继上周发布的《初恋》之后，五条人的又一新单曲《热带》火热出炉，它是一首新闻民谣，更是一部当代传奇，歌中所呈现的，是一副丰富而斑驳的电影画面。
《热带》改写自一篇2014年的新闻——“广东增城逃犯到泰国成千万富翁，16年后落网”。新闻中的主人公“王×球”于上世纪90年代末在增城持枪杀人，犯案后他带着两万多块钱逃亡到泰国曼谷，隐姓埋名，从中餐馆打工开始了自己的他乡生活。“王×球”从洗碗工干到厨师，直至最后，他开起了属于自己的中餐馆，并成为过千万身家的著名华侨，但最终还是落入警方法网，被引渡回国。
“热带”是一个地域上的划分，它意指歌中主人公“刘德龙”最后的落脚地泰国，同时，故事中的氛围，也同热带一样，炽热而高能。在歌曲前奏中，吉他、镲片、手风琴依次进入,五条人传的统三大件各司其职，但从首段间奏开始加入了贝司，让整个故事的声部更加饱满，更为立体。同先前发布的有着九十年代流行歌遗韵的《初恋》相比，《热带》的节奏更为丰富，变化多端，歌曲从头到尾两个和弦循环往复，但贝司、鼓、吉他、手风琴的律动不断地互补变动。在歌曲叙事铺陈的过程中，节奏渐渐变得咄咄逼人，野性四溢，与主人公刘德龙那个曲折而传奇的人生故事相映成趣。
在《热带》中，也能够感受到《一些风景》时期的五条人的影子，野性，糙猛，这次五条人首次在歌曲里加入了MIDI成分，仁科直接同手机里的GARAGEBAND软件加上了合成器音色。
作为一首“新闻民谣”，五条人在新闻素材基础上进行了再创造，并加入了诸多想像的细节，与新闻中的“王×球”的人生相比，《热带》中的刘德龙的血肉更为丰满，从赌徒到逃亡异乡的餐馆业主，刘德龙的故事，颇具传奇色彩。但是它所折射出的，是当下时代的显著症候——沉痼压身，积重难返，透支漫长的未来，填补当下亏空，在徒劳往复之后，以“三碗猪脚”终了余生。“三碗猪脚“，是泰语“你好”（sawadika）在闽南语中的读法，它在歌中被邪性的唱腔以延时效果结尾，满是魔幻色彩。同时，这“三碗猪脚”也是刘德龙对自己传奇经历的总结，懊悔？无奈？失落？一言难尽。
《热带》用音乐语言，呈现出了一副丰富而斑驳的电影画面，五条人同以往一样，依然用平实的笔触，从时代变迁的诸般风景中，撷取出最为传奇的画面，讲述给身边的我们。

《梦幻丽莎发廊》是五条人的第四张专辑，也是他们在签约摩登天空之后，继《广东姑娘》之后推出的又一张专辑。这张专辑中的十二首歌，展现了一幅波澜壮阔妙趣横生的社会风情画。除了先前发布的《热带》、《初恋》、《阿虎》之外，专辑中的《梦幻丽莎发廊》、《石牌桥》、《很多很多》、《有所追求》等四支单曲也于今日上线。

《石牌桥》与《梦幻丽莎发廊》，两首歌的背景都是“石牌桥”，这个连接着天河南和石牌村的广州著名地标，是广州有名的城中村。而这两首作品，也形成了互文的关系，“梦幻丽莎发廊”，与“石牌桥”。一个于虚构中构筑，一个在实地中取材，勾勒出一个虚实相间的生活场景。十多年前，王磊在歌曲《石牌村》中唱到：“鸡狗合啼着：欢迎来到石牌村庄……霓虹灯一亮：夜里演着戏、夜里把歌唱”，为“石牌村”的变迁写下了一部心灵秘史。如今，五条人又把石牌写入歌中，作为从海丰县城闯入的外来客，仁科和阿茂早年广州的漂泊生涯便是从这一带开始，从石牌到岗顶，从华南师大到天河，他们早年的广州生活，围绕着石牌桥这个圆心展开。石牌桥既是个人生活的烙印，也是时代变迁的象征。

