“何家淑女”何超仪(Josie)最近除了拍摄杜琪峰的新片《放．逐》，又发行全新专辑《地狱厨房》。由Paul黄贯中监制，新专辑里的主打歌“地狱厨房”使用摇滚音乐来抒发新婚的生活，这首歌和听众分享在结婚后的心情。这首歌是何超仪唱出女人的心声，抒发单身的生活和新婚生活的区别。
《地狱厨房》专辑收录了12首新歌(连Hidden track)和四首MV，值得歌迷珍藏。

Ditching your aesthetic (hairy noise-rock troupe) in favor of its polar opposite (neatly groomed pop-dance trio) is a sure way to get some pre-release hype, but the transformation of Chromatics has been so effortless that it's still easy to be wowed by the results. Those who caught the swooning glide of the Chromatics' "Nite" single last year-- or their contributions to the After Dark compilation earlier in 2007-- won't be shocked by the similarly sleek Night Drive (aka IV). But listeners who are only familiar with the band's forays into shambling punk will certainly be surprised by Night Drive's assured songwriting (which would wow even if the band had been chasing this narcotic Eurodisco sound for years) and how it wrings ravishment out of electro moves that should be long-drained of their charms.
Credit some of this to Johnny Jewel-- Chromatics member, one half of Glass Candy, and the economical production whiz/secret weapon in the much-feted Italians Do It Better camp. I have no idea how duties on Night Drive were divvied up between Jewel, founding member Adam Miller, and vocalist Ruth Radalet. But you can certainly hear all of the IDIB trademarks: doleful disco-punk guitars (the menacing clang of "Healer"), starkly monochrome synth patches (especially gorgeous on the bumping goth club slow-jam "Let's Make This a Moment to Remember"), watery keyboard progressions (ditto), and exploitation flick arpeggios ("Tomorrow Is So Far Away"). Even as they've dumped the genre's sonic baggage, Chromatics have retained punk's taste for spare arrangements, but drawing on overripe Moroder-style dance music and early 1980s synth melancholia makes for some sumptuous spare arrangements.
Of course, sumptuous production is often not enough, especially if all you're doing is cloaking a dead heart in good taste. But while the languorous, mid-tempo Night Drive may sway like it's half-drugged, its heart is still beating, thank you very much. The record opens with a female voice (presumably Radalet) dialing her lover as the club rats scatter home from their nights out, and when she winsomely closes the call by telling him that she loves him, she proves that (however much she comes across like a cutie pie version of Nico) she's no ice queen. Even when she sounds half-tranquilized, it's Radalet that adds the very necessary soft touch to all those implacable sequencers. Throughout Night Drive, whether at a kittenish whisper or a husky, longing sigh, her cauterized range fits the band's vision of disco recast as heartsick pop. And even when wholly instrumental on "The Killing Spree"-- forget the title, the sinister descending keyboard fuzz does a perfect job evoking a murderous robot sci-fi flick on its own-- the band uses what could be sterile pastiche to pull your strings. Tastefully.
Night Drive's peak is the rightfully praised cover of Kate Bush's "Running Up That Hill", where the band shifts the focus of the (already minimal) arrangement onto three sour keyboard notes and a dapple of guitar. Radalet sounds like the school wallflower trying on the queen of frou frou art-pop, her unsteady hold on Bush's delivery cracking into a yearning coo at the chorus (about as demonstrative as she gets), making for the only moment on the record where the band really lets their emotional guard down. Haters and fans alike often call this neo-disco stuff "cold" and "dark," but I think that's just code for "not kitschy" (on the plus side) or maybe "not emotionally open enough" (on the minus side). But while Night Drive might not be warm, it does feel intimate, like a 3 a.m. ride home, where you're not alone but exhaustion and intake have made talking impossible, the city is silent, and the traffic patterns are as comforting and regimented as a drum machine click track. One of those moments, to paraphrase Ms. Bush, when you should be crying, but you'll be damned if you let it show.
-Jess Harvell, October 11, 2007

BoA5周年、20歳を記念する5枚目のオリジナルALBUMが完成！
ポップなダンスチューンでオリコン3位、携帯DL50万以上、配信でも絶好調だった「七色の明日～brand new beat～/Your Color」を始め、11月1日にリリースの「メリクリ」を凌ぐ、BoAのウィンターバラード「Winter Love」などを収録。
ALBUM新録楽曲でも様々なジャンルに挑戦し20代を迎えたBoAの新たな「音」が収録されています。DVDにはSINGLEのPVと9/29からスタートしたBoA初の全国ライヴハウスツアー「BoA THE LIVE」から数曲をセレクトして収録。初回特典として3月末からスタートするアリーナツアー先行予約、DVD「BoA THE LIVE」に更に収録曲を追加する豪華内容。今作の内容をもって示すように「歌って、踊れるBoA」から「聞かせて、魅せられるアーティスト」へ。
★初回盤のみボーナス・トラック収録
★初回限定特典：アリーナツアー先行予約

从一年前的<<MEOW MEOW MEOW>>到<<KSII KSII KSII>>，我们跟随AT17成长。多元化的曲风，更加成熟的情感，不变的还是女孩子特有的可爱天真。上回的猫女郎，这次摇身一变成了著名重金属乐队KISS，让人忍俊不禁。
“女扮男生”是典型的AT17风格，一如既往的干净轻快。“成人礼”卢凯彤首次尝试作词，制作人李端娴特别为她们找来了鼓手硕良护航，甚至当红女歌手何韵诗也在最后客串出场，玩了一段单簧管。电台的广告歌“三分钟后”是蔡德才4年前的作品，一份成熟的韵味在词曲中浮现，不由得感慨AT17真的长大了。“LOST IN LA”伤感得叫人柔肠寸断，在孤单的吉他伴奏下，林二汶的歌声又一次显示与她年纪不相称的成熟。不单是民谣，AT17更多的开始在音乐中融入电子与爵士。两个版本的“NEVER BEEN KISSED”，BIG BAND JAZZ风格的“画你”，AT17在各种流派之间游刃有余地游走，你其实很难将每首歌分类分析。
当然，AT17拿手的搞怪音乐自然不可少。“正教育”里一本正经地朗诵闻一多先生的“也许——葬歌”，“金鱼歌”则卡通味十足......真不晓得她们以后会带给我们什么样的快乐。

シンガーのみならず、多くのアーティストに楽曲提供する作家としても活躍する中原めいこ。
84年のヒット曲「君たちキウイ・パパイア・マンゴーだね。」を含む、クオリティの高いベスト盤だ。

专辑介绍：
郑融的2007年新唱片《Super Girl》配合了新的造型，具有嫵媚的女人味，背景还加上了一对蝴蝶翼。蝴蝶翼的构思代表了小女孩变成大女仔了，有一飞冲天的意思。这是郑融的第五张个人唱片，幕后班底一直合作故大家特别有默契。
郑融的2007年全新专辑《Super Girl》收录了11首情歌和3首MV，包括了「大女仔」、「东京百货」、「你諗咗去边」、「受够」和「Hey Girl」。主打歌「大女仔」(林天爱作曲、夏至作词)抒发恋人喜欢不受管制，且爱就会爱到底。