鄭重介紹! 祝甘心ㄟ好音樂 x 祝骨力ㄟ馬拉桑
不只是彈貝斯而已啦!!
海角熱血業務員馬拉桑本尊馬念先音樂歷程十四載 全記錄!!!!!
絕版經典，重新感受!!
國寶茂伯：按！這款ㄟ嘛洗國寶咧！
代表會煮席：山嘛BOT、海嘛BOT，一定愛用在地的樂團啦！
熱血馬拉賞：怎麼樣？有沒有感覺那個音樂在耳裡那種～啊～芬芳的感覺…
溫柔香醇暖和舒服新口感主推歌~
當你說愛我的那一天
戀愛開始的一瞬間，世界都變得不一樣了…
「我愛你。」好似讓人要融化的聲音，或許還有著嬌羞地低著頭，或是強裝男子氣概的不以為意。總之，告白其實就是這麼一件直球決勝的事！而馬念先輕柔地道出的，除了清晰與明白，還有一般熱血男兒不常見的細膩，以及青澀女孩說不出的勇氣；一首男生女生都該好好聽的愛戀篇章，回到最初的原點，就在你說愛我的那一天。

Produced by Nigel Godrich, Win & Reìgine, and recorded in multiple locales including New Orleans, El Paso and Mount Desert Island, WE paradoxically distills “the longest we’ve ever spent writing, uninterrupted, probably ever" (per the band’s Win Butler) into a concise 40 minute epic – one as much about the forces that threaten to pull us away from the people we love, as it is inspired by the urgent need to overcome them. WE’s cathartic journey follows a definable arc from darkness into light over the course of seven songs divided into two distinct sides -- Side “I” channeling the fear and loneliness of isolation, and Side “WE” expressing the joy and power of reconnection.
On the album’s cover, a photograph of a human eye by the artist JR evokes Sagittarius A*, the supermassive black hole at the center of the galaxy. This stunning image -- embellished by the distinctive airbrush color tinting of Terry Pastor (utilizing the same physical technique he employed on David Bowie’s iconic Hunky Dory and Ziggy Stardust covers) – is the visual expression of WE.
Retail Exclusive on White vinyl. 180 gram, in gatefold jacket with alternate background coloured cover (gray), printed inner sleeve, folded 24”x 36” poster, 4”x 4” sticker.
Standard LP on Black vinyl. 180 gram, in gatefold jacket, printed inner sleeve, folded 24”x 36” poster, 4”x 4” sticker.
CD. Single disc in 4 panel softpak, with 14 polaroid inserts w/ paper wrap, and 4”x 4” sticker.

五条人第八张专辑——也是第六张录音室专辑——发布的第一首单曲，也是具有代表性的作品。它是典型的五条人式的“中国迷幻摇滚土特产”，关于有限的肉身如何超越时空的一曲挽歌。
「迷幻摇滚土特产」是五条人后期重要的音乐风格和方向，《地球仪》便是最新代表作。

提到Angelo Badalamenti大家应该都想到美国著名导演David Lynch的电影配乐来着...从Blue Velvet到Lost Highway，恐怕这些原声大家都有收藏，那你绝对不会不知道Badalamenti的“御用女声”Julee Cruise。
Julee Cruise有着非常飘渺的嗓音，不同于仙音的那种彻底纯净，她的声音还带着Dream-Pop女声的迷幻质感，非常不经意的就让人边听边做起白日梦——一如Lynch鬼魅电影中的一些华丽，超现实的镜头一般，还带着情境和几分说不出来的哀伤。
被Badalamenti发现是在80年代，当时他正在为Lynch制作Blue Velvet的原声，听到Julee的嗓音后他立即邀请她演唱了电影的片尾曲Mysterious Of Love，伴随着电影最后平和却有点失落的结局，这个演绎完全是恰倒好处。从这开始，她同Baladamenti以及Lynch的合作关系就确立了。
1989年Julee推出自己第一张个人专辑Floating Into The Night，其中的大部分歌词都是Lynch写的，作曲部分由Baladamenti完成，其中一些作品如Mysterious Of Love，Falling（双峰镇），Into The Night等都收录在Lynch的电影作品中。这张专辑没有刻意去突出她声音的任何“净化”和“天籁”，有的更多的是Lynch电影世界的各种光怪陆离的色彩和情感，听过之后只有平静和惊叹两种反差，尤其是Into The Night这首歌，像谜一样存在着谜底和答案。其他作品像I Remember，I Float Alone等都值得推荐。
The Voice Of Love的发行整整搁了5年，然而依然是一场让人精彩的感叹。这张专辑相比下要更温柔一些，This Is Our Night绝对是我听过的最舒缓的作品之一。这张连同上张专辑一样，在AMG都是4星以上的评分，而且都是曲曲动听迷人，耐听程度也十分经的起考验。
9年后的2002年，让所有人望穿秋水的The Art Of Being A Girl终于发行了，封面还是突显出Julee同其他女歌手不同的另类感觉，还是那种无论走在哪听着她都让人感觉在做梦的回归，唯一不同的，是这张专辑略带一些电子的风格。
不知道是不是先入为主，还是她同Lynch总是相互呼应，听到她的音乐总让人想到Lynch的电影，Still Dreaming，Still Floating，分不清现实与梦境。
时间流逝，但总有些东西历久弥新。

