年の1st ミニアルバム『逃した魚』のリリース以降、新人離れした圧倒的なクオリティの楽曲と卓越した表現力が各所で注目を集め続けているセンチメンタル・ギターロックバンド“back number”、待望の1st フルアルバムのリリースが決定！！切なすぎる歌詞はさらに深みを増し、美しすぎるメロディはさらに洗練され、涙なくしては聴けない感動の名作の誕生です。

UK songstress Laura Marling releases her sophomore album, I Speak Because I Can, on Astralwerks Records. Produced by Ethan Johns (Kings of Leon, Ryan Adams), I Speak Because I Can is the follow up to Marling's lauded, Mercury Prize-nominated debut, Alas I Cannot Swim.

I Speak Because I Can is Laura Marling's coming of age album, if such a thing can be said about the brilliant songwriter whose compositions belie her age (for the record, she'll be twenty this year). Recorded in 2009 at Peter Gabriel's Real World Studios in outside London, and featuring the talents of her backing band Mumford & Sons, I Speak Because I Can reveals a new side to Laura Marling, whose debut was released when she was only seventeen years old. Its ten songs are imbued with a new richness, ripeness and sophistication, marked by homespun tales and sparse instrumentation. I Speak Because I Can showcases not only Marling's ability to tell one hell of a story, but her incredible guitar playing, which has grown more intricate since her first album.

Marling will return to the studio with Ethan Johns within the next few months to work on a second album of new material that will be released in the fall of 2010. More details on this record will be announced upon its completion.

Special two disc (CD + NTSC/Region 0 DVD) edition housed in special box which includes a DVD that contains a 45 minute behind the scenes documentary, incorporating footage from the 'Laura Marling & Friends' show at the Royal Festival Hall in London last summer. 2010 sophomore album from the British singer/songwriter. I Speak Because I Can is Laura Marling's coming of age album, its 10 songs imbued with a new richness, ripeness and sophistication. It is also an album marked by its quintessential Englishness. For all its American instrumentation, its shades of Crosby Stills and Nash, Joni Mitchell, Neil Young, Leonard Cohen, its American producer, these songs are no pale Americana interpretation; rather they are tales deeply rooted in England. EMI.

dimoutworks.bandcamp.com/album/of-her
世の哀れ春ふく風に名を残し、おくれ桜の今日散りし身は"
八百屋お七の最後の言葉である。そう、わたしは今年の４月から７月までの３ヶ月間、西鶴の『好色五人女』、巻四「恋草からげし八百屋物語」を題材に曲作りを進めていた。
この悲劇の物語は実際に１７世紀終わりの江戸で起こった話をもとに書かれているが、西鶴のその力強い描写によって、その当時生きた人々の記憶は鮮明に現代まで生き続けている。
わたしが曲作りを始める際、民俗楽器は極限使わない方向に決めた。なぜならば、三味線や琴などを使いこの物語を１７世紀のものとして位置づけてしまえば、それは作者に他する冒涜だからである。現代まで生き続ける西鶴のその物語を過去のものとして殺すことはできない。
いつもと少し違うわたしの曲、聴いてください。
credits
released 24 July 2010
all songs written by Yusuke Tsutsumi
performed by We Can’t Play The Guitar Band and I’m Pregnant Orchestra
some weird choir by Yusuke Tsutsumi and The Sons Of The Bitches
recorded and mixed at In The Woods Studio

Procol Harum is an English rock band formed in 1967. Their best-known recording is the 1967 hit single "A Whiter Shade of Pale", one of the few singles to have sold over 10 million copies. Although noted for their baroque and classical influence, Procol Harum's music is described as psychedelic rock and proto-prog.

Jonquil isHugo Manuel, Sam Hudson Scott and Robin McDiarmin

Somehow it’s pretty doubtful that Jonquil’s decision to call their new EP One Hundred Suns had anything to do with Linkin Park’s sensational comeback record A Thousand Suns (trust those guys to for a millennium of yellow stars where clearly one is enough for our humble planet). The art-rock ensemble from Oxford are more renown for intricate, carefully orchestrated folk experiments rather than clunky collaborations with Jay-Z, so it’s not surprising that there is no scratching or rapping over downtuned guitars on this record. There are, however, a few interesting new aspects to their sound.
One Hundred Suns starts with a melange of a softly-softly synth line, falsetto vocals and some lovely clean guitar doodling. The song is called ‘Fighting Smiles’ and becomes an almost danceable jungle-jangle-pop song with a little emotional edge to it. It seems as if Jonquil have paid close attention to this year’s Vampire Weekend and Local Natives albums, both of whom took the dying ambers of western afro-pop and reignited them by using autotune, electronic samples and Americana-style vocal harmonies.
There’s a bit of a lo-fi bedroom echo to Hugo Manuel’s vocals, and there is ample space for the drums to rumble, roll and break into tropical patterns and for the guitars to flutter like a songbird with a nervous disposition. ‘It Never Rains’ sounds like an overcast day at the beach, which are the best days anyway – nobody wants to be grilled into a whimpering, sweaty mess, and you can sit on the hotel balcony, guilt-free, drinking rum.
Jonquil have been compared to Beirut in the past, but the only hint at a passing interest in world music here is the use of a couple of brass riffs on the slow, yearning ‘Pillow Quest’ and on the Foals-esque ‘I Know I Don’t Know’ and on the accordion-led, drunken singalong ‘Lions’ (which originally appeared on their last album).
The overall tone of One Hundred Suns is hard to pinpoint – there are elements of the boundless bounceability that made people like Fool’s Gold, and there are good hooks aplenty. But Manuel’s singing always sounds as if he’s preparing for the worst, as if he’s just soundtracking a good day before the inevitable collapse of a friendship or an ideal. This contradiction, together with a very solid production, makes for a very enjoyable record indeed.

