赌鬼新专辑《紫气东来》正式发布：这事儿干得太“赌鬼”了！
选在愚人节这天发布新专，还是七年后乐队的第二张全长专辑，这事儿干得太“赌鬼”了。
三周前他们决定从新专辑里挑一首歌出来拍MV，两周前录制完成，一周前《Daniel》全网上线，讲一个美国屌丝渣画质的北京生活，看得人直拍大腿，这事儿干得太“赌鬼”了。
此刻，新专辑《紫气东来》全碟亮相，著名的人民表演艺术家范伟老师赫然登场，一张大脸霸占了唱片封面三分之二的面积，哇，这事儿干得太赌鬼了。
于是迫不及待点开手机APP，轻触范伟老师慈眉善目的笑脸，12首全新金曲顿时从上到下诚意满满地列在眼前，一首首听下去根本停不下来，让你只能惬意地晃着脑袋不住感叹：嗯，这事儿干得太“赌鬼”了！
成军至今，赌鬼乐队的进化就是从名词变为形容词的过程。从“赌鬼”到“赌鬼式的”再到“太赌鬼了”，无论是音乐、词作、台风，还是生活方式以及各种鬼点子，都找不到一个可以类比的对象。
这回王梓一上来就唱：“我知道你想弄死我，但我还活着……我知道你想打我的脸，但我的面子不够大，呜哈哈，哦耶”（《Woohah》），他压低嗓子扮着深沉，却把吉他刷得轻快雀跃，而整首歌就像一张鬼脸儿，特意为情敌点播。
但事实上整张专辑很少直接谈论爱情，它的预设场景是吧台、酒桌乃至马路牙子，道具是啤酒或者威士忌，而人物是你和你多年的老伙计——他安慰人有一套，讲故事有一套，喜欢打闹逗趣儿恶作剧，也常常琢磨那些让人感伤和失望的事儿，而你羡慕的是他的表达方式：
“给我个领带，让我觉得很紧。”（《Summer Time》）
“我花了30万跟人争吵，虽然我很后悔，但是你要是再跟我这样说话，我就在你身上花更多钱。”（《Bad People》）
“海连着海，所以哥们儿别生气……告诉人们所谓的真相就跟你真的相信似的。”（《Believe》）
赌鬼不仅用英语四级词汇表里的单词完成了这些绝妙的英文句子，还为它们编了那么好听的曲子。爽脆入味儿的吉他搭载劲辣鼓击和筋道的贝斯，再撒上一层柠檬汁儿似的键盘，你听完只想再来一份儿。
这么说好像有点不负责任，但真的不用一一拆解12首歌，随便点开一首，就会发现王梓的声线控制已非“醉意绵绵”可以形容，而那首迷幻感十足的《钱》，其汹涌绵密一气呵成的鼓点则让关铮成了绝对的主角。对比以往作品，如今他们在编曲和音色处理上举重若轻的风格化，也足以让赌鬼变成形容词。
至于《紫气东来》（Purple Haze From The Orient）这个名字所暗藏的玄机，没听过Jimi Hendrix那首光芒万丈的《Purple Haze》的人，该好好补补课了。
专辑封面设计：Gene
专辑封面字体设计：SLM.阮天琪

竇靖童首張原創專輯《Stone Cafe》，與國際知名音樂製作人：The Invisible Men、Heather Porcaro and Alec Dixon共同創作潛心靈感之作。西洋電影般的節奏訴說自己任性但不倡狂的音樂人生，世間最酷的叛逆是無法選擇不出生在光環照耀下，但能選擇只沐浴在自己散發的鎂光下直至羽翼鋒芒。她的花樣年華看似被世俗判定，其實早已與自己創作的音樂逃離世俗紛擾，寂寞是她的營養品，遊弋過無數虛空，轉瞬非黑即白。世界五彩斑斕，卻只沉溺在自己指間紛飛音符的溫柔裡。
“Jason Pebworth”、“George Astasio”及“Jonathan Christopher Shave”組成的The Invisible Men是格萊美的最佳創作組合，英倫創作風範的他們是格萊美獎最佳唱片製作人; Alex Dixon和她的丈夫Heather於美國一起從事音樂製作。由他們與Leah共同製作的全英文專輯《Stone Cafe》將會為樂迷帶來不一樣的感受。
在完成專輯MV拍攝後,童跟公司表示已經下定決心要繼續更多的創作，多給她安排音樂方面的工作，讓她能跟樂迷們更近距離接觸。
“Leah Dou”不再會是一個陌生的名字，在她選擇音樂的那一天起，竇靖童Leah Dou是華語樂壇最不可能忽視的人之一。頂著華語最強遺傳優勢的她，已經初露鋒芒，光榮綻放！

デビューアルバム「BABYMETAL」から2年、待望のセカンド・スタジオ・アルバムが完成! 本作では、ライヴアンセム「Road of Resistance」を始め、すでにライブでお馴染みの「あわだまフィーバー」など、ファン待望の楽曲の数々を収録予定。全てが新曲で構成された正真正銘のニューアルバム!!

