索尼真无线降噪耳机WF-1000XM3广告曲

King Gnu「泡（あぶく）」
映画「太陽は動かない」主題歌

由坂口健太郎出演的BOURBON公司「アルフォート」饼干商业广告曲《伞》开始配信！

新曲「カメレオン」（フジテレビ1月期 月9ドラマ『ミステリと言う勿れ』主題歌）
2022年2月28日 先行配信スタート！

11月12日(金)配信『#ナイトオンザプラネット』
監督は『ナイトオンザプラネット』が主題歌となっている来年春公開の映画「ちょっと思い出しただけ」の監督、松居大悟が務めた。

初生之犢不畏虎。

Arranged By, Electric Piano – Hiromasa Suzuki
Drums – Hajime Ishimatsu
Electric Bass – Akira Okazawa
Guitar – Hiroshi Yasukawa
Tenor Saxophone, Alto Saxophone, Flute, Producer – Jiro Inagaki
Trombone – Takashi Imai (2)
Recorded on August, 1974.
Released on January, 1975.

現代社会とアートとの関わりを問い直す、渾身のフル・アルバム完成！
今年2月のメンバー脱退により、4人組となった新生ハイスイノナサ。その困難を経て届けられた初のフル・アルバムは、これまでの集大成と呼ぶに相応しい、素晴らしい作品となった。ポストロック～エレクトロニカから現代音楽までを横断する高い音楽性に裏打ちされた、緻密な建築物のようなサウンド・デザインはさらなる洗練を見せ、曲調の広まりは過去最高に。また、本作ではボーカルの存在感が強まり、歌が全面に押し出されたいくつかの楽曲では鎌野愛の表現力の深まりが確認できるし、一方では声を素材として扱うことで、これまでになくボーカルと演奏が溶け合っているのも印象的だ。Cornelisとのコラボレーションで声の持つ身体性を提示したsalyuや、グラミー賞を獲得したBon Iverに代表されるUSインディ・シーンの自由な実験精神ともリンクする感覚が、本作には間違いなく存在している。
「インターネットが文化として定着し、意識だけが巨大に、表面的に拡張している現代社会において、希薄になっていく身体感覚と変化しつつある人間の心に焦点を当て、それを都市や地下鉄などの人工物と、動物や森などの自然物を対比または同化させて表現し、これからの人間と文化の関わり合いの形を浮かび上がらせようと試みた」という照井順政の言葉に象徴されているように、彼らの作品からは単なる音楽にはとどまらない、アートと社会との関係性に対する高い意識がうかがえる。時代がますます閉塞感を強める中、それを打ち破るのは表面的な音楽ではなく、こういった芯のある音楽であることを信じたい。

Lyrics: okitsu　Music: okitsu, yopeco

我們習慣遮著眼享受事情
卻忘記實際去感知事情的全貌
其實
每件事都是座冰山
即使你身在其中
我們習慣遮著一個眼睛看事情，但你知道嗎？你所看見的不會是你所看見的。
我們對一件事物的感知，並非純粹從視、聽、嗅、味、觸等
感官信息而來，包括自己所習慣的看法與經驗而構成和印象，加起來才是感知的全貌。
格式塔心理學中的「整體大於個體的總合」，希望帶給所有聽眾，當你在聆聽、觀賞專輯整體的時候，帶來的體會會大於自我認為的感官感受。
((是來自灣灣的樂隊喔

