Myspace http://www.myspace.com/fuckbuttons

MySpace  http://www.myspace.com/brettandersonofficial

http://www.myspace.com/thexx

XX 可愛的抑鬱冷凝，都會午夜專屬的浪漫低迷
XX NME注目新秀！宛如Tricky遇見The Kills…
XX 傳媒打圈圈！Guardian ★★★★ / MusicOMH ★★★★☆（四顆半星）


對十九歲的青少年來說，崇拜Aaliyah、Rihanna、Beyonce等美國流行節奏藍調天后，或在自家地下室搞個龐克樂隊，其實都不足為奇，但當這兩個行為交集時，倒是頓時讓人有些不知所措！


Romy Madley Croft、Oliver Sim、Jamie Smith、Baria Qureshi四個來自倫敦藍領階級家庭的十九歲青年，從托兒所和小學陸續相遇，結識了「大半輩子」後，十五歲開始拾起樂器、半生不熟地耍帥玩搖滾，聲稱從CocoRosie、The Cure、Pixies以至Ginuwine、Aaliyah和Mariah Carey都是左右其音樂風格的啟蒙導師，然而，當你初聞The XX一鳴驚人的翻唱曲〈Teardrops〉（八O年代節奏藍調雙人組Womack & Womack名曲）和首發單曲〈Crystalised〉、一頭栽進那宛如Tricky遇上The Kills抑鬱的世界，才發現這群老是以黑色酷勁造型亮相的小夥子，竟和想像中是如此截然不同的模樣！


「倫敦是個永遠不會令人厭倦的城市，即使在它讓人沮喪時，仍令人感到驚奇……」樂隊鍵盤手Baria Qureshi如此形容著他們所生活的城市。當此等對倫敦的著迷，透過The XX的音符獲得抒發，以十一首精簡迷人的旋律勾勒著倫敦充滿緊繃和衝突的城市景觀，Romy Madley Croft和Oliver Sim媲美The Kills男女雙主唱的完美和諧，迷濛慵懶的吉他和著Bassline沉穩深邃的律動，The XX將節奏藍調剛柔並濟的節拍，以搖滾形式重新輸入後，舒緩自信的超齡音樂厚度，〈VCR〉、〈Night Time〉、〈Heart Skipped A Beat〉…一首首彷彿迷走的城市、望著陌生又熟悉風景時，苦澀和甜蜜交織的矛盾情緒，凝聚出直追Tricky和Burial那般穿梭都會深夜的低迷冷凝氛圍！

近代越南不同文明的衝擊，自然而然造就出多元混種的街頭音樂，本合輯特別貼近西貢街頭收錄不同風格原味十足的民間音樂，沒有官式樣板民族音樂，換來的是背著擴音箱手拿改裝電吉他大玩越式鄉村音樂的街頭藝人；酒吧歌手；小型葬禮drum´n´bass鋼管樂團等等；加上熱鬧的交通噪音與叫嚷聲，共同交織出趣味盎然活力充沛的城市音景。專輯內附詳細德／英文字記述。獲99年TheWire雜誌年度25張合輯之一！

第62屆坎城影展唯一得獎的美國電影，堪稱鬼才導演的昆丁塔倫提諾暴力美學新作。

由昆丁塔倫提諾取樣過去電影大師名作中的樂曲，他怪異奇趣的品味，創造出獨一無二的塔倫提諾式配樂風格！


關於電影

故事背景設定於二次世界大戰展開後，德軍納粹佔領法國的第一年，Shosanna Dreyfus (【巴黎愛情故事】Melanie Laurent飾)目睹家人慘遭納粹上校Hans Landa (【溫柔的謀殺】Christoph Waltz飾)下令處決，而Shosanna驚險逃過一劫、逃至巴黎，偽造新身份後成為一間劇院的老闆。同時在歐洲某處，Aldo Raine中尉(【班傑明的奇幻旅程】Brad Pitt飾)組織了一群美籍猶太特種軍人，專以驚人迅速並且殘酷冷血的手法對付德國納粹士兵，敵軍稱他們為"惡棍特工"，後來這群惡棍特工有了德裔女演員兼臥底的Bridget von Hammersmark (【國家寶藏】Diane Kruger飾)加入其行列，要合力執行將德意志第三帝國領導人消滅的刺殺行動，隨著他們得知包括希特勒在內的眾多納粹高官將出席在Shosanna經營的劇院中舉辦的一場電影首映會，命運將他們全帶到了該劇院，此時Shosanna也將展開她個人的復仇計畫，準備將納粹一舉消滅...。本片為第62屆坎城影展唯一得獎的美國電影，由Christoph Waltz贏得【最佳男演員】一獎，堪稱是鬼才導演昆丁塔倫提諾繼【追殺比爾】後的暴力美學新作。 