Black Country, New Road return with the news that their second album, “Ants From Up There”, will land on February 4th on Ninja Tune. Following on almost exactly a year to the day from the release of their acclaimed debut “For the first time”, the band have harnessed the momentum from that record and run full pelt into their second, with “Ants From Up There” managing to strike a skilful balance between feeling like a bold stylistic overhaul of what came before, as well as a natural progression.
Released alongside the announcement the band (Lewis Evans, May Kershaw, Charlie Wayne, Luke Mark, Isaac Wood, Tyler Hyde and Georgia Ellery) have also today shared the first single from the album, ‘Chaos Space Marine’, a track that has already become a live favourite with fans since its first public airings earlier this year - combining sprightly violin, rhythmic piano, and stabs of saxophone to create something infectiously fluid that builds to a rousing crescendo. It’s a track that frontman Isaac Wood calls “the best song we’ve ever written.” It’s a chaotic yet coherent creation that ricochets around unpredictably but also seamlessly. “We threw in every idea anyone had with that song,” says Wood. “So the making of it was a really fast, whimsical approach - like throwing all the shit at the wall... and just letting everything stick.”
Their debut “For the first time” is a certain 2021 Album of the Year, having received ecstatic reviews from critics and fans alike as well as being shortlisted for the prestigious Mercury Music Prize. Released in February to extensive, global, critical support - perhaps best summed up by The Times who wrote in their 5/5 review that they were "the most exciting band of 2021" and The Observer who called their record "one of the best albums of the year" - the album made a significant dent on the UK Albums Chart where it landed at #4 in its first week, a remarkable achievement for a largely experimental debut record. The album also reached #1 on Any Decent Music, #2 at Album Of The Year and sat at #1 on Rate Your Music for several weeks, remaining the record to generate the most fan reviews and site discussion there this year. Black Country, New Road were also declared Artist Of The Week and Album Of The Week by The Observer, The Line Of Best Fit and Stereogum, and saw features, including covers and reviews, from the likes of Mojo, NPR, CRACK, Uncut, The Quietus, Pitchfork, The FADER, Loud & Quiet, The Face, Paste, The Needle Drop, DIY, NME, CLASH, So Young, Dork and more.
With “For the first time” the band melded klezmer, post-rock, indie and an often intense spoken word delivery. On “Ants From Up There” they have expanded on this unique concoction to create a singular sonic middle ground that traverses classical minimalism, indie-folk, pop, alt rock and a distinct tone that is already unique to the band.
Recorded at Chale Abbey Studios, Isle Of Wight, across the summer with the band’s long-term live engineer Sergio Maschetzko, it’s also an album that comes loaded with a deep-rooted conviction in the end result. “We were just so hyped the whole time,” says Hyde. “It was such a pleasure to make. I've kind of accepted that this might be the best thing that I'm ever part of for the rest of my life. And that's fine.”
Black Country, New Road's live performances have already gained legendary status from fans and has seen them labelled "one of the UK's best live bands" by The Guardian. After the success of their livestream direct from London’s Queen Elizabeth Hall, Southbank Centre, stand-out performances at SXSW and the BBC 6 Music Festival, and following a sold-out UK tour this summer, high-profile festival appearances, and a 43 date UK & EU tour to follow in the Autumn with sold out US dates next year, the London-based seven-piece today announce further UK & IE dates in support of the album for April 2022, preceded by their biggest London headliner to date at The Roundhouse in February.
Black Country, New Road Live at the Queen Elizabeth Hall, mastered by Christian Wright at Abbey Road, will be available as part of the Deluxe LP and CD versions of ‘Ants From Up There’.
Fans who pre-order any format of ‘Ants From Up There’ from the Black Country, New Road store, their Bandcamp page and the Ninja Tune shop, will be able to gain access to the pre-sale for the 2022 UK headline tour dates.
The full set of dates are as follows:
22/10/2021 - Rotondes, Luxembourg
23/10/2021 - Bumann & Sohn, Cologne – DE (SOLD OUT)
24/10/2021 - Botanique Orangerie, Belgium – BE (SOLD OUT)
25/10/2021 - Le Trabendo, Paris - FR
27/10/2021 - Le Grand Mix, Tourcoing - FR
28/10/2021 - Lieu Unique, Nantes - FR
29/10/2021 - Rockschool Barbey, Bordeaux - FR
1/11/2021 - Teatro Duse, Bologna - IT
2/11/2021 - Auditorium Della Mole, Ancona - IT
05/11/2021 - Circolo della Musica, Turin - IT
06/11/2021 - Bogen F, Zürich - CH (SOLD OUT)
08/11/2021 - Underdogs', Prague - CZ (SOLD OUT)
09/11/2021 - Frannz Club, Berlin - DE (SOLD OUT)
10/11/2021 - Hydrozagadka, Warsaw - PL (SOLD OUT)
11/11/2021 - Transcentury Update Warm Up @ UT Connewitz Leipzig - DE
12/11/2021 - Bahnhof Pauli, Hamburg - DE
14/11/2021 - Le Guess Who? Festival, Utrecht - NL
16/11/2021 - Paradiso Noord, Amsterdam - NL (SOLD OUT)
20/11/2021 - Super Bock En Stock, Lisbon - PT
21/11/2021 - ZDB, Lisbon - PT (SOLD OUT)
29/11/2021 - Chalk, Brighton - UK (SOLD OUT) *
30/11/2021 - Junction 1, Cambridge - UK (SOLD OUT) *
01/12/2021 - 1865, Southampton - UK *
03/12/2021 - Arts Club, Liverpool - UK (SOLD OUT) *
04/12/2021 - Irish Centre, Leeds - UK (SOLD OUT) *
06/12/2021 - O2 Ritz Manchester, Manchester – UK * (SOLD OUT)
07/12/2021 - Newcastle University Student Union, Newcastle Upon Tyne - UK *
08/12/2021 - SWG3, Glasgow - UK *
09/12/2021 - The Mill, Birmingham - UK * (SOLD OUT)
10/12/2021 - The Waterfront, Norwich - UK *
12/12/2021 – Marble Factory, Bristol – UK (SOLD OUT) *
13/12/2021 - Y Plas, Cardiff - UK *
15/12/2021 - Whelan's, Dublin - IE (SOLD OUT) *
08/02/2022 - Roundhouse, London - UK
18/02/2022 – DC9 Nightclub, Washington, DC – US (SOLD OUT)
19/02/2022 – The Sinclair, Cambridge, MA – US (SOLD OUT)
22/02/2022 – Sultan Room, Turk’s Inn, Brooklyn, NY – US (SOLD OUT)
23/02/2022 – Elsewhere, Brooklyn, NY – US
25/02/2022 – Johnny Brenda’s, Philadelphia, PA – US (SOLD OUT)
26/02/2022 – Bar Le Ritz, Montreal, QC – CAN
28/02/2022 – Third Man Records, Detroit, MI – US
01/03/2022 – Lincoln Hall, Chicago, IL – US
03/03/2022 – Barboza, Seattle, WA – US (SOLD OUT)
04/03/2022 – Polaris Hall, Portland, OR – US
05/03/2022 – The Miniplex, Richard’s Goat Tavern, Arcata, CA – US
06/03/2022 – Great American Music Hall, San Francisco, CA – US
08/03/2022 – Zebulon, Los Angeles, CA – US (SOLD OUT)
09/03/2022 – Regent Theater, Los Angeles, CA – US
06/04/2022 - The Foundry, Sheffield - UK
07/04/2022 - O2 Academy, Oxford - UK
09/04/2022 - Liquid Room, Edinburgh - UK
10/04/2022 - The Empire, Belfast - UK
11/04/2022 - 3Olympia, Dublin - IE
13/04/2022 - Albert Hall, Manchester - UK
14/04/2022 - Rock City, Nottingham - UK
16/04/2022 - Concorde 2, Brighton - UK
17/04/2022 - O2 Academy, Bristol - UK
02/06/2022 – Primavera Sound Festival, Barcelona - ES
08/07/2022 - Pohoda Festival, Trencin – SK
* - with Ethan P. Flynn
Pre-sale to The Roundhouse show and April 2022 UK / IE dates available from Tuesday 19th October at 9am BST. Tickets go on general sale on Friday 22nd October at 9am BST.

