and first EP since 2011, ‘It Should Be Us’ is a double EP of slow and raw productions for the club, recorded this year and following on from a series of EP’s that started with ‘Passed Me By’ and ‘We Stay Together’ early this decade.
Recorded fast and loose over the summer, these 9 tracks (8 on the vinyl) harness a pure and bare-boned energy, melodies subsumed by drum machines and synths; slow, rugged abandon. It’s all about rhythmic heat and disorientation, pure dance and DJ specials rendered at an unsteady pace, from percolated house and percussive rituals to moody tripped-out burners.
There’ll be a new Andy Stott album in 2020, but in the meantime... this one’s for dancing.

‘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.

by Bruce Eder
King Crimson falls apart once more, seemingly for the last time, as David Cross walks away during the making of this album. It became Robert Fripp's last thoughts on this version of the band, a bit noiser overall but with some surprising sounds featured, mostly out of the group's past -- Mel Collins' and Ian McDonald's saxes, Marc Charig's cornet, and Robin Miller's oboe, thus providing a glimpse of what the 1972-era King Crimson might've sounded like handling the later group's repertory (which nearly happened). Indeed, Charig's cornet gets just about the best showcase it ever had on a King Crimson album, and the truth is that few intact groups could have gotten an album as good as Red together. The fact that it was put together by a band in its death throes makes it all the more impressive an achievement. Indeed, Red does improve in some respects on certain aspects of the previous album -- including "Starless," a cousin to the prior album's title track -- and only the lower quality of the vocal compositions keeps this from being as strongly recommended as its two predecessors. Red was reissued on CD in the summer of 2000 in a remastered edition that features killer sound and an excellent booklet, containing a good account of the circumstances surrounding the recording of this album.

一直都有最大的冲动写This Mortal Coil,毕竟他们是我最认同和喜欢的乐队，反而这成了我写他们的最大障碍，怎么写自己也不满意。也一直有感觉想介绍《Blood》给大家，因为一些凌乱却最简单的原因，算了就让我这样凌乱的说出来吧：
从我3年半前拥有这张唱片的时候就把它当成自己听过的最优秀的一张，现在依然这样认为；他是在Darkwave/低调音乐圈里面的高标，把那种超纯唯美，超纯阴暗的色调深入到一个别人难以企及的境地。这样的事情，以前没有人尝试做过，以后也难以有人超越；也是到目前为止我唯一一次勒紧腰带，连续三次购买同张原版唱片的傻瓜行为的元凶；我想说的是，很高兴我能拥有This Mortal Coil的每张大碟，每张都是给我满分的感受，但是，这张：却更远远不是满分那么一点；你认同4AD么？喜欢Cocteau Twins,Dead Can Dance,difjuz等低调乐队么？嗯，别那么早否定/肯定完4AD，直到听过这个真正4AD的精髓和灵魂的所在，这个致命线圈为止吧；或者不是因为This Mortal Coil的出现，在那个时代，那些游离在死亡和崩溃边缘的音乐,Bauhaus,xmaldeutashland，都会失去探求无边黑暗的引标和强大而统一的力量……
这张Blood中，最吸引的地方不只是因为首脑人物，Ivo(4AD老板)不再局限在4AD王国里面发展This Mortal Coil，而是聚集了各处精英，而且在以前This Mortal Coil那深黑不见底的纯唯美世界里面引入了那么丝丝点点亮光.
从我个人的角度来说：有了这一张，其他唱片都可以放弃。

Coldplay的首张专辑《Parachutes》是一张集直率、深刻、动人旋律的大作，以回归到音乐源头的作法，来表现其歌曲中内敛但原始的情绪，证明了并非靠着嘶声呐喊才能在乐坛上一鸣惊人。此辑全球销量直逼500万张、获得NME及Q杂志高度评价、2座2001全英音乐奖及2002葛莱美最佳另类专辑。一夜之间，Coldplay从小酒吧到苏格兰格拉斯哥公园、澳洲的Big Day Out活动，甚至屡登头条的美国巡回演唱。
2002年Coldplay推出第二张专辑《A Rush of Blood To The Head》，他们再次起用Parachutes专辑原班人马－混音及制作拍文件Ken Nelson、电脑工程师Mark Phythain。专辑从2001年10月开始筹备，虽然还是一贯Coldplay的酷劲，比起前一张却更加丰富，有更多的快节奏及电子元素蕴含其中，而专辑的走向，基本上还是以个人情绪出发。

90年的Heaven Or Las Vegas是走向舞曲的作品，更是DREAM-POP音乐的典范，唱片一改以往阴郁的音乐基调，四处飘逸的是明亮的吉他声和欢快的旋律，Fraser的声线也变得柔软亲和。

2003 limited reissue of 1984 sophomore album, that's unavailable domestically, packaged in a paper sleeve. 6 tracks. Cherry Red.

Japanese edition of 2004 album from the Scottish indie stalwarts. 13 tracks including a Japanese only bonus track, 'In Capitols' (Studio Version), which the band has sometimes played in concert over the course of the last few years.

