2011 release by this Electronic project led by Bernard Fevre. The album opens with the apocalyptic visions of Jon Spencer of the legendary Jon Spencer Blues Explosion, before Nancy Fortune transports the listener to a piano bar in a distant galaxy. 'X Paradise' is where Aja Emma of Canadian electro-pop outfit Cosmetics chooses to hang, while Faris Badwan of The Horrors is trapped in a dream on 'Distrust.' Claire Evans of Yacht claims that she would prefer to 'Stay Insane' and that if Jesus was to return to Earth we would surely kill him.

Stevie的首张个人大碟. Buy here:

Nils Frahm is a German musician, composer, and record producer based in Berlin. He is known for combining classical and electronic music and for an unconventional approach to the piano in which he mixes a grand piano, upright piano, Roland Juno-60, Rhodes piano, drum machines, and Moog Taurus.

◎ 創意翻玩復古電子搖滾，2011年燃燒能量照亮世界首張完整大碟
◎ 力邀英國跨界製作新銳Paul Epworth (Adele、Cee-Lo Green)、The Bird And The Bee雙人組之Gregory Kurstin (Ke$ha、Britney Spears) 等金牌製作群協力操盤
◎ 首波主打〈Pumped Up Kicks〉，獲BBC Radio 1的「當週最佳單曲」殊榮，攀上告示牌搖滾榜Top7、另類榜Top2
**專輯內附原文歌詞
隨著科技日新月異，電子合成樂也大舉入侵各樣曲風，並深深影響新世代的創作軌跡，來自加洲的Foster The People，不僅在音樂創作上將時髦的氛圍和電氣旋律串接上線，更沾染著一股迷幻風味，保留獨立製作的精神，揮灑出當今饒富創意的搖擺節奏。
2009年正式成軍的Foster The People，由身兼演唱、鍵盤、鋼琴、合成器、吉他、程式設計、打擊樂等多項技能於一身的Mark Foster領軍，加上打擊樂器主力Mark Pontius、貝斯手Cubbie Fink和兩位志同道合好友，運用公開演出的機會，在他們的創作中增添更多元、更豐富的新復古樂風，請來熟稔吉他、鍵盤、合成器、合音的Sean Cimino及鍵盤、鋼琴、合音的Isom Innis擔綱Live秀客席樂手。靠著網路科技等無國界的特性，上傳自創歌曲獲無數網友好評不斷，也讓Columbia Records聽到Foster The People的新鮮才華。
繼2010年首張同名EP《Foster The People》一戰成名，2011年終於祭出完整錄音大碟《Torches》，力邀英國跨界製作新銳Paul Epworth (Adele、Cee-Lo Green)、The Bird And The Bee雙人組之Gregory Kurstin (Ke$ha、Britney Spears)等金牌製作群和Mark Foster協力操盤，堅強的製作組合，精彩可期，並率先拿下澳洲專輯排行Top9。首波主打〈Pumped Up Kicks〉，獲BBC Radio 1「當週最佳單曲」殊榮，懷舊熱情的低沉貝斯，混搭空心吉他和電子合成樂，歌詞則輝應團名，描寫缺少家庭關愛、孤立且具暴力傾向的年輕世代，是首涵意深厚的佳作，一舉登上告示牌搖滾榜Top7、另類榜Top2；輕巧有趣的〈Call It What You Want〉帶來活潑節拍，讓人一聽就上癮；以民謠混搭電子合成的〈Don’t Stop (Color On The Walls)〉則有熱鬧歡氣氛炒熱氣氛；慵懶嗓音帶來〈I Would Do Anything For You〉琅琅上口的副歌旋律，讓人留下深刻印象；迷離弛放的數首創作，如〈Houdini〉、〈Life On The Nickel〉、〈Miss You〉等，體驗他們以鮮亮Electro/Synthpop外衣，且充滿豐沛創作實力的Foster The People。

Youth Lagoon is the project of 22-year-old Trevor Powers from Idaho who will release his first album "The Year of Hibernation" on the new Juno Beach Records label this summer.

Wild Flag is a Portland, Oregon- and Washington, DC-based female supergroup consisting of Carrie Brownstein, Rebecca Cole, Mary Timony, and Janet Weiss. The members of Wild Flag have played in numerous and notable bands including Sleater-Kinney, Helium, Quasi, The Minders, Stephen Malkmus and the Jicks, and others. In April of 2011, they went to Sacramento, California, where they recorded their self-titled album with engineer Chris Woodhouse at the Hangar. All tracks were recorded live except for the vocals.