關於配樂

配樂方面由昆丁塔倫提諾親自選曲，依舊分別取樣過去電影大師的名作，對"Spaghetti Western"這種義大利西部片種情有獨鍾的他，因而採用以多首作品奠定此類配樂風格、曾來台舉辦演奏會的配樂大師顏尼歐莫利克奈，其為1966年【The Big Gundown】、1973年【Allonsanf?n】兩部電影所創作的配樂作品，以及60年代經典電影【邊城英烈傳】獲第33屆奧斯卡最佳配樂提名的「The Green Leaves Of Summer」、在【追殺比爾】中也出現過的「White Lightning」、還有寫出【不可能的任務】片頭音樂的阿根廷作曲家Lalo Schifrin 1970年為克林伊斯威特電影【戰略大作戰】所作的「Tiger Tank」、40年代正逢德意志第三帝國時期的德國電影【Hi Diddle Diddle】、【Die grosse Liebe】中的歌曲，更有David Bowie替電影【豹人】演唱的「Cat People (Putting Out The Fire)」等從各處精挑而來的經典配樂。塔倫提諾不管是在【惡棍特工】的劇情、背景，甚至配樂方面都試圖訴求"Spaghetti Western"式的風格，憑藉他怪異奇趣的選曲方式讓人猜不透他腦袋到底裝些什麼，又不得不佩服他對音樂的獨特看法與品味。

2009
完整十首原創錄音
夏末秋初 即將再度震撼你的聽覺  融化你的心臟!!

獨立製樂菁英團隊再集結   打造盧廣仲2009全新創作專輯
費時一年籌備  超過三個月的錄製工作時數
盧廣仲繼續一邊慢跑、一邊錄音   化生活點滴為音樂結晶
 
只為討你歡心  帶給你最青春最浪漫最生活的感動
 
網路討論度最高的學生歌手
音樂鬼才盧廣仲
挑戰自我可能   充滿音樂直覺的潛心力作  
單純天真的動物性  絕對讓你邊哭邊笑邊感動
 
添翼創越老闆兼製作人 鍾成虎說:"盧廣仲的生命正在創造新音符。他的動物直覺在帶領他探尋新的可能性。
這張唱片好聽到讓人想大叫! 充滿了創造所必須具備的浪漫與天真..."

Composition：

電音民謠Folktronica首席樂團Fence Collective，靈魂人物James Yorkston
引領優質歐陸實驗新民謠樂團The Big Eyes Family Players
網羅十一首來自大不列顛群島、愛爾蘭、西班牙…關於民謠的歌曲
縈繞十年終於譜出！James Yorkston將對於重新詮釋傳統民謠的思念，化作帶有溫度的音符

誕生於蘇格蘭的「詹姆斯約克James Yorkston」，在單飛之前，曾是Punk樂團Miraclehead裡的貝斯手，也曾是Garage搖滾樂隊Huckleberry裡的一員。除此之外，James Yorkston最讓人熟悉的另一個身份，應該就是身為蘇格蘭民謠樂隊Fence Collective裡的創作靈魂人物，Fence Collective是一個在電音民謠Folktronica領域裡與Four Tet和Devandra Banhart有著相同影響力的樂團。James Yorkston的聲音有一種魔力，就像是一個熟悉的朋友般地，用音樂音符及歌聲，為世人斟上一杯又一杯音樂好酒，就像他家鄉盛產的威士忌一樣，入喉之候就能感受到溫醇厚實。