Smog's Bill Callahan goes back to the root on A River Ain't Too Much to Love, his first full-length offering in two years. While it's true that his name is nearly synonymous with lo-fi, in recent years Callahan has experimented with different — albeit simple — production techniques such as on Dongs of Sevotion and Rain on Lens. Supper, issued in 2003, was more direct, both sonically and personally, and that tack is followed here, though the framework is even sparser. On this, his 12th album, Callahan journeyed south from Chicago to Willie Nelson's Pedernales recording studio in Spicewood, TX. Accompanied by the Dirty Three's Jim White once more holding down the drum chair, and Connie Lovatt on bass and backing vocals, Callahan evokes the ethos and poetry of spooky American folk and country music without ever actually playing them in his own tomes, using mainly waltzes to frame them. Americana this ain't. Callahan has the ability to write first-person narrative songs that cannily juxtapose an evocative physcal landscape that metaphorically refernces deep emotional states; he uses it to great effect here. The skeletal "Say Valley Maker" equates the loss of and longing for love with a river's ability to both fertilize and strip bare the floor of a valley. Callahan's acoustic guitar plays a pair of repetitive figures, graced by an unidentified shimmering sound just above the threshold of silence, graced by White's restrained, rudimentary beat. "Rock Bottom Riser" is a song of resurrection, and again, it's a waltz. In the first verse, a nylon-stringed guitar hypnotically plays the changes in plectrum style, as White uses brushes to shift time while underscoring it, making the tune seem to float. The singer speaks with gratitude to the memory of an absent lover. As Joanna Newsom's piano underscores and fills the melody, Callahan's character finds a transformed sense of self in rising from his loss. It's slippery, lilting pace and restrained vocal create a tension that frames the tune's poignancy. The true nod to roots tradition here is also the album's centerpiece. His version of "In the Pines" is reverent without feeling staid, hampered by its place in history. A delicate, reedy, meandering tempo adorned in a simple guitar line and drums unpacks the melody, and Callahan's delivery is the seed of memory as it comes up from the ether, urging the singer to tell the whole story while keeping his composure. Travis Weller's edgy fiddle exposes the crack in the tale, however, and the grain of Callahan's voice walks the line between reverie and regret. A River Ain't Too Much to Love is a subdued, plaintive collection of songs that accompany silence; they encourage reflection without guile and unveil themselves without a hint of studied artifice.