艾顿•约翰 （英语：Elton John，1947年3月25日－），原名雷金纳德•肯尼思•德怀特（Reginald Kenneth Dwight），华文传媒喜欢戏称其「乐坛大姑妈」；爵士，英国流行乐手、作曲家和钢琴家，是流行音乐史上成功的独唱歌手。他在1997年为纪念黛安娜王妃而录制的单曲《风中之烛》（英文：Candle in the Wind）为华人所熟悉。（这首歌原本是他于1973年录制献给玛丽莲•梦露，原版歌词里的「Norma Jean」是玛丽莲•梦露的本名。）
作为一个同性恋艺人，他浮夸的衣着和舞台演出、纠缠不清的私生活和他在音乐方面的天分，使他成为一个音乐史上的传奇。

The Boy With No Name is the fifth studio album by the Scottish rock band Travis.
The name of the album came about when lead singer Fran and his partner Nora were deciding on a name for their newly born son. During this time, Fran sent a photo of his son to friend by email and labelled the photo "The Boy With No Name". Fran revealed this on the The Chris Moyles Show during an interview.

此涅槃非彼涅槃，而是60年代末70年代初那股迷幻大潮里涌现的一支英国乐队。
与90年代那支Nirvana完全是两种风格。（废话，迷幻和Grunge能相同吗）

这张专辑是近几个月内英伦乐迷极其关注和期待的一张专辑。 Brett Anderson 从Suede之后的The Tears，没有停止自己的音乐思维。这一张是Brett Anderson 计划了几年，花了快俩年的时间，完成了自己的首张同名专辑。早在2006年中旬的时候，那时得知他要发行自己的专辑，很多资深的英伦迷就已经开始聊西聊东了，大家都在等待着这张问世。就这样一直拖到了2007年，现在终于将要在3月26号发行了。专辑的第一只单曲Love Is Dead将在3月12号发行。 毕竟Brett Anderson是Suede辉煌的领导者，加上The Tears，自然的不想对这张专辑有所失望。
新专辑共11首歌曲，先从专辑的大体开说，乐器的运用很出色，有些歌曲的吉他声色仍然是Suede时期的特有声色，Brett Anderson 在专辑中的运用了大量的弦乐。至于专辑的情感方面，悲伤的情感很突出，这点你从专辑开篇曲Love Is Dead便可以感觉出来，这可能是Brett Anderson 在一开制作专辑时就已经固定好的路线。专辑中的许多情感都是Brett Anderson自身的真实反映，像专辑的最后一首歌曲Song For My Father，写给他的已经去世的父亲，父亲的去世对Brett Anderson 情感上面造成了很大的影响。 Brett Anderson希望用这张专辑来反映自己的内心深处的想法，脱掉以前辉煌时期虚假的外衣，将最真实的感情表现出来，在加上一些对社会世俗的一些厌恶。专辑的封面和内页制作也是Brett Anderson亲自花时间来制作的，墙上的贴纸和一些照片。目的是想让人们了解他生活的中的自己，把自己的兴趣与自己身边的亲人放入其中。所以说，当一个人真真正正的表达出自己情感的时候，又有什么失望不失望的，而我则像平时一贯的作风一样，拿出耳朵仔仔细细的去听，用心去听就行了。一张满载情感的专辑，让人感动万分。

Blur在2012年发表的新单曲。

Special tour edition featuring the title track along with three others including a cover of the Who's 'My Generation', 'Columbia' (live version) & a video of 'Little By Little' (live at Finsbury Park). Sony. 2002.

《(What's the Story) Morning Glory?》（参考译名：晨光荣耀）是英国摇滚乐队绿洲乐队的第二张录音室专辑，由创造唱片发行于1995年10月2日。制作人为欧文·莫里斯和乐队吉他手诺尔·盖勒格。这是鼓手艾伦·怀特参与的首张乐队专辑。该专辑的结构和编曲风格与前作《Definitely Maybe》大相径庭，诺尔·盖勒格的创作重心转移到谣曲上，强调“宏大”的副歌，加上弦乐编曲和更多样化的器乐部分，与首张专辑的粗砺感形成了对比。
这张专辑使绿洲乐队从一支跨界独立乐队转变为红遍全球的现象级摇滚团体。乐评人认为它在英国独立音乐史上占有重要地位[1]。该专辑在发行首周内售出创纪录的347,000张，在英国专辑排行榜的榜首位置停留了10周，并在美国公告牌二百强专辑榜上达到第4位，是乐队商业上最成功的专辑。其中的单曲也取得了成功：《Some Might Say》和《Don't Look Back in Anger》在英国登顶；《Champagne Supernova》和《Wonderwall》在美国的现代摇滚歌曲排行榜上登顶；《Wonderwall》在澳大利亚和新西兰的单曲榜上登顶[2]。
虽然该专辑取得了轰动一时的商业佳绩，但主流乐评对其反应平淡。许多当时的乐评人认为它劣于《Definitely Maybe》，尤其批评它的创作和制作。然而，在接下来的几年中，评论界的看法扭转了。它如今被普遍认为是英伦摇滚年代及整个1990年代中影响深远的专辑。对其最著名的现场演绎是当年8月在科内博斯厅举办的两场演唱会，共吸引了250,000名听众。该专辑在1996年的全英音乐奖上赢得了最佳英国专辑奖。
2010年的全英音乐奖认为《(What's the Story) Morning Glory?》是自1980年代以来最伟大的英国专辑[3]。截至2015年，它的全球销量约为2200万张，被收录进数个最伟大的摇滚专辑榜单。