来自"老皮"的一段评论 --
我从来不是ECM的真正中坚“拾荒者”（这么说是因为我们的音乐收集经历就像在荒杂种寻找宝藏）。因此我不多的ECM收集让我断定这家“欧洲创新音乐公司”是不屑于出版发行人声唱片的。从唱片店里看到这张不起眼的唱片时，我顺眼留了一下，好像背面的Credit里面没有例如Paul Bley或者 Jan Garbarek这样的大牌ECM老将。所以我断定可能是一张ECM新古典系列什么的。一眼看到"Round Midnight“我的好奇心来了。不知道会是什么样的一种情绪演唱呢？ECM—VOCAL--ROUND MIDNIGHT终于决定把它买下来，去听听。
首先跳到"Round Midnight”，首先听到的是脚踏式风琴徐徐而来的丝丝有缘，突然清亮的人声唱起。没有Thelonious Monk原作中的烟雾缭绕，没有Billie Holiday吟唱中的迷离，但是那时一种午夜难眠之后的清冷，薄雾，凝霜和孑然一身的清醒。虽然曲调中还游离着monk音乐中的蓝调，但是淡化、淡化的已经不是那么深沉。下面一首"Maggie and Milly and Molly and May“，四个女孩子的名字，四个短暂的小故事。让我想起匆匆行路过程中，看到的那些姣好的面孔，身边的异性，忧伤或者天真，愉悦抑或茫然的个体中流淌着的一个个故事。人声剔透者人生的渺小，但是同样是丰满
瑞士出生的Susanne Abbuehl，从Paul Bley, Jimmy Giuffreh和Annette Peacock的音乐中寻找出浪漫主义的情愫，录制出一张充满棘荆之感的激情之作。同样在歌曲中还能够找到她的师从者Jeanne Lee（曾经同Archie Shepp合作过）的印记，Carla Bley的明晰、简单音乐元素。伴奏音乐中，能够让人想起的是Jimmy Guiffre六十年代三重奏是的风格。当然其中不可能缺少的是咏唱者自身的山腰之处。"skies may be blue, yes"中能够听到些许印度歌曲演唱技巧，但是绝对不是追求新意的做作。"Mane Na"作为结束曲，是一首印度斯坦曲调的作品，虽然不能媲美前面的曲目，但是明晰的可以看到一个充满丰富感情的乐手，自然的拥有一种自然，明晰的对音乐思索和历求。-- 我想这些，已经够了。已经让我真正的面对真诚的音乐，赤裸的反思。

来自西班牙马德里的独立小女生，可爱的小巫婆。关于这个乐队的信息寥寥，只在一个西班牙文网站上看到有她的一些介绍。可是，这些都无法遮掩住它的优秀，它让你相信一副可爱又有些叛逆的好嗓音和一些简单优美的acoustic演奏已足够吸引人，而且这一切又显得那么和谐美好，就像你从来不曾近距离探求过一样，神秘而迷人。

Lotte Kestner has been mentioned earlier this year with her fine album China Mountain B-sides, which was released back in 2009. Two weeks ago she released a new EP, called Extra Covers, which (you guessed it) contains a collection of covers, 6 in total. The only song i reckonized was Beyonce's Halo, which is a daring choice, but she gets away with it. Another fine track is Black Metallic, which apparantly was originally done by Catherine Wheel, an early 90s rockband. I'm almost drifting off there in 90s melancholie, which is also a little bit the issue with this EP. I like Lotte Kestner, she has a beautiful voice and is capable of singing little masterpieces, but apart from the 2 songs i've mentioned she doesn't really do that on this EP. For a total listening experience i prefer China Mountain B-sides, but Halo and Black Metallic deserve some airtime, cuz they're both a great showcase for Lotte Kestner's talent.

音乐的态度、感应、前瞻，通通都关于我们的乐坛天后——关淑怡！
阔别乐坛多年的关淑怡（Shirley），继较早前与谭咏麟合唱的一曲「旧情复炽」後，唱片公司特别于2005年12月为她限量一千张CD Single《关于我》。乐迷对她这张CD Single反应甚佳，一推出便立即断市，再加上久休近十年的Shirley将计画于明年2月举行三场个唱，有见及此，Shirley先以个人同名新碟《Shirley Kwan 关淑怡》及这张3CD+Karaoke DVD 《All About Shirley 关淑怡完全集》与乐迷见面。

此完全集内63首经典代表作，全方位表现你最欣赏她的任何一面，特别收录：2006全新主打「关于我」+ 卡拉OK MV、首度出版作品「带我去跳舞」；其他推介作品：国语歌「冷火」、谭咏麟合唱「旧情复炽」、「叛逆汉子」(dance version)、「缱绻星光下」、「一首独唱的歌」、「Dela」(mother mix)、「一切也愿意」、「难得有情人」。