有人这么写道：“或許，在我們努力與世界奮戰之後，回頭來，至少還剩下 Cowboy Junkies 的音樂。”CJ虽然没有neil young、bob dylan等前辈名气大地位高，他们给民谣乐迷的感动一点不比前辈们少。
CJ来自加拿大，吸收的是蓝调、乡村、民谣等音乐元素，靠翻唱lou reed、velvet underground的歌获得了一点名气和注意力。后来，CJ开始了自己的创作，以民谣乐器、原声吉他为主，曲风单纯，低调，内敛，主唱Margo Timmins嗓音深沉，温柔，如平静的小河，不会爆发，非常的入耳。CJ的音乐给人的是淡泊和沧桑，一种繁华落尽的感觉，适合一边听一边回忆和思考人生。

张亚东的首张个人专辑

The Nearer The Fountain, More Pure The Stream Flows, the new studio album from Damon Albarn, will be released by new label home Transgressive Records on 12th November 2021.
The Nearer The Fountain, More Pure The Stream Flows was originally intended as an orchestral piece inspired by the landscapes of Iceland. This last year has seen Albarn return to the music in lockdown and develop the work to 11 tracks which further explore themes of fragility, loss, emergence and rebirth. The result is a panoramic collection of songs with Albarn as storyteller. The album title is taken from a John Clare poem Love and Memory.
Albarn says “I have been on my own dark journey while making this record and it led me to believe that a pure source might still exist.”
Alongside a digital release, there will be limited edition white vinyl format, plus CD and cassette. There will also be a deluxe version of the album, taking the form of a casebound book with additional photography, original scanned lyrics and artwork from Damon, alongside a white vinyl version of the album, a high quality digital file and a bonus 7” featuring an exclusive song from the recording sessions.