2007年开始，正准备举办亚运会的广州开了“禁摩令”，禁止摩托车在市区道路上行驶，那个在石牌桥附近载着姑娘兜风、快意疾驰的景象，从此一去不返，“禁摩之前的爱情”只留下记忆中零星的碎片。一如已经离开了“梦幻丽莎发廊”的姑娘，也在忧伤中不知所归。“天空中的红月亮”每晚都在升起，但“梦幻丽莎发廊”早已物是人非。大时代中的小人物，就这样在一片高奏的凯歌中，被经济、社会的现代化进程所湮没。

说到这些小人物，歌曲《很多很多》中的各个角色，也是小人物，这帮混迹于天河购书中心的小贩走鬼们，卖打口、卖唱、卖臭豆腐，卖签名设计，阿茂仁科也二人曾经在石牌桥附近的广州购书中心一带贩卖打口和盗版书籍。这些小贩走鬼们在律法的夹缝中讨生活求生存，简单的一句“很多很多”，是他们对于自己小营生的憧憬，也是他们走鬼生涯中所见所闻的概括。也许，他们的理想归结起来，就是“很多很多……”。《有所追求》讲述的，也是这样一个讲述生存理想的故事，酒足饭饱的阿兄，拾起来年轻时的爱好弹吉他，但终归满足于现实中的那点富足，“有所追求”的祈愿，最终沦为“过一下瘾就好啦”。 小人物的理想与现实，始终是五条人拿手的题材，而他们的歌也一如既往地充满了朴素的诗意，就像《有所追求》最后那一句：“人生不会像路那样可以倒着来行，海水就会变成云落成雨啊，落来落去，人就老了去”。

但是千万别以为五条人是理念先行，书写“俗趣”的努力，总是率先从音乐中表露出来。钢琴与布鲁斯音阶，在《石牌桥》里，像是窖藏了数年的威士忌老酒借着曼妙的音符在散发醇厚的味道，这也是仁科首次在作品里演奏钢琴。《柔河里》无疑是一首Weird Folk(怪异民谣),优美的吉他与手风琴伴奏下，是阿茂怪声怪气的演唱，他任性地把语词拆解，尾音拉长，仿佛一个被烈酒灌晕断句不清的醉鬼在呢喃。而这首写于十多年前的旧作，场景正是他故乡里的一个酒吧——“柔河里”是十多年前海丰的酒吧，不知是否安在。

专辑中收尾的歌曲《楼房来四散起，路不见狗相连》，不禁想起来了上张专辑中同样是收尾之作的《请到老祖公》，这是一首实验之作，也是土先锋的一次“土法炼钢”但是与《请到老祖公》中从祭祖大戏演化到即兴段落所不同的是，这首单曲先是把采样而来环境声经过调变后与器乐演奏叠加，然后用MIDI中的类似KTV伴奏音乐中笛子音色承接，最后由失真、延迟的吉他一路跌宕展开……对于民谣来说，这个无异于灭顶之灾的搞法，却大大地开拓出一个新的表现领域。

驳杂的“俗趣”是《梦幻丽莎发廊》的审美核心，民谣在这里，赎回了本真的、属于市井与乡民的那个我们已经久违了的兴味。五条人的抒情、恶搞、戏仿、反讽是酣畅淋漓的，同时也刀剑铮然，性命与共。情感强悍窜升，性情翻涌迸现，在他们身上，丝毫看不到当代民谣孱弱贫血的一面。或许，他们只是披着民谣外衣行走江湖的摇滚走鬼。