瑞典乐队，核心为两位女性成员：Jenny Kellerman 和 Emilie Lindkvist 。如果你喜
欢：Edith Frost ，Azure Ray ，Hannah Marcus ，Julie Doiron ……的话，你同样会喜欢Dexter's Moon 的！
专辑介绍：叶落点响了Dexter's Moon的声音，自然的忧伤与纯粹的想念，成为一日的温柔片刻。这支瑞典的乐队，用民谣在弹唱一种感觉，有时候像极了Sophie Zelmani。Dexter's Moon为一支瑞典6人乐队，核心为两位女性成员：Jenny Kellerman 和 Emilie Lindkvist。
有人说巧克力是“均衡”的口感，是微苦、微甜、微酸、可可香味的均衡。Dexter's Moon年的创作专辑《Come Rain》这样恰如其分的成熟甜味，正像是巧克力耐人寻味的完美感觉。民谣风格，安静的吉他，少许忧伤，少许温暖的味道，老旧的旋律，美的宁人窒息的女声。介绍上写着:“This is closer to old-style folk ”。
据说，Dexter's Moon这个团名来自Tom DiCillo的电影《盒光之夜》中的一句台词。据说这部电影也的确影响了乐队的风格走向。还需要补充的是，“德克斯特的月亮”的第一次排练是在Jenny好友Emilie Lindkvist家的厨房，这样后者也成为了乐队的最初成员。

美国民谣乐队The Innocence Mission全新作品，沿袭以往的沁人心脾，谱写了全新的感动。真佩服这支乐队25年如一日的精神，总能在人最疲累时给予精神上巨大的安慰。Karen Peris的声音清亮动人，仿佛一位天使一般抚慰着人的心灵。
"The Innocence 的魅力，只要一听，便会耽溺其中不可自拔；担任主唱、钢琴、吉他、弦乐／风琴的 Karen Peris，拥有如小女孩般略微尖锐、却又蕴含深刻情感，迴转自如的优美清澈嗓音，负责吉他、鼓、合音的 Don Peris 则擅长以简单却餘韵无穷的空心吉他，酝酿出清新有如晨曦朝雾的音乐，甜美绝伦、却又带着清淡哀愁的旋律，充分传达出民谣抒发情感的特质。"

台湾歌手陈淑桦 1992 年在滚石唱片旗下发行的第三张专辑《淑桦的台湾歌》，此条目为台湾首版

Interiors, Cameron Mesirow’s second full-length release as Glasser, is a more considered, confident, and much more sharply personal album than its predecessor. It’s central themes are love and anxiety and the spatial constraints of both in the landscape of one’s life. In the three years since Cameron released her breakout debut “Ring”, she toured around the world (with Jónsi of Sigur Rós, The XX, Delorean, among others) and left her California home for New York. Along the way, she discovered a new partner in producer Van Rivers (Fever Ray, Blonde Redhead) whose background in techno production added expansive spatial elements to her music that reflect both the looming, condensed architecture of Glasser’s new adopted home as well as the intricate internal worlds she conjures in on her own.
The tension between interior and exterior space fills the album. In architect Rem Koolhaas’ book Delirious New York, which Mesirow credits as an inspiration, the author suggests that New York’s massive, stoic-faced buildings are monuments rife with secrets. Interiors is Cameron’s attempt to exorcise and address some of those metropolitan secrets. “I thought a lot about the physical impositions in my life, and about the fluid emotional boundaries in my relationships,” Mesirow says. “There's no limit to what can be said about these structures. I can’t help but live and work in them, exploring their many folds.” On “Landscape” Cameron explores the limitations of symbiosis in a romantic relationship. “Exposure” characterizes the alienation of life in an ever-changing metropolis as a “modern trouble” that no one feels responsible for but all complacently contribute to. A trio of shorter songs called “Windows” punctuate the production and feature some of the most experimental sections of music- windows being where the inside and outside nearly meet, providing partial glimpses of scenes from other worlds, but preventing contact. There is urgency pervasive throughout the record, both simultaneously to gain access to feelings or people as well as wanting to be released from them.
The instrumentation of the album is a mixture of synthetic and organic sounds, real strings, reeds and drums combined with programmed ones, a purposeful coupling of natural enemies. “I like music where you're not thinking about what a specific instrument is,” she says. “An instrument-less quality. It doesn’t come from a band, but from a whisper in the wind.” As on Ring there are sounds used for unlikely purposes; vocals used as percussive accents, or melodic themes assembled from environmental sounds. The song “Design” illustrates this with Cameron’s own pitched-down vocals serving as a writhing bass line in the frantic depiction of lust. The Glasser we find on Interiors is smoother and smokier, more confident and defined against an increasingly stoic electronic music backdrop. The effect is a paragon of sonic architecture--a soundspace that’s packed tight but never feels crowded.
Glasser has always valued a visual component to compliment the music. For Interiors Cameron worked with artist Jonathan Turner, a member of performance art group Yemenwed. Jonathan’s futuristic work establishes the visual palate for all the album’s visuals - all of the artwork, videos, and photos are the result of Cameron and Jonathan’s collaboration.