褴褛少年统治世界？街杀新专辑《麦当劳少年》正式发行
屌丝文化盛行的话题已不再新鲜，在这个眼球高速转动、食物不断被摄入、文化被简单消费的新世界，或许时代的阴影不再需要遮掩和粉饰。街道杀死奇怪的动物的全新专辑《麦当劳少年》沿袭一贯的题材，将我们司空见惯的一系列日常，以赤裸或隐晦的方式陈列。
新专辑的封面来自法国摄影收藏家Thomas Sauvin的「北京银矿」，脑袋上被主人套上快餐包装的宠物，它是正准备要吃猫粮？还是要迅速后退摆脱眼前莫名其妙的一片漆黑？
正如“街道杀死奇怪的动物”这一名字所呈现的发生在我们身边写实而又荒诞的现象，这是主唱冷枚在某条街道看见有被车辆碾压至面目全非的动物尸骸，于是用文字记录了这个场景，机缘巧合选作乐队名字。一直以来都会有人觉得这个名字太过标新立异——过于写实的现实会被人认作荒诞，正如一张素颜无表情的脸，或许是因为我们接触的现实大多经过装饰吧？那些街道上可怜的小动物、那些一场狂欢后被丢弃的氢气球、那些在快餐店里拾荒的少年、那些因为某个特殊时刻而被封锁的街道、那些头顶轰鸣而过的机器、那些迷惘而丢失的灵魂、那些蹩脚的扮演各种角色的演员……突然间你可能会觉察。
《麦当劳少年》这张专辑，并不想去呼吁什么，并没有力气去打破任何局面，只是将“街杀”看到的，经历的，放在了这张专辑中。在其中，他们时而感到愤怒，时而感到悲凉，时而感到无力。希望没有打扰到你的心情。
如专辑中的歌词：高墙下是否有一条神秘的逃亡通道？褴褛少年是否能“统治”这个世界？如何扮演真实自我？…这个世界，即将何去何从？
《麦当劳少年》于今年5月在上海录制，由操刀“街杀”2013年发行的黑胶单曲《THROUGH》的老朋友李炜宇（AKA驴）担任制作人，母带师则是与国内独立乐队有过不少合作的瑞典母带师Henrik Jonsson。较之上一张专辑，《麦》保留噪音与过载的厚度和粗糙感，用更为直接犀利的方式陈述音乐。
街道杀死奇怪的动物曾经被形容做“难以名状”、“不甘平庸”，或许是因为他们潜意识中与其所喜欢的Yo La Tengo那样，在做音乐上抱着“玩票”的心态，更喜欢游离于自己喜欢的若干音乐基因，将其混作一团，放在创作中。在这张历时3年创作的专辑中，你可以在专辑同名曲《麦当劳少年》以及《困在街上》中听到纯正的noise-rock，也可以在《坏种子》中发现shoegaze的影子，在《妄想症舞者》中找到post-hardcore……而像《一个演员的自我修养》这样器乐比重更大的音乐中，更是能看到乐队天马行空的想象力。
总之，这张专辑在简单直接充满能量的调调中，呈现了不同于首张专辑的转变。虽然鬼知道他们经历了什么，但这张“浮世绘”般的《麦当劳少年》会让你产生类似《Bojack Horseman》（《马男波杰克》）一般的黑暗共鸣。

Japanese band based in Saitama and formed by Makoto Igarashi and Mihoko Tanouethey. They released this one album before switching to another project: Roly Poly Rag Bear.
くるり、□□□、ス－パ－カ－好きは必聴！！マイブラのポップな部分だけを抽出したようなドリ－ミ－なギタ－サウンド！！切なくて泣ける傑作です。

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.

malegoat,falls,The Firewood Project,Segweiなどの音源を手掛ける林淳太氏をエンジニアに迎え、エモリバイバルとメロディックパンクに影響されたサウンドスタイルはそのまま、3人編成から4人編成になりより強度が増した演奏がパッケージされた全14曲。応酬する眩しいリフと内省的な歌詞、ナイーブな若者のサッドバーニングメロディック名盤。VINCE;NTのArisa Katsu氏のコーラスが映えるM10『新宿』は必聴！

Will Toledo always knew he would return to Twin Fantasy. He never did complete the work. Not really. Never could square his grand ambitions against his mechanical limitations. Listen to his first attempt, recorded at nineteen on a cheap laptop, and you’ll hear what Brian Eno fondly calls “the sound of failure” - thrilling, extraordinary, and singularly compelling failure. Will’s first love, rendered in the vivid teenage viscera of stolen gin, bruised shins, and weird sex, was an event too momentous for the medium assigned to record it.
On February 16th, on the heels of the smashing success of Teens of Denial, Car Seat Headrest will release a new version of Twin Fantasy. “It was never a finished work,” Will says, “and it wasn’t until last year that I figured out how to finish it.” He has, now, the benefit of a bigger budget, a full band in fine form, and endless time to tinker. According to him, it took eight months of mixing just to get the drums right. But this is no shallow second take, sanitized in studio and scrubbed of feeling. This is the album he always wanted to make. It sounds the way he always wanted it to sound.
It’s been hard, stepping into the shoes of his teenage self, walking back to painful places. There are lyrics he wouldn’t write again, an especially sad song he regards as an albatross. But even as he carries the weight of that younger, wounded Will, he moves forward. He grows. He revises, gently, the songs we love so much. In the album’s final moments, in those apologies to future me’s and you’s, there is more forgiveness than fury.
This, Will says, is the most vital difference between the old and the new: he no longer sees his own story as a tragedy.

新澤西三人組的第八張大碟，成熟多元(Noise-pop、Jangle-pop、Shoegazer、Post-Rock、Country)的樂風，配合極其窩心而絲絲入扣的夫妻合唱。

The Toronto band’s third album is a triumph of power pop, a densely layered, witty, blithe, and beautiful record that sets a new benchmark for the genre.