I do not exactly remember when I heard the name Rogér Fakhr for the first time. It must have been around 2 years ago during one of these afternoons I spent at Issam Hajali’s jewelery shop on Mar Elias Street in Beirut. We had started working on the idea of re-releasing some of Issam’s music and he proposed his first album “Mouasalat Ila Jacad El Ard”; recorded before starting his band Ferkat Al Ard. As it happened, Rogér had colaborated with Issam in the process of working on the music and recording. They were both living in Paris for some time after each of them have had left Beirut sometime after 1976.
Whenever Rogér's name came up in conversations, it nearly automatically ended up in a praise of his outstanding musical talents. Right off, it caught my interest because neither had I heard of Rogér Fakhr nor could I find any infos about him on the internet. So Issam recounted how they even used to be flat mates for some time and constantly working on music together. Eventually their collaborations came to an end after Rogér emigrated to the USA. In fact, I got to know he initially was on tour as part of Fairuz's band in the US and just decided to stay there ultimately. At some point, Issam mentioned how he had actually kept some of Rogér’s music on tape in his basement but also he couldn’t play it to me before Rogér would green... light that.
As the story goes, at that period of time a multitude of projects were ongoing and I somehow missed out of inquiring further. Yet Rogér’s name kept on coming up in conversations with musicians of the same generation in Beirut steadily. No matter whether it was Ziad Rahbani, Munir Khauli or anyone else talking about him, every single mention would almost inevitably be followed by a huge praise for his music and approval of his talent.
The disparity between him being so highly appreciated amongst his peers, while somehow simultaneously not being part of the researchable musical history of Lebanon (at least to me!) of the last decades, baffled me and at some point I just asked Issam for Rogér’s contact. After we exchanged some emails and he ended up sending me a selection of music recorded in the late 1970s in Beirut. While some of that material had never seen a release, others were released on his album “Fine Anyway” - back in the time, he had hand copied around 200 cassette copies of that album.
To put it short: I was blown away! The music was a mixture of folk with touches of other genres. Maybe one could also refer to it as “singer-songwriter”, since all of the songs were Roger’s own compositions. Songs of unique beauty both musically as well as lyrically. At the same time they gave me the feeling of them being somehow time and space isolated capsules. Nothing really revealed, where they could’ve been recorded and without knowing it was Beirut, my first guess maybe would have rather been California, sometime in the 1970s. The immersive effect of his compositions and voice are just incredible. I was stunned and proposed Rogér to work on a re-release, which he politely declined, saying he had no interest in this music being reissued.
Fast forward a year or two, Beirut had been rocked by the horrible explosion of it’s port on the 4th of August 2020. We (everybody at the label) were truly shocked and after the initial paralysis had vanished and we managed to check in on friends, whether they are ok or in need of something, thoughts on how to help with the rescue and relief efforts happening locally developed. Not being physically able engage with the support groups on site, we figured it would be the most evident idea to put together a compilation featuring some of the Lebanese musicians we had met and adore such as Ferkat Al Ard, Munir Khauli, Toufic Farroukh and Abboud Saadi in solidarity. We managed finalize the compilation within 24 hours and after we were nearly done I thought why not at least let Rogér know about it. He called me back within an hour, excited to be part of the project. In the meantime, his perspective on the idea of reissuing his music had shifted and he was welcoming the idea to make his music heard by a new generation.
I hope his music will be a revelation to you listening just like it was for us. more