这支被老狼戏称为“海陆丰天团”，被小河誉为“我最爱的青春组合”的乐队，在出版过四张精彩专辑之后，已经开始成精了。

My new album Song For Our Daughter is coming out this week, ahead of our planned schedule. In light of the change to all our circumstances, I saw no reason to hold back on something that, at the very least, might entertain, and at its best, provide some sense of union.
It’s strange to watch the facade of our daily lives dissolve away, leaving only the essentials; those we love and our worry for them. An album, stripped of everything that modernity and ownership does to it, is essentially a piece of me, and I’d like for you to have it. I’d like for you, perhaps, to hear a strange story about the fragmentary, nonsensical experience of trauma and an enduring quest to understand what it is to be a woman in this society. When I listen back to it now, it makes more sense to me then when I wrote it. My writing, as ever, was months, years, in front of my conscious mind. It was there all along, guiding me gently through the chaos of living. And that, in itself, describes the sentiment of the album — how would I guide my daughter, arm her and prepare her for life and all of its nuance? I’m older now, old enough to have a daughter of my own, and I feel acutely the responsibility to defend The Girl. The Girl that might be lost, torn from innocence prematurely or unwittingly fragmented by forces that dominate society. I want to stand behind her and whisper in her ear all the confidences and affirmations I had found so difficult to provide myself. This album is that strange whisper; a little distorted, a little out of sequence, such is life.
I want you to have it.
--Laura Marling

Already heralded as one of the most highly anticipated albums of the year, 25-year old singer-songwriter Phoebe Bridgers has confirmed details of her sophomore solo album, Punisher.
+ Limited Edition LP is a UK exclusive on Blue Green Swirl vinyl.
Bridgers is a singular talent, and also the rare artist with enough humour to deconstruct the tired heuristics of a meteoric rise. Punisher, written and recorded between the summer of 2018 and the fall of 2019, cements her as one of the most irresistibly clever and tenderly prolific songwriters of our era. Returning to work with her 'Stranger In The Alps' collaborators Tony Berg and Ethan Gruska, Bridgers - who co-produced the 'Boygenius' EP and Better Oblivion Community Center album - stepped into the role of co-producer for Punisher and has drawn from the same tight-knit group of musicians who appeared on her debut as well as those she has worked with since. The album includes Bridgers’ band of Marshall Vore (drums), Harrison Whitford (guitar), Emily Restas (bass) and Nick White (piano) as well as performances from Conor Oberst ('Halloween', 'I Know The End'), Lucy Dacus ('Graceland Too', 'I Know The End'), Julien Baker ('Graceland Too', 'I Know The End'), Blake Mills ('Halloween', 'Savior Complex' and 'I Know The End'), Jenny Lee Lindberg ('Kyoto', 'ICU'), Christian Lee Hutson ('Garden Song', 'Halloween', 'Savior Complex', 'I Know The End'), Nick Zinner ('I Know The End'), legendary drummer Jim Keltner ('Halloween' and 'Savior Complex') and Bright Eyes’ Nathaniel Walcott on horns ('Kyoto' and 'I Know The End'). Punisher was mixed by Mike Mogis, who also mixed Stranger In The Alps.

It's a celebration of life in the face of death, honoring our lost musical heroes, from David Berman to John Prine to Judee Sill to Bill Withers, embracing the joy and solace they brought to our lives and honoring their memory.
SHORE is an object levitating between the magnetic fields of the past and the future."
SHORE was released digitally in its entirety today (on the fall equinox) alongside an album length Super-16mm landscape film captured and edited in Washington State by the filmmaker Kersti Jan Werdal.
The album was recorded in upstate New York at Aaron Dessner's Long Pond Studio, in Paris at Studios St. Germain, in Los Angeles at the legendary Vox, in Long Island City at Diamond Mine, and New York City's Electric Lady.

Keaton Henson (born 24 March 1988) is an English folk rock musician, visual artist, and poet. Henson has released six studio albums (one under the name 'Behaving').

The voice murmuring in our ear, with shaggy-dog and other kinds of stories, is an old friend so fine to hear from again. Bill’s gentle, spacey take on folk and roots music is like no other; scraps of imagery, melody and instrumentation tumble suddenly together in moments of true human encounter.

"Should Have Known Better" is a song by American singer-songwriter and multi-instrumentalist Sufjan Stevens. It is the second track and second single from his seventh studio album, Carrie & Lowell, and was released digitally on March 11, 2015 on Asthmatic Kitty.

