Destroyer returns with a new full-length, Poison Season. In addition, a two-song 12-inch that includes a remix of album track “Forces From Above” and the orchestral version of “Times Square, Poison Season” will be released as a companion to the record.
Poison Season opens with Vancouver native Dan Bejar swathed in Hunky Dory strings. He’s a dashboard Bowie surveying four wracked characters—Jesus, Jacob, Judy, Jack—simultaneously Biblical and musical theatre. This bittersweet, Times Square-set fanfare is reprised twice more on the record—first as swaying, saxophone-stoked “street-rock” and then finally as a curtain-closing reverie.
“The first and last songs are actually one song tracked live with quintet,” explains their author. “I even sang with the band. That song always swung between super austere and super mid-’70s Springsteen/Bowie street-rock. In the end, I decided I wanted both. Couldn’t really figure out a way to sequence the orchestral version within the record, so I decided to carve it up as a book-ending motif, with the rock version squarely in the middle.”
Mr. Bejar has long displayed a chameleonic instinct for change while maintaining a unified aesthetic (rather than just pinballing between reference points). No two records sound the same, but they’re always uniquely Destroyer. His latest incarnation often appears to take sonic cues from a distinctly British (usually Scottish, to be precise) strain of sophisti-pop: you might hear traces of Aztec Camera, Prefab Sprout, Orange Juice, or The Blow Monkeys. These songs merge a casual literary brilliance with intense melodic verve, nimble arrangements, and a certain blue-eyed-soul sadness.

一样的粗糙卧室大法，不一样的冲浪流行乐。THE BOOTLEGS录制于2020年青岛初春。
词 / 曲：赵弘
吉他 / 唱：赵弘
贝斯：宗振
鼓：大川
封面绘制：赵弘

加拿大独立摇滚乐团 Arcade Fire 于 2004 年携首张专辑《Funeral》登场面世。Win Butler 的声音破碎、脆弱、凶猛而又浪漫，他笔下的《Funeral》有着无数的含义，既是爱与死亡，孤独与聚合，又关乎全体人类的命运，带着寓言式的悲观情绪。无论是《Rebellion (Lies)》对梦境与死亡的探索，还是《Neighborhood 1 (Tunnels)》中唯美清冷的意境，都展现出他们别样的美学观念和艺术气息。

钢琴\键盘\合声：杨绍昆
电吉他：洪宇
贝斯：胡尚洪
鼓：贺正超
木吉他\唱：刘涛
词：刘涛
曲：杨绍昆（1 2 3 5 7 8 9）刘涛（4 6 9）
编曲：寸铁
录制时期：（2019.07.02_12.27）

Hamilton Leithauser has been working on his new album over the past three years. And he’s finally ready to bring it to the masses in the form of The Loves of Your Life, which drops on April 10.“I wrote these songs about individual people,” Leithauser said in a statement. “I wrote stories and I wrote music; and then I matched them up. Not one story was originally intended for the music it ended up marrying. These are people I know, and strangers I’ve come across in the last few years. All of the stories are based on some kind of truth, but I’m not afraid to get loose with the facts. Most are both fact and fiction, and some tilt pretty far in either direction. I guess people might call this ‘creative nonfiction’ or just ‘embellished stories.'”
He added, “I wrote and recorded these songs in a studio I built for myself in New York. It’s a tight New York kind of space, and I’m jammed in with all sorts of instruments and equipment.”
And along with the new LP news, he also shared “Isabella,” a song about a girl whose parents take care of everything which stunts her growth.

The NYC band’s first album in seven years is sluggish and slight, rendering their signature sound as background music.

hyukoh new album "사랑으로through love" will be released in January

East River Pipe is the name under which Fred Cornog (aka FM Cornog) records. Cornog was born in Suffolk, Virginia, and raised in Summit, New Jersey. After succumbing to alcoholism and becoming homeless, Cornog relocated to New York where he survived by busking. There he met Barbara Powers, the two falling in love, and with Powers' support, Cornog released some home-recorded cassettes under the name East River Pipe. These attracted the attention of UK-based Sarah Records who released his records from 1993 to 1996. Cornog then moved to Sarah Records co-owner Matt Haynes' new label Shinkansen Records and to Merge Records in the USA.
From Wikipedia, the free encyclopedia

13 track follow up to their highly acclaimed debut CD, featuring 'You're Having The Time Of My life', 'Orange Rhyming Dictionary' and 'All Things Good And Nice'. 2000 release. Digipak.

神戸在住の4人組インディーロック・バンド「The fin.」(ザ フィン)が、昨年12月よりライブ会場と一部店舗で販売していた1st EP『Glowing Red On The Shore EP』(2,000枚プレス)の生産終了を受け、EP収録曲6曲に未発表2曲を加え、4P紙ジャケット仕様で全国流通盤をリリースする。若干22歳とは思えぬ、80~90年代のシンセポップ、シューゲイザーサウンドから、リヤルタイムなUSインディーポップの影響やチルウェーヴ、ドリームポップなどを経由したサウンドスケープは、洋楽との区別が全くつかない程の完成度で、サウンドクラウドやYouTubeに音源をアップするとネット上で話題を呼び、日本のみならず海外からも問い合わせ殺到している。既にMUSICAの鹿野淳氏、ROCKIN'ONの山崎洋一郎氏などから"バンドシーンを新しい時代に導くバンド"として紹介されるなど、昨今の洋楽クオリティの邦楽アーティストの中では規格外なスケール感を感じさせる存在となっている。

Tame Impala is an Australian psychedelic rock project led by multi-instrumentalist Kevin Parker, who writes, records, performs, and produces the music.