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。

还潮，吴语中有受潮的含义，也形容小孩子又恢复了坏习惯。
宁波人有三譬好譬，老话，碰到不顺心的事，宁波人常常用“譬如”来聊以自慰或慰人。丢了钱，往往说：“譬如拨搓麻将输掉仔，譬如上交给老婆…” 作三种比言之后，也就心平气和了。明末小说集《二刻拍案惊奇》中也有这样的说法：“譬如我斋了这寺中僧人一年，把此经还了他罢…”所以，这句俗谚堪称宁波人的“精神胜利法”，虽然有点消极，但仍对排解郁闷有所助益。
你能看到粗陋的配器，简单的旋律，以及宁英文杂织的歌词下，一众心有不甘却仍不忘排忧解闷的人物：撞掉门牙的阿超，买香烟的阿斌，骑着电瓶车四处兜风的阿叔等。他们是再普通不过的小人物，却能激起万千甬城市民共同的回忆。
1. 马灯调 - intro：诶格伦登唷～
2. 柯桥足浴中心：斌斌在绍兴沐足。
3. 阿斌哥去买香烟：斌斌最近开始抽 vapor。
4. 老江桥的水：阿叔教的七十年代流氓歌曲。
5. 今后我无法再吃酒酿圆子：漫咖啡里唯一不像是网红的女孩。
6. 张斌桥菜场杀人事件：现宰荤腥。
7. 囡囡宝，你要啥人抱：「还是自己玩吧」
8. 阿拉永远OK：阿超参加行里的篮球赛时被撞掉两粒门牙，事后却忘了那个人是谁。
9. 在月湖公园的含香亭我听见她说：某日路过月湖看见一位穿校服的女生，走近发现在骂人。
10. 阿叔当年很潇洒：阿叔的电瓶车，是载过失足妇女的电瓶车。
11. 慈城公园交谊舞：高三晚自习的时候请假出来看病，结果坐在公园的石凳上看到晚自习结束。
12. 迷失在府轿街：不知道去哪里吃，不知道吃什么，吃完不知道去哪。
13. 老赖阿雷在哪里：胡老师接到一通催债公司的电话，但她没有借。
14. 皖人的离去：简单的理由。
15. 独子的悲歌：今年夏天，远房亲戚的儿子因为相亲跟家里大吵一架，随后辞掉了工作以及位于和丰创意广场附近的140平米的精装修商品房。
16. 我是破烂王：回收二流城市。
17. 孟秋之雨停歇时：「种给归不得的心情」
lyrics, music & arrangement by 还潮，backing vocal by@左象-，cover photograph by@一柏原

Fleet Foxes will release Crack-Up, its long-awaited and highly anticipated third album, June 16 on Nonesuch Records. Crack-Up comes six years after the 2011 release of Helplessness Blues and nearly a decade since the band's 2008 self-titled debut. All eleven of the songs on Crack-Up were written by Robin Pecknold. The album was co-produced by Pecknold and Skyler Skjelset, his longtime bandmate, collaborator, and childhood friend. Crack-Up was recorded at various locations across the United States between July 2016 and January 2017: at Electric Lady Studios, Sear Sound, The Void, Rare Book Room, Avast, and The Unknown. Phil Ek mixed the album, at Sear Sound, and it was mastered by Greg Calbi at Sterling Sound. Fleet Foxes is Robin Pecknold (vocals, multi-instrumentalist), Skyler Skjelset (multi-instrumentalist, vocals), Casey Wescott (multi-instrumentalist, vocals), Christian Wargo (multi-instrumentalist, vocals), and Morgan Henderson (multi-instrumentalist).
"A rich, ideas-driven record which pulls off a pretty unlikely feat: infusing Fleet Foxes' music with the same sense of transcendence and beauty that they managed the first time, now delivered with an added sense of expansive musical ambition. Confirms that rarest of achievements: a group somehow hanging on to the essence of who they are, while pushing their art into thrillingly unforseen places." Q Magazine
"At a time when indie-rock seems to be growing more culturally marginal by the day, Crack-Up is a defiant artistic statement, an album that dares to feel important." The New York Times
"Likely to be the most remarkable album you will hear this year...the return of one of the most original bands of this century." The Times
"Astonishing. Crack-Up may be the most anticipated release of the year; a welcome return. Ambitious, mature, meticulous." Uncut