雞姐一生致力環保，提倡大家用撚代替震蛋。因為想自己一個人，所以今晚想搵人瞓一瞓，經歷無數嘅醉生夢死、煙霧彌漫、似幻似真嘅清晨，係時候要離開，走嘅時候淨係想打俾你。然而雞姐從來都係一個不折不扣嘅sad girl，每個人都有屬於佢嘅地方，所以最後佢選擇返去佢嘅一生最愛身邊。

2021年8月18日，五条人乐队出版了史诗性双专辑。你中有我，我中有你，孪生双击，阴阳合璧，《活鱼逆流而上，死鱼随波逐流》是阳，《一半真情流露，一半靠表演》是阴。
所谓史诗，不是英雄史诗，不是偶像纪历，它由一个个个体的命运构成。
新冠时期的恋曲，内卷时代的见证，下沉世界 的挽歌。
《一半真情流露，一半靠表演》由摩登天空旗下传奇另类厂牌BADHEAD出品，是五条人乐队的第9张专辑，也是继《县城记》、《一些风景》、《广东姑娘》、《梦幻丽莎发廊》、《故事会》、《活鱼逆流而上，死鱼随波逐流》之后的第7张录音室专辑。这张专辑大部分曲目创作于2020—2021年，在2021年年初完成前期录音，在夏天完成后期制作。其中，《塑料花》是与梅卡德尔乐队的合作作品。
除了茂涛和仁科，参与专辑录制的主要成员还有：鼓手苗长江、贝斯陈创远、管乐张梦。
这张专辑显露了五条人不按常理出牌的天马行空的另类本色，它以怪诞、奇诡、乃至悲壮的方式，去表达另一种隐秘的爱，潮来潮去，翻云覆雨，在大时代的码头别离。

涉过《情绪禁区》，曾轶可在2021年新专辑《Burning》里走向一条不常被人选择的路。伴随着海拔一起爬升，在逐渐稀薄的空气里，见证植被的变化、感受着温度的降低，在这条路上深深浅浅的刻录出情绪，步步迈向她个人里程中的又一个峰顶。
「爱情」正是这一条歧路的名字。是否能穿过这一条歧路，正是曾轶可检验自己是否如梭罗所说的“生活过”的方式。
曾轶可的专辑叙事是「唯爱主义」的。
这样的「唯爱主义」平衡着一种对立的关系。冷酷凛冽的外在与深情而《炙热》的内里并不协调，在反差的温度里，这样的爱情灼伤了皮肤（《skin》），是向爱人发出《让我看见疯狂的你》的一种祈求。
而这份对立，却又隐秘不宣，“这一副冰冷的寂寞的躯壳”，唯在《解剖》时刻才得以外现“它的心也曾经燃烧过”的真相。键盘的乖戾音色在最后一分钟逐渐鸠占鹊巢，替代了吉他粗粝的琴声——乐器之间绷紧的动态关系，又何尝不是感情中自我、彼此、抑或是多方间的相互博弈。
这样的「唯爱主义」对抗着一种残酷的环境。曾轶可敏感的捕捉到了现代城市生活如《机器》一般的真实细节。“雾霾笼罩”“灰色空间”“病毒侵袭”……在这阴暗的底色中，她选择做一个神秘而倔强的《Dancer In The Dark》。
“甜言蜜语”是便利超商里早已下架的商品，片刻《艳遇》注定速朽，带来的欢愉抵不过永恒的孤独。麻木的“每个人”失去了真切的肉身观感，不再需要“眼见为实”，《流言》成为了手机屏幕里贩卖的畅销品。
这样的「唯爱主义」袒露出一种决绝的存在。不惮于展现感情中的依赖，曾轶可空灵的嗓音配着简单的钢琴弹奏，唱出了感情如同《木棉》“需要土壤需要养分”一般的纯粹。随着钢琴逐渐急促、鼓点密集的响起，这份爱情成为了一场明明“不能离开你”却又“说过不要你”的内在拉扯。
爱得越浓情蜜意，越分裂出心有余悸的恐惧，在这样的不调和中不得不自保，做出感情中残酷的预判：《You'll be leaving me》。吉他的失真与延音和贝斯沉实的暗淡底色构成的乐句，近乎撕心裂肺的内心纠结，与曾轶可纤细的声线构成情感中分裂的两半。
在《Anti ! Yico》和《情绪禁区》之后，曾轶可更娴熟的把握住了音乐制作的「方术」，歌曲创作的「审美」更加落到实处。
在2021年专辑《Burning》中，曾轶可想表达的故事感，并不单纯的只来自于歌词。扛起了整张专辑「制作人」一角后，在十首歌里囊括了另类、电子、摇滚、梦幻流行等多元风格，构筑出了个人风格炽烈的独立之音。
丰富的器乐编排、音色的选取、空间感的营造、旋律间一张一弛呈现的呼吸感……与制式化的流行音乐彻底划清了界限。曾轶可把握住了整张专辑的气质与形态，达到了“形神统一”的音乐把控力，亦突破了有关个人身份的一道门槛。
在「方术」与「审美」融合后，曾轶可有关爱情的表达得以透过处于空间中的介质，点点、片片、面面的落在林中，照亮每一位听者的路。
这不是一条常被人选择的路，却是曾轶可的路。