Mogwai release their stunning soundtrack to the documentary by prolific director, Mark Cousins; Atomic: Living In Dread and Promise which was aired on BBC Four last summer. The soundtrack has been especially re-recorded for release at the band's Castle Of Doom Studios in Glasgow. Guest appearances on the album come from occasional band member Luke Sutherland, Sophie and former The God Machine's Robin Proper-Sheppard and Glasgow composer Robert Newth. Artwork includes images from the film and comes in the form of CD, double gatefold heavy pressed vinyl with download code and digital download. As with their soundtrack to the Zidane documentary, the band will be performing this soundtrack live at dates across the world throughout 2016.

新裤子新专辑《生命因你而火热》：“用不一样的音乐对抗这无情的生活”
时隔五年，新裤子终于推出了乐队的第八张正式专辑，《生命因你而火热》，一张第一眼就会让人倍感意外的新专辑。
可新裤子不正是“意外”的近义词么？不跟风，才有意外出现。从音乐到审美，他们总能独辟蹊径，以最敏锐的感受力为外来形式赋予本土灵魂，焕发旧时代遗物的生机，将一次次意外连缀成一个独立而自足的体系。而这次，潮流的创造者将亲手截断自己掀起的浪潮，最大的意外就此发生。
上周发布的预热单曲《你要跳舞吗》以这样一句开头：“每当浪潮来临的时候，你会不会也伤心”，彭磊更在微博上发言：“虽然当时每一个浪潮都让人兴奋不已，但过后都是落寞。”对于如今的新裤子而言，无论随波逐流还是“兴风作浪”，似乎都中了时髦的圈套，终归受限，不如索性返璞归真，用最朴素的方式，做最真诚的表达。
如果说新裤子的近几张专辑是意识先行、节奏抢镜，那么《生命因你而火热》便可谓旋律承载下的情感领衔。Synth-Pop、New Wave、Disco等等标签成为急欲打破的枷锁，传统摇滚语汇就够了，甚至摇滚与否也可忽略不计。告别了一度最顺手的玩儿法，新裤子也一样能写出无比动听而迷人的歌。
在《你要跳舞吗》对早年的雷蒙斯时代短暂一瞥之后，新专辑沿着近年所发单曲的线索展开，爱与痛的体验在音乐的药水中渐次显影，而日常生活作为一切的背景和舞台，从未在新裤子的音乐里如此真实可触。之前你已在《关于夜晚和失眠的世界》和《生活因你而火热》中目睹了都市游魂的出走和归宿，却未曾料掉《每一次我们开始争吵》用木吉他速写出的二人世界情景喜剧，竟有如此纯净美好的质地；而同样作为一首慢板谣曲，《难过时 把舞跳》则为茕茕孑立的身影剪裁出独立优雅的姿态。
当然还有《我们最好的时光 就是现在》和《没有你的旅途 没有意义》这般炽热的倾诉和追索，浓烈抑或清澈，都经由心脏的搏动，进入听者的血液，流遍全身。意识和概念是大脑的诡计，而情感则往往被形容为由心而发，溶于血液并维持我们恒定的体温——《生命因你而火热》中的“你”，或许便是指这种属性的音乐。
既然风格和潮流已成枷锁，也就没有必要再把新裤子锁死为永远长不大的顽童恶少，正如彭磊自况，“那个曾经漂浮在半空的理想主义者，平凡地站在了这里。”他们不屑于跟风，也不屑于做旗手，成军二十年，“不变的还是舞台下那些年轻炙热的眼神”，所以彭磊还说：“我们需要不一样的音乐来对抗这无情的生活。”
不用怀疑，他们仍是你最好的那条新裤子。
收缩

民谣老炮儿高晓松的词曲遇上摇滚老炮许巍的唱腔，黯淡的记忆有时也能闪烁流光。即使在泥尘里摸爬挣扎，也别忘了手中的玫瑰，向着彩虹的方向。

氛围/后金属乐队深山以原声乐器演绎的全新不插电专辑《醉花音》开创了乐队在音乐风格上不拘一格的革新形象。其中所收录的曲目，来自于乐队自成立至今和未来即将发行的作品，并从中精选而出。整张专辑的演奏配器以原声乐器为主线体现出与以往风格孑然不同的细腻表现和朴实感。他们正在以此刻的民谣音乐形式重新找寻并演绎着风云锁雾的山林湖泊和孤影迷离的城市之海。而其中始终不曾改变的依旧是深山对音乐与自然独有的敬畏与憧憬。这种声音的本源造就着深山的不同凡响，和一次次精妙的声音旅程。