想要唱出一些關於民謠的傳統歌曲的這個念頭，已經在James Yorkston心中縈繞長達十年之久，在這十年期間，人生歷練的堆積，加上豐富的音樂演出經驗，讓James Yorkston控制音樂情感的能力更加精進。就在發行第四張個人專輯《When The Haar Rolls In》之後，James Yorkston覺得應該是時候，來完成這個夢想！《Folk Songs》整張專輯大部分歌曲取材自60年代，其中包括Anne Briggs、Shirley Collins、Jean Ritchie、Nic Jones、Eliza Cathy & Nancy Kerr…等人的作品，網羅11首來自大不列顛群島、愛爾蘭、西班牙關於民謠的歌曲。鼓聲隆隆，〈Mary Connaught And James O’
Donnell〉是專輯中一首帶有搖滾氣息的民謠作品；〈Thorneymoor Woods〉在濃厚的傳統韻味之下，James Yorkston編織出屬於自己的獨有節奏；彷彿身處在愛爾蘭，〈Pandeirada De Entrimo〉站在山丘上，看著向遠方走去的族人；〈Little Musgrave〉的原曲在16世紀時就已廣為流傳，之後也有許多人翻唱，為了加入新意，James Yorkston特地在旋律上做了些改編，讓這首歌曲有著滿滿的史詩韻味和動人情緒，讓人十分動容；民謠界的傳唱國歌〈Savoy〉，講的是一個與眾不同女孩的故事，James Yorkston依舊讓人喜出望外；在〈Low Down In The Broom〉的引領之下，一切都在奔馳無論是速度、節奏、還是回憶。

http://www.myspace.com/mumtheband 


來自冰島的Múm,新作回歸早期的快樂氣息,他們還在愛沙尼亞租了個四周圍有許多湖泊,擁有百年歷史的老屋用來寫歌錄音.新專輯中的大部分歌曲出產於冰島最近的政治動盪時期,Múm 天真爛熳安靜平和理想主義的音樂世界與現實中混亂不堪恰成強烈對比! 


Two years after the release of their last album, eccentric pop maestros múm return with their fifth album proper, simply named Sing Along To Songs You Don't Know, a flickering candle of an album. The album is a much more laid back album than múm's most recent outings, more relaxed and quietly sad, often recalling sand running through fingers or ripples on a lake. And to an even greater extent than their previous albums, Sing Along To Songs You Don't Know is an ode to the light in its different shapes, from a fading bulb to the blinding sun. Sometimes the music sounds naively utopic, but always manages to stay effortless and pure. As usual, the songs are brimming with unusual sounds, this time much of the songs revolve around a lightly prepared piano, hammered dulcimer, a string quartet, marimbas, guitars, ukuleles and in the background of a few of the songs one can hear Örvar's parent's parakeet singing with the piano. 


The album was recorded in countless different places in four different countries, although most of it was done in múm's native Iceland. Gunnar Örn Tynes moved to a cabin in the countryside where much of the album sprang to life, but as always múm have a hard time staying put and recorded in both Estonia and Finland. In Estonia borrowed a beautiful, many hundred-year-old house in Leigo, a place of hundreds of lakes, where they wrote new songs and recorded with the Estonian Suisapäisa Mixed choir. Much of the music was hatched in the middle of Iceland's recent political turmoil and uprising. The Icelandic government was forced to resign after intermittent civil unrest and the constant banging of pots and pans. By stretching the imagination, one can imagine a link between the turbulent political situation and the serene idealism hidden in the music. 

http://www.mauricio-kagel.com/  


這是W&W為慶祝阿根廷知名實驗作曲家莫里西歐卡格爾Mauricio Kagel 75歲生日所發行的限量特別版2CD+1DVD，收錄他在六七０年代在德國科隆與WDR合作的一些重要影片與電台作品，卡格爾的創作從音樂、電影、佈景設計、劇場到文學，其影響力一直延續至今，並獲Ernst von Siemens Music Prize的肯定。去年九月不幸於德國逝世，享年76歲。