They released only a handful of songs their two-year lifetime, but Black Tambourine has been hugely influential in the world of indie music. Conceived as an explicitly pop band pop bands were pretty rare in America, they wore their influences on their sleeves: The Jesus and Mary Chain, of course, but also folks like Phil Spector, Smokey Robinson, Love, The Ramones, Shop Assistants, Pastels, 14 Iced Bears, Orange Juice and the list goes on... The band's dark, dreamy sound was consonant with the shoegaze sounds of the day, but the classic '60s-influenced songwriting gives their tunes a timeless appeal. Formed in 1989 as a side project by members of Whorl and Velocity Girl, they soon recruited Pam Berry as vocalist. Two singles quickly followed, along with a few compilation contributions. Alas, other obligations became more pressing and the band called it a day in 1991.

新浪潮乐队（Nouvelle Vague）以抒情又清新的手法重新演绎了八十年代经典名曲，作品中处处弥漫着一股法国式的Bossa Nova，Chill out味道。该乐队新近迅速窜红，如今已在法国家喻户晓，成为法国独具特色、横跨爵士与流行的大牌乐队。

12年目のスパングル・コール・リリ・ライン、1年半ぶり! の8thアルバムで更なる
高みへ見晴らし良好!! スパングル8枚目のニュー・アルバム「VIEW」は、
シングル「dreamer」のポップモードを受け継いだバラエティ豊かなフルアルバム!!
2ndアルバム「Nanae」以来、8年ぶりとなる益子樹（ROVO,etc）との
共同プロデュースで、抜けのいいドリーミーなバンドサウンドに回帰。
バンド結成10周年イヤーを経て、新たなディケイドへの幕開けを感じさせる優雅で
アップテンポなオープニングトラック「eye」をはじめ、軽快でフレッシュな
アレンジで生まれ変わったM2「rio the other」など、
全曲シングルカット可能なキラーチューン満載の1枚。

スピード感と、エモーショナルな感情が交錯する！
シド、2010年・第4弾シングル！12/11の東京ドーム公演の直前にリリースされる、ライヴ映え間違い無しの『激エモ曲』。作曲は、Bass/明希。

Cary Brothers可能很多人都没有听过，不过他的歌曲可不是一般的出名，电影、电视、电台、咖啡馆几乎都放过他的歌，而且好评如潮。他的歌曲有英伦摇滚的味道，吉他与鼓点营造出一个绚丽世界，而人声而给这个世界抹上一层淡灰，原来忧愁也可以这样的美丽，也泛着民谣的清新，像春日里的绵绵细雨，在给与生命以滋润的同时，也在人们的心中落下几缕愁丝……

前作より10か月ぶりとなるシングルはDewの新境地となる、恋の痛みに泣く切ないバラード。25歳のリアルで等身大の女性像を描いた楽曲。C/W には、スズキ新型パレットCMソング「季節を追いかけて」を収録。

フジロックフェスティバル等に出演し、 各地で大絶賛を浴びた[剃刀乙女]こと、
青葉市子の2ndアルバム「檻髪(オリガミ)」完成です!
2010年1月、1stアルバム「剃刀乙女」で鮮烈にデビューした、
弱冠20歳のクラシックギター弾き語り、青葉市子。
その独特の世界観を持った歌詞と美しいメロディーライン、
エバーグリーンな歌声と驚くべき演奏力を兼ね備えた彼女が、
デビューアルバムから約1年で新作をリリースします。
彼女の内なる宇宙を綴った叙情詩、全八編。 ギターと歌だけの、研ぎ澄まされた音空間をご堪能ください!

1999年結成の3ピースバンドによる3rd フルアルバム。繊細さと力強さを併せ持つバンドで、聴く人それぞれに情景が浮かぶ楽曲の世界観は唯一無二の存在。plenty、back numberなど若い世代のギターロックとの対バンも多数。ロック、フォーク、ポップスを独自の感性で消化した新時代のヘッドフォンミュージック！