A huge return from a total icon. With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today.
A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.
+ The indie version is very limited and pressed on white vinyl.
+ Preorder No Home Record and we'll enter you into a draw to win a special limited edition 12” version of the new track ‘Sketch Artist’, backed with the previously released ‘Murdered Out’. These 12”s are limited to 500 worldwide and are individually hand-stamped with a bespoke design drawn by Kim.
It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

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.

Think big, girl, like a king, think kingsize. Jenny Hval’s new record opens with a quote from the Danish poet Mette Moestrup, and continues towards the abyss. Apocalypse, girl is a hallucinatory narrative that exists somewhere between fiction and reality, a post-op fever dream, a colourful timelapse of death and rebirth, close-ups of impossible bodies — all told through the language of transgressive pop music.
released June 9, 2015

他仅仅回头看了一眼，我便无法忘记。
在有限的时间里，尝试再靠近一些，
直到成真或幻灭的终点，我都不愿停止向前。
“查理”是向往的人事物，是美好的集合，不论人们如何被世俗消耗，只要意志与信念不灭，对“查理”的追寻便不会消失，那样的过程就是人们活过的痕迹。

這張由德國電子音樂廠牌Morr Music在2001年發行的「Please Smile My Nose Bleed」混音專輯，介於「Yesterday Was Dramatic Today Is OK」(2001)與「Finally We Are No One」(2002)之間，Mum的"On The Old Mountain Readio"、"Please Sing My Spring Reverb"以及"Flow Not So Fast Old Mountain Radio"等三首新曲都十分精彩，完全符合該廠牌的一貫調性，溫暖悅耳的電子旋律，小孩的喃喃自語與嘻笑聲，有著勾勒起懷舊夢幻感覺的奇妙效果，再交由ISAN、Styrofoam、Phonem、B.Fleischmann、Christian Kleine等Morr Music旗下能手的幾首混音版本，風貌各有差異，都是水準之上的佳作，也是個瞭解廠牌全貌的樣本，只是因為旋律重複， 我建議分開來聽，不適合一次聽完，如果因重複而產生的聽覺疲乏，忽略其中的細節，如同面對大餐的那種飽足感，頗為可惜。

在聽mum以及Morr Music廠牌等樂隊folktronica取向IDM，斑駁跳動卻又無比甜蜜悅耳的鍵盤樂音時，我們必須指出八０年代中以降日本電玩配樂的因素，許多樂手都是像我一樣是1970年至1980年出生，我們所謂"六年級"，正是在日本任天堂紅白機在全世界攻城掠地的年代裡成長，由Capcom洛克人，Konami惡魔城、Square太空戰士(FF)植松伸夫的標題水晶音樂、Enix勇者鬥惡龍(DQ)杉山孝一等MIDI旋律，乃至喜多郎和阪本龍一等人的電子音樂，在創作與欣賞上或多或少影響著，再從這條線索溯源至七０年代歐美前衛電子搖滾，諸如Kraftwerk與Tangerine Dream的傳承。

聆聽這張由mum掛名，實則集Morr Music廠牌大成的「Please Smile My Nose Bleed」，無疑是個美好的旅程，聽到玻璃彈珠滾動、音樂盒開啟、鐵鎚敲打、夢境裡遠方教堂鐘聲、音樂娃娃旋緊發條，齒輪鐵片移動叮叮噹噹的聲音。我彷彿觸碰到了霧氣中升起的世界，那是童年的記憶，公園裡划船輕巧安穩分開水波的聲音，遠處觀望煙火掠過高樓頂端，細微爆裂聲音，以及明月照亮海洋搖晃的倒影。呼吸到清晨寒冽的空氣，感到心緒寧和純淨。

A huge return in these parts from one of our most favourite voices.
The descent into darkness is a trope we find time again across history, literature and film. But there’s also an abyss above. There’s a winding white staircase that goes ever upward into the great unknown — each step, each turn, requiring a greater boldness and confidence than the one before. This is the journey on which we find Angel Olsen.
+ Available whilst stocks last on a limited crystal clear vinyl edition.
Olsen’s artistic beginnings as a collaborator shifted seamlessly to her magnificent, cryptic-to-cosmic solo work, and then she formed bands to play her songs, and her stages and audiences grew exponentially. But all along, Olsen was more concerned with a different kind of path, and on her vulnerable, Big Mood new album, All Mirrors, we can see her taking an introspective deep dive towards internal destinations and revelations. In the process of making this album, she found a new sound and voice, a blast of fury mixed with hard won self-acceptance.
“In every way —from the making of it, to the words, to how I feel moving forward— this record is about owning up to your darkest side,” Olsen said. “Finding the capacity for new love and trusting change, even when you feel like a stranger. This is a record about facing yourself and learning to forgive what you see. It is about losing empathy, trust, love for destructive people. It is about walking away from the noise and realizing that you can have solitude and peace in your own thoughts, that your thoughts alone can be just as valid, if not more.”

Carla dal Forno announces her second full-length album, Look Up Sharp, on her own Kallista Records.