卡格爾1931年出生於布宜諾斯艾利斯，自學作曲，同時也研習哲學與文學，並跨足電影與劇場。曾提出「音樂劇場論」的他，會在演奏中加入戲劇成分，矛盾、分裂與嘲諷等具破壞力的元素，電影和劇場裡邪惡古怪般的原創性讓人稱他為「音樂界的達達主義者」。1957年移居德國，擔任柯隆室內歌劇院指揮、柏林電影與電視學院院長，在德國作曲家史托克豪森之後接任當代作曲最高機構「西德國家廣播電台電子音樂錄音室」。


在這套特別版當中，CD1稱為 "Kagel plays and sings"，為突出他作為一名演奏者，裡面收錄他著名的»Tango Alemán«、»Pandorasbox«與 »Bestiarium«。CD2則是他著名的»(Hörspiel) Ein Aufnahmezustand«，盡顯他對錄音藝術的見解。為了這次發行，所有錄音皆經由卡格爾親自重新處理。而DVD部份，則收錄他於69年拍攝有關貝多芬的超現實影片»Ludwig van«，裡面充滿他獨有的幽默、諷刺與尖銳。此外，專輯附有多達六十頁的文本、照片、繪圖與手稿等，還有影片的筆記與現場拍攝時的照片等，更添收藏價值。


CD I
Kagel plays and sings

1. Pandorasbox, bandoneonpiece (1960/....)

2. Tango Alemán

3.-5. Bestiarium

CD II
(Hörspiel) Ein Aufnahmezustand

1, Speak softly

2. Lullaby

3. Spinning top

4. Acoustic lessons for children

5. Ethnophonation

6. Excursus about the love in the Christian theology

7. Onomatopoeia and musical pictures

DVD-Video

Ludwig van

A report by Mauricio Kagel


Musicians：

2 Audio-CDs

1 DVD-Video

CD I: Mauricio Kagel, Alejandro Barletta, Jorge Risi, Carlos Roqué Alsina, Beth Griffith, Mesías Maiguashca

CD II: Peter Brötzmann, Heinz-Georg Thor, Michael Vetter, Alfred Feussner, Deborah Kagel, Mauricio Kagel, William Pearson, Christoph Caskel

DVD-Video: Joseph Beuys, Günther Boehnert, Carlos Feller, Werner Höfer, Mauricio Kagel, Rudolf Körösi, Linda Klaudius-Mann, Klaus Lindemann, Heinz-Klaus Metzger, José Montes, Schuldt, Victor Staub, Otto Tomek, Ferry Waldoff，Ursula Burghardt, Robert Filliou, Diter Rot, StefanWewerka

Sufjan Stevens is proud to present The BQE, a cinematic suite inspired by the Brooklyn-Queens Expressway and the Hula-Hoop. Commissioned by Brooklyn Academy of Music (BAM), The BQE was originally performed in the Howard Gilman Opera House in celebration of the 25th anniversary Next Wave Festival in October of 2007.

The Brooklyn-Queens Expressway is an incidental 12.7 miles of urban roadway built over the course of several decades (1939-1964), spear-headed by the master architect Robert Moses to accommodate for the increase of commercial and commuter traffic in New York City's outer boroughs. The roadway was a painstaking piecemeal project, poorly planned, badly built, and relentlessly encumbered by the obvious obstacles of the era: red tape, neighborhood protests, World War II, and a congested borough whose sequestering layout proved ill-fitting for the automobile. The resulting expressway-a pockmarked, serpentine, congested BQE-has become one of Brooklyn's most notable icons of urban blight. And, for Sufjan Stevens, an object of unmitigated inspiration.

The official album release of The BQE follows nearly two years after its original performance at BAM, providing the songwriter (and his various collaborators) ample time to wrestle out all the thematic incarnations of the project, and to attempt an appropriation of Wagner's Gesamtkunstwerk ("total work"). The resulting album might be best described as a grand creative franchise-incorporating movie, symphony, comic book, dissertation, photography, graphic design, and a 3-D Viewmaster® reel-in which a songwriter's interrogation of one of New York's ugliest landmarks expands athletically to forums and formulas outside of the song itself. In fact, the BQE is everything but a song.