arcels return for summer 2021 with an ambitious third studio album, Day/Night, a double record that spans impossibly catchy disco-soul, prog, pastoral folk, Laurel Canyon-era classic songwriting and cinematic strings. Made over the course of 2020, when the world was at a standstill, it’s the sound of a band growing up; five guys who’ve known each other since childhood and are finding their way together, in spite of all the major obstacles the last 18 months have thrown at them, when they were unable to return home to Australia and see their loved ones. Day/Night is huge in scope and sound, and its hopeful messages of perseverance through difficult times are a balm for these uncertain times.

We are extremely pleased to announce that Kate will be releasing a brand new album: "50 Words For Snow" on 21 November 2011. The album will be the second release from Kate's own label Fish People and comprises all new material that was recorded during the same period that Kate worked on her album “Director’s Cut”. “50 Words For Snow” will feature seven brand new tracks set against a background of falling snow. The total running time is 65 minutes and the track listing is:

SNOWFLAKES
LAKE TAHOE
MISTY
WILDMAN
SNOWED IN AT WHEELER STREET
50 WORDS FOR SNOW
AMONG ANGELS

Lucid Express is the name of five young dreamers creating a stunning airy blend of shoegaze and indie pop amongst the skyscrapers, mountains, and packed alleyways of Hong Kong.The name itself a modest mission statement of the band’s intent. Lucid in the poetic sense of something bright and radiant. The Lucid Express operating as the service to take the listener on a journey through the band’s color-soaked sounds.

新专辑《Strangeland/异乡》将会是一张很“基音”的专辑，新歌大部分都会让人一听就会“过耳难忘”。新单曲《Silenced By The Night/夜的沉默》是一首在情感上有着巨大驱动力和感染力的单曲，其煽动力可以与极其催泪的《泰坦尼克号》相提并论。这首歌曲，也将会是第一个线索告诉乐迷这将会是一张怎样的专辑。
距离基音乐队上一张专辑《Perfect Symmetry/完美对称》，已经时隔四年，想必所有基音乐队的忠实的狂热的粉丝，都很想知道这将会听起来会是怎样的一张专辑。而每张基音的专辑，也都能从上一张专辑有一个明显的进步和变化。
今年二月，新专辑录音完成以后，基音乐队宣布将于3月9日和10日在德拉沃尔美术馆/De La Warr Pavilion——这个乐队成员青少年时期经常出没并且离录制乐队唱片很近的地方，进行两场特别演出。而公布这条消息的当地报纸在5分钟之内就被一抢而光。
乐队灵魂键盘手Tim Rice-Oxley最近谈到新专辑说道：“《Strangeland/异乡》给人冒险的感觉，不同的人听了以后会带来不同的感觉，就和所有的冒险一样都充满了不确定性，它有潜在的悲伤、有令人惊奇的事情、还有散发光芒的发现。我喜欢把《Strangeland/异乡》作为一段救赎之旅的主意。”

UAオハコのレゲエ/ダブ色濃いマキシ。スティール・ドラムと抜けた音が心地良いタイトル曲は朝本浩文プロデュース。リトル・テンポの佐々木がギターで参加。カップリングはリトル~のプロデュースによるスカでもお馴染みの美空ひばり「リンゴ追分」のカヴァー。