One of the brilliant facets of recorded music is that while it can frame forever in time one of humanity’s most fluid art forms, those captured sounds themselves can go on to become an active launchpad for the ideas, memories, emotions and feelings of those listening. Returning with their third album Hot Motion, Temples have not just provided a strong demonstration of this dual static/frenetic nature, but they have also created a record that revels in this beautiful contradiction. A brilliantly crafted, thoughtfully recorded collection, the album’s propulsive, seemingly immediate songs soon reveal an impressive depth of ideas and energy with subsequent listens because, as its title warns, Hot Motion is not a record that stands still.
I’m excited for people to experience these songs for the first time,” declares singer and guitarist James Bagshaw. “They are constructed in such a way that the album should feel relatively instantaneous, but we did not water down our creative ideas. Getting that balance can be hard, perhaps on the last record on some songs we used too many layers to create depth, but making this album we discovered that depth doesn’t simply come by layering things, it can come from the intensity of an idea.”

i,i is Bon Iver s most expansive, joyful and generous album to date. If 'For Emma, Forever Ago was the crisp, heart-strung isolation of a northern Winter; Bon Iver the rise and whirr of burgeoning Spring; and '22, A Million', a blistering, crazy energy Summer record, i,i completes the cycle: a fall record; Autumn-colored, ruminative, steeped. The autumn of Bon Iver is a celebration of self acceptance and gratitude, bolstered by community and delivering the bounty of an infinite American music. The sales and accolades are well-known multiple Gold albums, multiple Grammys, chart-topping collaborations and festival headlines. But even more significantly, with each release Bon Iver quietly shifts the state of modern music. From the boundaries of folk, to the rules of autotune, to production work for others, Bon Iver s fingerprint finds its way across the mainstream every time. Vernon has always been a master collaborator, and on i,i that desire becomes maximal, with guests ranging from Moses Sumney and Bruce Hornsby to Wye Oak s Jenn Wasner and the Brooklyn Youth Chorus. Here, the music and band, and themes, and creative space are bigger than ever.

Since Florist’s 2017 album If Blue Could Be Happiness, Emily Sprague has released two really good ambient albums and ended up with one of her songs in Beyoncé’s Homecoming concert film. Today, Sprague is announcing a new Florist album called Emily Alone and, true to its title, it’s a sparse collection of songs that she wrote alone at her new-ish home base in Los Angeles late last year.
Its lead single, “Shadow Bloom,” is soft and pensive; Sprague’s deft picking wraps itself around small but significant revelations about meeting life’s complexities with simplicity. “I could have the reasons why/ But it wouldn’t make anything right,” she sings. “Do you even want to know the thing you spend your life trying to find?”
In a statement, Sprague says that the song “is a meditation on the mundanity and stillness of life during our greatest moments of growth and transition. It’s an appreciation for what is and not a lingering on what was or what will be. The calm after great pain, peace in the unknown, welcoming the darkness to come in and warmly fill the empty spaces inside of you.”

时尚电子 音乐乐园
国际多位顶尖音乐人首次跨刀助阵
电子基础上融入了朋克、民谣、世界音乐
体现乐队驾御不同音乐风格的能力门
10在二进制记数方式中代表第二，这是与非门于2003年发行的第二张专辑《10乐园》。这张专辑是乐队进军国际乐坛的点题之作，加入了一套超明星幕后班子，包括曾为Mariah Carey等巨星担任混音工作的美国混音大师Ken Lewis，德国大牌DJ Corvin Dalek等。轻快旋律与电子乐的融合，将在高科技年代畅然神游的轻松情绪刻画到一个极致，把听者带入到一个无忧无虑、与世无争的乐园之中，是百听不厌的佳作。这次由留真音乐荣誉再版，经典再回味与非门那些充满质感，穿越时空，不受时间的蒙尘，经久不衰地焕发着艺术永恒魅力的音乐。
“与非门”是中国最成功的流行电音乐队，名字出自于电子电路，但乐队成员赋予它一个全新的诠释：“与”就是和，代表融合、和谐；“非”就是新的、不同以往；“门”是豁然开朗。“与非门”希望能带出一种融合的、跟以往不同的、享受音乐的新音乐态度。

