Complex and conceptual Chicago outfit Disappears didn’t manage to issue any new material in 2014, but it’s been announced that the krautrock-loving crew will materialize again early next year via the release of their fifth full-length, Irreal.
A press release confirms that Kranky will have the album out in stores January 19. As with 2013’s Era, the upcoming eight-song LP was recorded with producer John Congleton at Chicago’s esteemed Electrical Audio facility.
Disappears’ latest LP is described as “a master class in texture, pace and control,” with the album apparently featuring “imperfect melodies” and post-punk arrangements that “collapse onto each other.” Thematically, Irreal weighs in on “eternalism, roboethics [and] identity.”

火都黎埋。

Arthur Morgan "Arto" Lindsay is an American guitarist, singer, record producer and experimental composer.

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WIXIW, out June 5, may just be the best Radiohead album since Kid A. In all seriousness, when you listen to the new Liars album — as you should many times over the next week — imagine Thom Yorke's falsetto taking the place of Angus Andrews' less distinctive but no less effective voice amid the barrage of intricate electronics. At times, it's almost as if Andrews is rubbing it in Yorke's face, like in "Ill Valley Prodigies" or the title track. These are the sort of songs disappointed Radiohead fans wanted on The King of Limbs.
The similarities shouldn't come as a surprise. Yorke has long been a fan of Liars, as he told NPR Music's Bob Boilen in this Guest DJ session, and the two bands toured together in 2008. Both groups love to experiment within the rock template — so much so that you never know what their next records will sound like. WIXIW (pronounced "wish you") is Liars' "electronic" record, and a darn good one at that. Whereas Radiohead basically mimicked its favorite U.K. bass producers on The King of Limbs, Liars' productions, aided by Mute Records founder Daniel Miller, don't sound of any particular time or place. That's a good thing.
For those who've read this far and still pine for the dance-punk of 2001's They Threw Us All in a Trench and Stuck a Monument on Top, just skip to WIXIW's penultimate track, "Brats" — you won't be disappointed.

Legendary director and musician David Lynch is readying his second solo LP following 2011's Crazy Clown Time. The album is called The Big Dream, and it's out July 15 in Europe via Sunday Best and July 16 in the U.S. via Sacred Bones.
The Big Dream features 11 original songs, plus a cover of Bob Dylan's "The Ballad of Hollis Brown". In a press release, Lynch described the music of the album as "modern blues" and said, "Most of the songs start out as a type of blues jam and then we go sideways from there. What comes out is a hybrid, modernized form of low-down blues."
The vinyl edition of the album will come with a bonus 7", which will feature the Lykke Li track on the A-side and an etching hand-inscribed by Lynch on the B-side. The digital version will contain the Lykke Li track as well. Lynch said of Lykke Li in a press release, "She brought her own style to this song, which has a doo-wop sort of thing going on, but in a way it’s far-removed from the 50s."

From AMG Reviews
Dark, disturbing, and beautiful, His Name Is Alive's Home Is in Your Head develops the deceptively simple, abstractly emotional music they introduced on Livonia. Held together by Warren Defever's artful production, its 23 songs range from jealous contemplation to spiritual concerns, from gentle folk to white noise guitar outbursts. Karin Oliver's supple voice lends itself to an array of musical and emotional settings: she's acidly sweet on "The Charmer"'s brittle taunt "Where is your head now?/I should nail it to her door/Where are your hands now?/I know what you'd use them for." On "Why People Disappear," she's pensive: "Maybe I know as much as I ever will/We've been forever." The numerous instrumentals and interludes add to the overall yearning, searching mood. "Her Eyes Were Huge Things" builds subtle strumming and Oliver's sighs into an evocative spell, while "Hope Called in Sick" crashes in with loud, wailing guitars. The group's sound collages also find more purpose here than on Livonia; the chanting children on "Put Your Finger in Your Eye" are downright unnerving, and "Spirit and Body" conjures a story of loss out of a ticking watch and just-audible snippets of conversation. With the oddly comforting finale, "Dreams Are of the Body," Home Is in Your Head completes a seamless exploration of music and emotion. The Rykodisc reissue also includes the group's hard-to-find The Dirt Eaters EP. Named for Defever's rock-oriented side project, it features the spooky, subtly dissonant cover of Rainbow's "Man on the Silver Mountain," Ivo Watts-Russell's bleak remix of "Are We Still Married?," and "The Dirt Eaters'" pastoral art folk. Added to Home Is in Your Head, it represents the band's best early work.
- Heather Phares, All Music Guide

1998+2001两届葛莱美[最佳另类摇滚]唯一得主中时如乐周报+MCB TAIWAN+Q+wIRE无数音乐专刊一致推荐20年必备专辑[KID A I号复制人]之跨世纪概念续篇。
2000年10月2日电台司令终于发行了第四张专辑[一号复制人Kid A]全球另类乐迷相隔三年才又有机会见闻电台司令的自溺音乐。不过，当时的他们竟是以一系列十到四十秒的新歌音乐录影带在网路和电视广告中播放，并强调不会有任何单曲或完整音乐录影带；头顶葛莱美[最佳另类摇滚]光环的电台司令只想在网路上与乐迷沟通，却不想接受任何媒体的过度包装，电台司令以其近乎[艺术品]的后摇滚实验乐风起码接证明他们身为[九零年代另类摇滚代言人]的创作实力。美国发行当周便登上Billboard专辑榜冠军宝座，[一号复制人Kid A]更是中外各大音乐专刊一中时如乐周报、MCB、Taiwan、Q、Wire、Spin、Bounce……一致推荐2000年必备的经典专辑！
其实，在制作[一号复制人Kid A]的同时，电台司令便已谱写了23首作品，其中已有10首收录在[一号复制人Kid A]中；时隔半年有余，他们又从其中择选11首作品，发表了第五张专辑[失忆Amnesiac]。虽是同时期的创作，[失忆Amnesiac]却与[一号复制人Kid A]融入大量电气声响、鼓击的摇滚浪格调不同，例如近来已投身电子合成器乐冷酷异境的Jonny Greenwood在Knrves Out一曲中再次以The Smith英伦传统浪漫吉他拨动沉寂已久的动人心弦；专辑首支单曲Pyramid Song则是以幽悒沉郁钢琴伴奏作为旋律主轴。
主唱Thom Yorke在2001年初接受专访时曾如此说道：“如果[一号复制人Kid A]太艰深，上帝就会伸出他的援手。”于是，上帝给了我们[失忆Amnesiac]。

地下丝绒的第三张专辑，由于录音前期发生设备遗失的事故，以及创团成员John Cale的离开，这张专辑的声音平静内敛富有张力

After 20 years of Kammerflimmer Kollektief, with 10 albums thus far, the time has come to take a trip. The Karlsruhe combo guide us through seven stations in an unfathomable Terra Incognita, where a listening space emerges at the intersection of improvisation and composition, a space where certitude slips out of reach, jouncing incessantly between precision and freedom, oscillating furiously between cut-up and palimpsest – and, just when we think we may have pinned it down, disappears altogether.
This album entitled "There are actions which we have neglected and which never cease to call us." is one for the fearless: wordlessly conjuring up enchanted places in the richest of tones, simultaneously confronting us with magic which captivates us and the excruciating realisation that we may never be released from its spell.