First and foremost, The BQE is a self-made home-movie documentation, exhibiting how all the architectural colors of Brooklyn and Queens are fabulously intersected by this ramshackle artery of highway traffic. Shot renegade style on do-it-yourself film cameras, the animated footage of grid-lock crisscrossing the brick and mortar of Brooklyn flickers and cascades Koyaanisqatsi-style on three simultaneous screens. The 16mm cinematography (heroically shot by Reuben Kleiner on a 1960s Bolex) utilizes time-lapse photography, in-camera editing, slow motion, and post-production mirror effects to transform urban blight into a splendor of graphic compositions.

The BQE is also accompanied by an idiosyncratic musical soundtrack (composed by Stevens for band and chamber orchestra), evoking a romanticized musical choreography of perpetual motion vs. gridlock. Borrowing variously from Gershwin, Terry Riley, Charles Ives, and Autechre (to name a few), the music showcases skittish woodwinds wrestling out impressionist articulation (in 7/8) and imperial brass anthems evoking various incarnations of the music of the automobile.

The BQE further extends its mythology by anthropomorphizing the expressway and its theoretical conceits into a 40-page comic book (cover by Matt Loux, masthead by Christian Acker), in which three extra-terrestrial superhero sisters (Botanica, Quantus, and Electress) use hula-hoops to combat the "the Messiah of Civic Projects," Captain Moses, and his totalitarian social architecture. The comic book, written by Stevens and gorgeously drawn, colored, and inked by longtime friend and collaborator Stephen Halker, visualizes in graphic form many of the political motifs of the movie and soundtrack: mid-century urban theory, modernism, post-modernism, hoop dynamics, and the spiritual practice of Subud.

By incorporating an anachronistic graphic novel, the album utilizes artifacts from the Golden Age of the American highway (1930s-1960s). This also inspired the inclusion of a stereoscopic Viewmaster® reel. Seven 3-D images-also created by Stephen Halker-are meant to accompany the seven movements of The BQE. While an ostensibly gimmicky object of kitsch, the 3-D reel, upon closer inspection, becomes a fitting metaphor for the thematic premises posed by the BQE: its circular geometry mirrors the hula hoop, its numerology (seven divisions) runs parallel to the seven movements of the musical suite, and its historical circumstances shed light on the modernist themes of the album.

Originally unveiled at the World's Fair of 1939 in Flushing, Queens, the Viewmaster promoted 3-D panoramic illusions of the American landscape (the Grand Canyon, the Redwoods, New York City, for instance), advertising various tourist destinations as a way to inspire American drivers to boldly go (via automobile and super highway) where no man has gone before. Incidentally, the first portion of the BQE included the Kosciusko Bridge, connecting the boroughs of Brooklyn and Queens over Newtown Creek as an efficient means of funneling tourist traffic to the World's Fair. From this reading, the BQE and the Viewmaster reel are odd accomplices in the modernist conspiracy to mobilize Americans nationwide.

Many of these thematic abstractions are rendered as a meandering social treatise-via prose-poem psychobabble liner notes by Sufjan Stevens. In this case, the songwriter borrows from multiple theoretical sources to evoke how the vainglorious battle between the "Artist" and the "Object of Inspiration" ultimately leads to self-absorption, existential exhaustion, and morbid futility in the Finding The Right Metaphor. For Stevens, this metaphor (in its struggle to creatively render an object as irreducible as the BQE) expands into a multitude of forms and figures, like a shape-shifting chimera of infinite significance-resulting in an album that refuses to be just one thing.

The BQE is available as a double-disc format (CD/DVD), which includes the original 16mm/8mm film (in widescreen "triptych" display), the original motion picture soundtrack, a 40-page booklet (with extensive liner notes and photographs), and the stereoscopic image reel (playable in all View-Master® viewers).

The limited edition vinyl is available as a double gatefold and includes the soundtrack on 180-gram vinyl, a large-scale 32-page booklet with liner notes and photographs, and a black-and-white version of the 40-page Hooper Heroes comic book.

Atlas Sound - Logos (new song) (live)