“If you stick to just what you know, your music, your art or whatever your situation is becomes stagnant”, say Denmark’s Lowly. “And we wouldn’t like to miss out on anything, just because we felt too comfortable.”
A band unafraid to reach beyond their comfort zone, Lowly thrive on the embrace of doubt and curiosity. An inquisitive spirit drives the quintet’s second album, which evolved from an open-ended process in large spaces, from lost factory halls to water towers. Released via Bella Union in April, Hifalutin brims with suggestive discoveries from its title onwards. Dictionary definitions include “pompous” and “larger than life”; the word is also antonymic with the word Lowly. However you take it, the result is the work of five people expressing themselves freely as a tight collective: focused, yet fertile with possibility.
Warmly received in Pitchfork, Uncut and elsewhere, Lowly’s debut album, Heba, was a feast of dramatic dream-pop. Yet Hifalutin is more ambitious still. The album was primarily recorded in a 150 square meter warehouse, just outside the city of Aarhus. Band members recorded their parts as individuals and as a group; meanwhile, the producer, Anders Boll, placed microphones in nooks and crannies of the enormous space, all the better to highlight the dynamics between the band members.
“We dared to be even more curious,” explains guitarist and singer Nanna Schannong, “and started recording without knowing where we would end up. This curiosity released a huge amount of trust and confidence between us: we became much more tolerant of each other's diversity, and dared to give each other space. It also meant that some sketches suddenly became two pieces… or, that eight to nine different pieces suddenly found themselves in one song."
A willingness to turn their backs on accepted frames of practise, for both recordings and performances, has characterized Lowly since their formation in 2014 at the music academy in Aarhus, Denmark, where they studied different subjects but forged a unique chemistry out of contrast. Last autumn, they played a concert in Brønshøj Water Tower, in the suburbs of Copenhagen, where the reverb was long and pronounced. The band had to carefully reconsider which notes and chords they could play; too many tones would muddy the sound. Pieces from this concert would find their way to Hifalutin.
As synthesizer player Kasper Staub reflects, “We want to give doubt, and curiosity, a voice. It is needed in a world characterized by obsession and goal-orientated living. You don’t need to know the answer in advance to express yourself. If we don’t allow ourselves to forget the goal, we risk missing all that we did not already know.”
Fittingly, Hifalutin is an album of many entrance points. After the glistening come-hither to wandering minds of ‘Go for a Walk’, ‘Stephen’ reflects on death, inspired by the loss of Professor Stephen Hawking. The warm trip-hop currents of ‘Baglaens’ (or “backwards”) contrast sharply with the buoyant beats cluster of ‘Staples’. ‘i’ resembles a hymnal Stina Nordenstam, constantly seeking new ways into a song, while the alt-R&B-ish ‘In the Hearts’ offers an unguarded paean to connectivity: as Lowly put it: “It’s about the magnificent power of love that transcends everything and connects us all.”
With each band-member’s input emphatically felt, ‘Out Beyond’ locates a sweet spot between the synthetic and the organic in its interplay between trance-y synths and Spanish guitars. The momentous crescendo of ‘Children’ and the strange pulses of ‘ii’ showcase Lowly’s powerful, experimental range; meanwhile, the echoing piano of ‘Delicate Delegates’ finds them at their most beautiful. ‘Selver’ offers space to breathe and ’12:36’ revisits the dream-dotted paths of Heba, before the sublime synths of ‘Wonder’ bring the album to an immersive, expansive climax.
These diverse songs find hidden connections to each other through the chemistry between the sounds and Boll’s productions. And, of course, through the literate, abstract lyrics, which include references to works by experimental poet Inger Christensen and Persian poet Jalal ad-Din Rumi. “Our lyrics consist of images and scenes that briefly glide into one’s field of view, and then disappear again,” co-lead singer Soffie Viemose explains. “We’d rather show something than say something quite literally.” An invitation sent from and to curious minds, Hifalutin is luminous modern pop at its most delicate and robust, assertive and open-ended. You wouldn’t want to miss out.

the band will release the albums first single and Anton Corbijn-directed video, "Reflektor". Reader Drew Hufsey sent us the above audio, which he claims is a new Arcade Fire song. Is it "Reflektor"? Representatives of the band offered no comment on the songs legitimacy.
In the above audio, if you listen carefully, theres a voice that sounds an awful lot like David Bowies. The Sun reported the rumor that Bowie joined James Murphy and Arcade Fire during the albums recording sessions. Again, the bands representatives have offered no comment on whether or not Bowie is involved.

Go Slow这张EP讲述四个年轻人生命中的喜悦与痛苦，两种矛盾情感的麻辫——看似壁垒分明却无法丝丝顺理；相互纠缠并同时依赖著对方。此辑高昂地开始，柔软地结束 。在生活中的愠怒、愁苦、无奈像无边的夜晚，而微小的期待是夜里的风。
This ep is about the anger, misery and contradiction in the lives of four young men in Taipei, an subtropical city on the west end of Pacific. The gentle words rage like an endless night, and the tiny expectation are the breeze from the warm, sandy beach.

“The cool night air will do us good, because we are flowers.”
「沁涼的晚風會對我們都好，因為我們是花。」
祝午夜裡的玫瑰與王子，情人夜好眠。

This is not a greatest hits album, despite the title. It contains all-original songs written by Chan Marshal (professionally known as Cat Power), and features the great Memphis session musicians Teenie Hodges on guitar, Leroy Hodges on bass (Al Green, Hi Rhythm Section), drummer Steve Potts, and more. The combination of Marshall's superbly evocative and flexible voice plus some of the greatest Southern soul players, has produced a masterpiece. These songs explore themes of Southern loss, longing, and marginality. The limited first digipak pressing and regular single vinyl contain a bonus track. After the first pressing sells out, the regular jewelcase version will not contain a bonus track.