Leicester's Maybeshewill have never previously done things by halves, they have always put the maximum effort into everything they have ever written, and their third album, 'I Was Here For A Moment, Then I Was Gone,' is no exception.
Opening track (Which is cleverly called 'Opening') is a brilliant orchestral piece, starting off the album in the style of 65daysofstatic. An epic drum line and choral singing help to create a dark atmosphere, which leads nicely into the second track.
'Take This To Heart' kicks in straight after 'Opening,' with no chance to sit back and take in what you just heard. Heavy guitar lines and violins give this song a very epic feel, which is what this record is about. This song is nicely unpredictable, every now and then the guitar stops and an orchestral piano or violin section will come in, which is really what helps to seal Maybeshewill's reputation as a great post/math/whatever rock band, I have never been able to make up my mind as to what genre to classify this band as.
Next track 'Red Paper Lanterns' starts with a calm guitar line, which then is layered with drums and xylophones to build up to a climax where everything goes very Explosions in the Sky-esque. Then everything goes calm again, with a synth interlude mimicking what the guitar was doing previously, all building up to a math rock guitar riff that seems very common in the current UK underground scene, reminiscent of bands such as Tubelord, Tangled Hair etc.
Next track and lead single 'Critical Distance' is a good example of how well this band can do post rock, I would have to, once again, refer to 65daysofstatic in order to describe how this sounds, but it's not in a way that they are ripping them off, more as in they are acknowledging what 65days are doing and trying to do similar. For me this is the best song on the record, a very good choice for lead single, and probably a very good way for people who haven't listened to Maybeshewill in the past to get into them.
'Accolades' follows with distorted guitars and a fast synth line in an odd time signature, this track is almost in the style of early Biffy Clyro, in the way that it is fast, heavy and unpredictable. Once again this song like most on this record cut out to a calm, almost orchestral section, then goes into a great calm build up which leads to what is probably the album's heaviest moment. The track leads into a quiet outro, while xylophones and sampled violins play what the guitar was playing prior to it. By this point I am totally won over by this album, listening to the next 5 songs is just a mere technicality that I have to do in order to give a fair review.
'An End To Camaraderie' is another brilliant example of how much talent this band has, there is so much energy in this song it becomes hard to sit still after a while. There is a brilliant background synth part in this song that you have to really listen out for, in my opinion it should have been turned up in the mix as it would have made this song so much better, but regardless this song is the best example of what this band does, heaviness mixed with ambience.
The album then leads into 'Words For Arabella,' a calm song, all the way through this time. This was a good tactical move by Maybeshewill, as everybody listening would be expecting this song to get really heavy like every other one on this album, but this keeps the album unpredictable. As well as working as a good way to maintain unpredictability it is a refreshing break from distorted guitars and loud drums, even if just for a few minutes.
Next up is 'Farewell Sarajevo,' which starts with ambient synths, this intro could quite easily go into a drum and bass song, but I am quite glad that it doesn't, instead going into a brilliantly formulated post rock crescendo.
Penultimate track 'Relative Minors' is the longest on the album, and is also the most epic of every song on it. With brilliantly thought out guitar melodies over distorted chord sequences, energetic drums over amazingly well sampled piano parts, this song just reinforces the great impression that the rest of the album has made, and cements them as one of the great post rock bands in the world, I expect one day to see the name Maybeshewill alongside Mogwai, Explosions in the Sky and Godspeed You! Black Emperor.
Final track, 'To The Skies From A Hillside' is a good way to end the album, with both guitarists contributing to what is essentially a 5 minute long riff with the occasional slowing down point, presumably because the guitarists need a second to catch their breath.
All in all this is a brilliant post rock album. It will not be everybody's cup of tea due to how hard some people find it to get into post rock, but for fans of the genre, it will win them over with no effort.

环球

“Fatou” Diawara would seem to have everything going for her. Born to Malian parents and now based in Paris, she’s young, good-looking and has already enjoyed a successful career as an actress and a musician, working with the great Malian diva Oumou Sangare. It was Sangare who introduced her to World Circuit, a label with a famously limited but distinguished roster, and she prepared for the release of this debut album with a series of shows, both as a soloist and with a band. On stage she showed confidence, charm, and a cool, clear voice – but at times seemed a little derivative, playing acoustic guitar like the early Rokia Traoré and with inevitable echoes of Sangare in her songs.