《 'EX' All Time Favourites 》是香港女歌手关淑怡第十张粤语大碟，亦是她首张全翻唱大碟。此专辑推出后好评如潮，乐迷和乐评人一致推荐为关淑怡代表性专辑。坊间普遍认为关淑怡在处理声线方面更上一层楼，奠下了天后的地位，其个人独特的气声及共鸣运用令她在翻唱时为歌曲注入了新的元素及感觉，亦为及后香港乐坛的翻唱专辑带来很好示范，专辑后来更被《听见2000分之100》一书选为“公元2000年内最出色的二十张中文唱片”之一。其中《忘记他》的作曲作词人黄霑曾评价关淑怡在《忘记他》中的演绎比邓丽君还好，《梦伴》的Acoustic编曲更成为往后歌手翻唱此曲时的模板，亦有评论认为《深夜港湾》和《印象》以及《忘记他》三首，关淑怡的唱法才真正唱出了原曲的真谛。

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

详细内容: A1 C'est la vie 這就是人生A2 Time 時光A3 At seventeen 十七歲A4 Twist in my sobriety 失常A5 Songs and silhouettes 歌興翦影A6 Edge of a dream 夢的邊緣A7 Geordie 喬第B1 Forever 無限B2 And I love you so 而我是如此愛你B3 Wishful milenio 千禧願B4 Windflowers 風花B5 Whispering Steppes 細語咽咽的草原B6 Turning 流轉B7 The Rose 玫瑰B8 I Swear 我發誓广告语: 齊豫Yu Chyi. C'est al vie特別收錄1997-1999齊豫英文單曲有无歌词: 无

陈粒 首张专辑 《如也》
没签公司，没有团队，没有包装，单枪匹马，一个人一把琴，每首单曲网络点击都非常火爆，在各个原创音乐排行榜上也常居榜首。在办了四次场场爆满的民谣专场后，陈粒终于发布了自己的首张专辑 《如也》。
“要挣钱，要养家，要过好日子，当时就那个水平，别人也都那么干，限制太多，给钱太少，社会不开明，市场不成熟，都是理由。但今天谁要听这些理由？大家只看结果，任何理由没有，这就是你干的，你的历史。 ”
点开她的豆瓣小站，最显眼的位置永远留给这段话。
“我以为十个听歌的人里面，只有一个人会去看现场。” 陈粒这样对大家说。可事实：第一次办专场：广州站，320人，长沙站350人，武汉站，505人......在即将进行的首专巡演中，前几站的预售票也是出票两小时就售罄，成都站甚至还没发布开售的消息就在两小时内售罄。这对于一个进军民谣不到一年的歌手来说算是相当令人吃惊的好成绩了。
却从没有任何所谓的“偶像包袱”，常和微博上的乐迷欢乐互动，演出空隙里时不时来一段儿“单口相声”，给乐迷签名直接签“老公”二字，时而自黑时而自恋。这一切平易近人的举动，也都让广大乐迷对陈粒好感倍增。
陈粒已发布的单曲，几乎是首首好评。《奇妙能力歌》，诗。《祝星》以爱人的名字命名，直接又美好；《历历万乡》充满江湖气息，大气不失细腻；《性空山》作词绝美，陈粒的独特嗓音更把这首好词演绎得毫无缺憾；《走马》更是简陋的demo版就潦倒了一大片文艺女青年，当然也有直男。
首张专辑《如也》除了录入六首备受好评的已发布单曲之外，陈粒也为乐迷们带来了九首全新单曲，数量质量都堪称良心，却也是水到渠成。九首新歌，仍然一如既往地有她独特的风格，既有对自由的追逐，也有对恋人的渴慕。
2015年3月起，她将带着这张《如也》进行全国大范围的巡演，当她路过你的城市，不妨走进livehouse，听一听这个传说中现场比录音更棒的声音。
实体专辑的设计也跳出常规，值得珍藏。陈粒在微博上承诺，到了演出现场，见专辑就签，追着你给你签。
想被追逐的请前往

Sara Lov is an American singer and songwriter. Lov was born in Hawaii in 1970 and later was raised by her mother in Los Angeles after the divorce of her parents. At the age of four she was kidnapped by her father, who was in the midst of a custody battle, and she was taken to Israel.

《祝福經典十三首》是葉蒨文首張粵語精選專輯，於1989年2月由華納唱片發行。此專輯乘著《祝福》於1988年底橫掃各大頒獎禮獎項之勢於1989年初推出，銷量高達六白金（即30萬張）的驚人佳績