Poor Moon is Christian Wargo (Fleet Foxes, Crystal Skulls), Casey Wescott (Fleet Foxes) and brothers Ian and Peter Murray (The Christmas Cards). The band, named for frontman and primary songwriter Christian Wargo's favorite Canned Heat song, began four years ago as a long-distance project with demos being created and sent back and forth while Wargo and Wescott were touring in support of the Fleet Foxes 2008 self-titled debut and Ian and Peter were living in the Bay area. Their first shows were at intimate Seattle house parties where they used playful throwaway monikers like Rabbit Kingdom and Cookie Mask. It wasn't until the band opened up for Daekon at Seattle's Neumos that things began to really take form. Recording began and the four longtime friends became a band and Bella Union (and Sub Pop in the US) didn't hesitate to pursue them with unabashed enthusiasm. And it worked! Illusion was recorded in a variety of bedrooms, practice spaces, the Murray residence, as well as AVAST! and Fastback studios in Seattle, Washington with the help of engineer Jared Hankins with guest performances by many a musician friend.

In Time To Voices is the third album by Brighton based rock band Blood Red Shoes, to be released on 26 March 2012 in the UK and Europe through V2 Records. The album was recorded and mixed in Autumn 2011 as a co-production with Mike Crossey, and is to be preceded by the single "Cold" on 19 March 2012.

PLINGMIN、オトナモード、チリヌルヲワカ等のメンバーからなるShe Her Her Hers 初の音源リリース!心地よい疾走感とメランコリックな旋律が印象的な全5曲。その歌詞の響きとメロディはくるりの諸作にも通じる。M1/M5は福岡晃子(チャットモンチー)作詞です。

With material like this, he may even find a way to add a chapter to the Great American Songbook. --Austin Chronicle This is Earle's fourth release and follows his critically acclaimed 2010 album, Harlem River Blues, which debuted #47 on the Billboard Top 200 chart and led to a Song of the Year award at the 2011 Americana Music Awards. Produced by Earle alongside longtime collaborator Skylar Wilson, the 10-track album was recorded completely live with no overdubs over a 4-day period at an old converted church recording studio in Asheville, NC. Of the new record, Earle comments, I think that it s the job of the artist to be in transition and constantly learn more. The new record is completely different than my last one, Harlem River Blues. This time I've gone in a Memphis-soul direction. And that's true enough. While Harlem River was a love letter to his new hometown of NYC, this new album is a gorgeous, sometimes lush sometimes sparse, paeaon to a city that's given so much to the world musically. The sweat, the horns, the soul.....

Lostprophets follow a long bout of touring, writing and recording to release their fifth studio album entitled Weapons. Lostprophets were formed in Pontypridd, South Wales, in 1997. Their line-up is Ian Watkins (vocals), Jamie Oliver (keyboards, turntables, vocals), Stuart Richardson (bass), Mike Lewis (guitars), Lee Gaze (guitars) and Luke Johnson (drums).

Sprouting from the same mind that created the Books one of the most acclaimed and innovative groups of the past decade Zammuto marks a deep reinvention of the highly detailed, genre-defying spirit that made seminal albums such as The Lemon of Pink and The Way Out possible. Given the Books success as an experimental collage-pop project, founder and namesake Nick Zammuto could have comfortably extended that thread. Instead he has given us a record that is progressive and forward-looking, intense and driven, with hugely varied rhythms and melodies.

Dispossession is the second full length from Brooklyn’s Mike Wexler, and his debut for Mexican Summer. An artist who defies easy categorization—a songwriter/guitarist without a traditionalist bone in his body, with an ear for far flung sound-worlds and sonic atmospheres both high & low, Wexler brings all of his manifold interests to bear in carving out a space for a singular vision uniquely attuned to the present moment. Dispossession is the product of over two years of intermittent recording. It features players from the worlds of underground rock (ex members of White Magic and The Occasion), free improvisation (Ryan Sawyer, Nate Wooley, Jessica Pavone), synth and string textures inspired by the likes of Eliane Radigue and the Spectralists, a vocal and lyrical presence of unsettling, near-subliminal depth, and the omnipresent backbone of fingerstyle guitar, without a trace of “Americana” to be heard. The basic band tracks were recorded live, at more or less the moment when the arrangements first crystallized, so there’s a bedrock of spontaneity and a free feeling to the proceedings, complicated by the highly mapped-out nature of the subsequent orchestration, synth washes and overdubs. It’s a record that fits the broken mold of auteurist songwriters who nod to the ideas of forward looking writers and artists in their work, a loose lineage that could include musicians like Robert Wyatt, Scott Walker, or Richard Youngs.
A few words about the title: Dispossession, a word that has a foothold in both the spiritual and material worlds. A rite of exorcism, a casting out of spirits; but also a state of extreme economic marginalization, of being set adrift in the world with nowhere or nothing of one’s own. In mythic terms, humans are the dispossessed—this tribe cast out of an edenic paradise. And in another cosmology, to live in accord with the truth is to acknowledge that ultimately nothing is ours. Back in the here and now it’s a state much of the world is in, and one the rest of it may be headed for, barring we find a way to cast the “demons” out.

美国摇滚乐队 Alabama Shakes 第一张专辑