ATGCLVLSSCAP is the forthcoming, twelfth studio album by the Norwegian experimental collective Ulver. Written, performed and produced by Ulver, the album is scheduled to be released on January 22, 2016, via newly-formed, London-based label House of Mythology.
Culled from multitrack recordings made at twelve different improvisatory "free rock" live shows the band performed in February 2014, and later edited and enhanced in the studio by Daniel O’Sullivan. The album has been described as “Ultimately a piece of work that exists above and beyond any conventional live recording, rather a hallucinatory travelogue as potent an experience to bear witness to as it was to construct.”
On October 30, 2015, the song “Cromagnosis” was broadcast on Baba Yaga’s Hut via online radio station Resonance FM; and later uploaded to Mixcloud. The song "Moody Stix" features samples from the song "Doom Sticks" from their EP A Quick Fix of Melancholy, released in 2003.
The album’s title, ATGCLVLSSCAP, is an acronym referring to the first letter of each twelve signs of the Zodiac, from Aries to Pisces.

Simply put, Tortoise has spent nearly 25 years making music that defies description. While the Chicago-based instrumental quintet has nodded to dub, rock, jazz, electronica and minimalism throughout its revered and influential six-album discography, the resulting sounds have always been distinctly, even stubbornly, their own.
It’s a fact that remains true on “The Catastrophist,” Tortoise’s first studio album in nearly seven years. And it’s an album where moody, synth-swept jams like the opening title track cozy up next to hypnotic, bass-and-beat missives like “Shake Hands With Danger” and a downright strange cover of David Essex’s 1973 radio smash sung by U.S. Maple’s Todd Rittmann. Throughout, the songs transcend expectations as often as they delight the eardrums.
Tortoise, comprised of multi-instrumentalists Dan Bitney, John Herndon, Doug McCombs, John McEntire and Jeff Parker, has always thrived on sudden bursts of inspiration. And for “The Catastrophist,” the spark came in 2010 when the group was commissioned by the City of Chicago to compose a suite of music rooted in its ties to the area’s noted jazz and improvised music communities.
Tortoise then performed those five loose themes at a handful of concerts, and “when we finally got around to talking about a new record, the obvious solution to begin with was to take those pieces and see what else we could do with them,” says McEntire, at whose Soma Studios the band recorded the new album. “It turned out that for them to work for Tortoise, they needed a bit more of a rethink in terms of structure. They’re all pretty different in the sense that at first they were just heads and solos. Now, they’re orchestrated and complex.”
“All of the songs went through a pretty intensive process of restructuring,” adds Parker. “We actually had quite a lot of material that we ended up giving up on. Oftentimes, we’ll shelve ideas and come back to them years later.”
The album’s single “Gesceap” embodies the transformation of the original suite commissions, as it morphs from two gently intersecting synth lines into a pounding, frenzied full-band finish. “To a certain extent it’s more of a reflection of how we actually sound when we play live,” says McEntire of Tortoise’s heavier side. “That hasn’t always been captured as well on past albums.”
Elsewhere, “Hot Coffee” resurrects an idea abandoned from the band’s 2004 album “It’s All Around You,” gliding through only-on-a- Tortoise-album sections of funktastic bass lines, straight-up dance beats and Parker’s fusion-flecked guitar bursts. “It’s progressive experimental music with pop sensibilities,” says Parker.
“Rock On,” which McEntire says he and McCombs simultaneously had the idea to cover after having remembered hearing it on the radio all the time as kids, isn’t the only vocal moment on “The Catastrophist.” Also included is the bittersweet, honest-to-goodness soul ballad “Yonder Blue,” sung by Yo La Tengo’s Georgia Hubley. “We’d finished the track and decided it would be good to have vocals on it,” recalls McEntire. “Robert Wyatt was our first choice, but he had just retired and politely said no. We were discussing asking Georgia to do something, but not that track in particular. Then we realized it would totally work.”
Tortoise is planning an extensive world tour in support of “The Catastrophist.” Admits McEntire, “figuring out how to reproduce these songs live will be a bit of a challenge. But I also feel like it might be time to dip into the back catalog a bit. The pool we draw from has been really consistent for quite awhile.
As ever, Tortoise has conjured sounds on “The Catastrophist” that aren’t being purveyed anywhere else in music today. There’s a deeply intuitive interplay between the group members that comes only from two decades of experimentation, revision and improvisation. And at a time when our brains are constantly bombarded by myriad distractions, “The Catastrophist” reminds us that there’s something much greater out there. All we have to do is listen.