Helado Negro returns with This Is How You Smile, an album that freely flickers between clarity and obscurity, past and present geographies, bright and unhurried seasons. Miami-born, New York-based artist Roberto Carlos Lange embraces a personal and universal exploration of aura – seen, felt, emitted – on his sixth album and second for RVNG Intl.

Big Thief had only just finished work on their 3rd album, U.F.O.F. – “the celestial twin” – days before in a cabin studio in the woods of Washington State. Now it was time to birth U.F.O.F.’s sister album – “the earth twin” – Two Hands. 30 miles west of El Paso, surrounded by 3,000 acres of pecan orchards and only a stone’s throw from the Mexican border, Big Thief (a.k.a. Adrianne Lenker, Buck Meek, Max Oleartchik, and James Krivchenia) set up their instruments as close together as possible to capture their most important collection of songs yet. Where U.F.O.F. layered mysterious sounds and effects for levitation, Two Hands grounds itself on dried-out, cracked desert dirt.

It took seven years for Sandro Perri to return with an album under his own name, releasing In Another Life ("his outsider pop masterpiece"- Exclaim) in the fall of 2018, as the much-anticipated follow-up to his acclaimed full-length Impossible Spaces (#38 album of 2011 at Pitchfork, among other accolades). But the Perri floodgates have now well and truly opened: the flow of sparkling, eddying music he's been meticulously doling out of late (including two recent volumes of collaborative avant-electronic work with his Off World project) charts another vital, rejuvenating tributary with Soft Landing. Soft Landing features songs Perri has been playing around with for the better part of the last decade, taking many forms along the way, and recorded sporadically over a long period. It's also his most guitar-based collection since 2007's Tiny Mirrors. While Perri is rightly celebrated as "one of the most singular producers in contemporary music" (Boomkat) for his widely varied electronic work, his foundations as a guitarist have always anchored his 'solo' albums in one form or another. On Soft Landing, Perri's guitar playing is at the smoothly, expressively rambling heart of these tunes - while his recording and mixing acumen as a (self) producer is also on brilliant display. As with last year's In Another Life (which comprised two album-length sides of 'infinite song'), Soft Landing opens with the 16-minute "Time (You Got Me)", an enchanted mid- tempo excursion anchored by Perri's gently sliding guitar riff and a serene vocal delivering lyrics that can be read as a wistfully acquiescent love letter to the fourth dimension. Paced by congas, shakers, claves, impressionistic piano and even the occasional wind chime, Perri wraps up his final vocal refrain by the song's fifth minute and then steers the instrumental theme down a long and winding road in his inimitable style - like a stroll along a country lane where every glint of dappled sunlight catches another rustling, animate micro-detail. The album then shifts to what might be called more 'finite' songs (each clocking in at 4-6 minutes), with Side One's closer "Floriana" representing one of two instrumentals, where an arpeggiated guitar riff makes the bed for a series of lovely and languorous melodic lines traded between electric lead guitar, trumpet and flute, that evoke sunrise in ways equally suited to waking up from a long restorative slumber or wrapping up an all-nighter. "God Blessed The Fool" opens Side Two, a splendid stroke of sultry slow-burn soul that finds Sandro singing a literal chorus of "deedly deedly dum dum" in sweet falsetto. "Back On Love" is perhaps the album's most familiar-sounding Perri tune and arguably the most explicit love song in his catalogue: a song about love itself, needless to say (it's doubtful we'll ever hear a "baby I want you back" jam from Perri). "Wrong About The Rain" channels only the choicest tropes of syncopated 70s-era soft-rock; Perri weaves ornate guitar licks around the succulent interplay of clavinet and trap kit (starring drummer and long-time collaborator Nick Fraser), resulting in one of the most immediately satisfying tunes he's ever put to tape - high praise for someone with Perri's stellar catalogue to date, but we're confident fans will agree

Mac DeMarco returns with his newest album, Here Comes the Cowboy, the first album to be released on his new independent label, Mac’s Record Label. The album features lead single “Nobody,” and is available on May 10.