Have We Met', as Dan Bejar puts it, "came together in such a crazy way – all equal parts ecstasy and terror." Initially conceived (but quickly ditched) as a Y2K album, Bejar was without a clear concept in mind. So he said “fuck it” and let it all rip while brainstorming at home.
Culled from years’ worth of saved writing, set aside for projects “beyond music,” and recorded at his kitchen table, 'Have We Met' harkens back to Kaputt-era Dan stringing together lyrics off hand while lounging on his couch. The resulting vocal sound exists in the sweet spot between two Destroyer worlds colliding: hints of the past, more strident Destroyer mixed in with a relaxed, new-aged Crooning one.
No re-recording. No cleaning up. Frequent collaborator John Collins was tasked with the role of layering synth and rhythm sections over a stream-of-consciousness Bejar, as Nic Bragg added ‘completely unexpected and somehow comforting’ three-dimensional, shredding guitar.
The Destroyer band-orientated approach was shelved; “The record could have gone on and on, and the mixes kept evolving up until about a day before we sent them off to be mastered, which was also 48 hours before John and his wife went to the birthing centre, where their first child was born; our true deadline!” says Bejar.
Opener ‘Crimson Tide’ is a six-minute journey that takes its rightful place among other Destroyer epics. It welcomes with a sparse rhythm until percolating synths and propulsive bass build and make it all a reality with unsustainable imagery — oceans stuck inside hospital corridors and insane funerals. It’s the sound of a somewhat eccentric and unorthodox recording process laid out and built up by three musicians exploring the depth to which they can take an idea.
On “The Television Music Supervisor,” trickling keys, glitches, and “clickity click clicks” (a variation on the standard Bejar “la da das”) focuses on how those who dictate our relationships with music and media are susceptible to error, a most 21st century concern. Perhaps the most audacious Destroyer track yet, “Cue Synthesizer” steps back to address the rote and often-detached mechanics of music. Up next, the waltzy and woozy centerpiece “University Hill” drifts even further and applies that logic more broadly, insisting “the game is rigged in every direction” and “you’re made of string.”
Thirteen albums in, 'Have We Met' manages to meet somewhere between trademarks and new territory – atmospheric approximations of feeling and place, wry gut-punches of one liners, and the deluge of energy meets a thematic catharsis of modern dread, delivered with an effortless, entrancing directness. But, no need to expound any further.

never young beach 成立於 2014 年春天，最初為由主唱安部勇磨及吉他手松島皓的雙人宅錄組合，在吉他手阿南智史、貝斯手巽啓伍、鼓手鈴木健人陸續加入後正式開始樂團活動。
隔年發行的首張專輯《Yashinoki House》受到唱片行大賞提名，never young beach 更打破新人樂團的前例，於同年七月站上 FUJI ROCK 苗場食堂舞台，充滿夏日風情的明亮聲線和略帶復古風味的旋律安排，有著日本 70 年代經典樂團 はっぴいえんど（Happy End）的影子，也被稱為「西海岸的Happy End」，在成團極短的時間內迅速抓住日本樂迷的耳朵，成為不容錯過的東京樂團之一。

相似的泪滴 橘色的天际 它们的边缘彼此接触 一面的末端意味着另一端的起点 这是泪水汇集的浪潮 正如水分与泡沫堆积 催促着潮汐的涌动 一切未成形的感动 早已在浪的前夕勾勒边角 当肉眼可见的波动无法克制 某个时刻就这样来临 夺眶的眼泪是数万朵水花的激荡 是平静海面看似毫无征兆的卷起了风浪 此刻的“我”也跌入这片浪潮 人们开始逐浪 从各处汇集 卷起与上涌再次发生 浪潮终于上岸 无形无色却有始有终 浪潮注定上岸 眼泪总要流淌

Jamie T’s forthcoming album ‘Carry On The Grudge’ is set for release on September 29th, an iTunes listing confirms.
The record, now avai lable for pre-order, follows recent comeback track ‘Don’t You Find’ which gained its first play as Zane Lowe’s Hottest Record on Radio 1.
“I’ve kind of forgotten how to play everything,” he joked in an interview with Zane, revealing his intentions to take a new backing band on the road

False Alarm is the fourth studio album from Two Door Cinema Club via Prolifica Inc / [PIAS]. Alum's first new single to be unveiled is ‘Satellite’, an infectious Krautpop-influenced slice of future pop that accepts as a species we’re “in it together” – be it Brexit, climate change or any other man-made modern day terror. Details of the release were unveiled in a typically irreverent live stream which saw the trio launching the new album cover into space, whilst simultaneously commentating on the event and answering questions from fans.
The band’s first album to be released in full collaboration with Prolifica Inc, False Alarm finds the three piece gloriously unshackled and creatively at the peak of their game. Across its ten tracks False Alarm wryly scans and satirises the social and environmental woes of 2019 through the prism of wonderfully off-kilter pop, simultaneously borrowing from and warping elements of future pop, disco, rock, funk and soul.