一半实 一半虚 一半真 一半假 一半 一半

Artist：Guitar
Album：Tokyo
Styles：Indie Rock,Indie Electronic
Label：Onitor
Release Date：Feb 21, 2006

文件过期:2006-12-04 21:31

文件提取码:1751711173445990

PS:这几天在理盘时翻出这张德国音乐家Michael Luckner与日本女声Ayako Akashiba的组合

再次high翻,女声虽然很少出现,但每次出现都让人激动不已,4AD式的仙音派

Biography:

The Subways features Billy Lunn (guitar/vocals), Charlotte Cooper (bass/vocals), and Josh Morgan (drums). The high-spirited alternative rock outfit came together in the suburb of Welwyn, Garden City, in 2002 when the bandmembers were only in their early teens. Lunn took his mother's maiden name as his rock & roll moniker while his younger brother, Josh, stuck with the family name. As kids, both would raid their parent's record collection. Growing up on AC/DC, the Carpenters, T. Rex, the Beatles, and the Ramones was just the start for the brothers Morgan. It wasn't until Lunn saw Oasis perform "Supersonic" on Top of the Pops that he began practicing on his dad's old acoustic guitar, dreaming of a career in music.

Also around this time, Lunn met kindred music fan Charlotte Cooper. Both shared a fondness for Nirvana, the Pixies, the Jam, Mudhoney, and the Sex Pistols — thus Cooper started to learn bass while Morgan took up playing the drums. The trio delivered an energetic, fresh, punk-inspired sound. In 2004, the Subways won the Glastonbury Festival Unsigned Performers Competition. They went from playing pubs in and around London to performing in front of 10,000 people. Prior to the year's end, the Subways began working with producer Ian Broudie (Echo & the Bunnymen, the Coral, Dodgy, I Am Kloot) for the recording of their debut album. Young for Eternity was released in the U.K. in summer 2005. An appearance on Fox's The OC as well as a spot on the Music from The O.C.: Mix 5 compilation followed that fall. Young for Eternity was issued in the States in February 2006.

Artist：The Subways
Album：Young for Eternity
AMG:
Styles：Alternative Pop/ Rock
Label：WEA
Release Date：Feb 14, 2006

Review:

Rock & roll is the province of youth. Each generation needs new bands to call its own, preferably bands close to the audience's own age. Hence, the Subways, a U.K. trio who won the Best Unsigned Band competition at the 2004 Glastonbury Festival and released their debut album, Young for Eternity, the following year when they were all still in their teens (it appeared in America early in 2006). As evidenced by their victory at Glastonbury, a large portion of the Subways' appeal was built on their live act, which according to most reports, crackles with energy. Not that you could really tell that from Young for Eternity, since producer Ian Broudie, the former leader of the Lightning Seeds who also helmed albums for the Coral and the Zutons, gives the Subways a gilded, anonymous sheen where the guitars and drums sound so big, they wind up diminishing the songs themselves. Wrapped up in this oversized production, the Subways sound superficially mature, but their songs are clearly the work of teenagers, scrabbling together strands of their favorite bands — chiefly Nirvana and Oasis, yet there are elements of other Britpop bands like Supergrass, along with post-grunge groups like the Vines — to create something that feels comfortably familiar even as it rages to say something new. To a certain extent, this is par for the course for debut albums, where a band's influences are readily apparent, so often the key to first albums is to listen to how a group fuses their favorite bands together or how they harness their energy in the studio. Unfortunately, neither of these are evident on Young for Eternity. Whether they're grunge-saturated punk rockers or wistful ballads in the style of Noel Gallagher, the tunes are generic, and the slick, bright sound doesn't elevate them beyond the commonplace. Never once do they have the breakneck invention or infectious that Supergrass illustrated on their debut, I Should Coco, nor do they have the earnest energy Ash displayed on their first album, 1977, to name two teenage Brit groups the Subways resemble. In comparison, the Subways are well-scrubbed and well-behaved, a punk-pop group direct from central casting: they're cute and photogenic, they look the part and play it competently — and without much distinction, either. It's music that's good enough, but not good enough to remember, particularly because they haven't stamped their punk-pop with either originality or excitement, at least on record. Not that Young for Eternity is bad, but it is rather rote, the kind of record that has been made many times before, often better. This may be a problem only for listeners who already have had bands to call their own — teenagers in 2005 and 2006 may find this to speak directly to them simply because the Subways are new in appearance, even if they aren't new in sound. But the best records made by teens not only speak to their generation, they also offer bracing reminders of what it was like to be stuck in adolescence, where the world lay just outside of your grasp, but anything seemed possible. Young for Eternity falls short of that standard and, in a way, offers the opposite experience: at its best, it serves as a reminder of the monotony of waiting to grow up.

文件过期:2006-12-01 13:57

文件提取码:2462424229242142

Artist：The Fiery Furnaces
Album：Gallowsbird's Bark
AMG:
Styles：Indie Rock
Label：Rough Trade/Sanctuary
Release Date：Sep 23, 2003

Review:

While the Fiery Furnaces arrived in a music scene teeming with bands formed by brothers and sisters (or, at least, by people who claim to be) and bands from New York, on their debut album, Gallowsbird's Bark, this brother-and-sister-led group from New York manages to avoid the pitfalls that those superficial similarities suggest. It's true that garage rock and post-punk form the foundations of the band's style, but the Fiery Furnaces' loose-limbed music also incorporates folk, blues, and music hall, setting them worlds apart from the stylish, often jaded sounds of their fellow New Yorkers. In fact, the band doesn't sound like it's from anywhere in particular. Gallowsbird's Bark's name and wonky twists and turns hint at a British influence, but at heart, the Fiery Furnaces are scavengers and vagabonds, with rambling songs about roaming (the album isn't decorated with imagery from maps for nothing). "Bright Blue Tie" is a whimsically detailed travelogue of Sweden, and although "Tropical Ice-Land" may not be an actual destination, its shimmering folk-pop makes it no less vivid. A sense of fun is also palpable on Gallowsbird's Bark, partly because Eleanor Friedberger sings lyrics like "I gave my cell phone to my cousin/He plays the threats that I get to his friends at school" like an elegant dare, and partly because the pianos that grace nearly every track emphasize their playful theatricality. Songs like "Inca Rag/Name Game" and "Bow Wow" have a strangely jolly, vintage flair, as though they're from some lost songbook from the turn of the century — although which century isn't exactly clear. Even when the Fiery Furnaces take turns toward the menacing, as on "Leaky Tunnel" and the paranoid, elliptically political album closer, "We Got Back the Plague," a dry wit runs through their songs that keeps them from being dour. Some of the album's best moments manage to be fun and menacing at the same time. The nervy "I'm Gonna Run" features a great distillation of on-the-job ennui ("Slit my wrists with my Swingline/Copied myself 500 times"), and "Don't Dance Her Down" could soundtrack a bar fight. While songs like "Crystal Clear" and "Two Fat Feet" sound dizzying and jumbled at first, eventually their gleeful chaos settles into something a little more orderly, but no less mischievous. A fantastic debut album that only gets richer and better with more listens, Gallowsbird's Bark is more fully formed and daring than most second or third albums from many bands. It's a work full of mysterious fun, and the fact that its oddly old sound makes it one of 2003's freshest albums is one of the least mysterious things about it.

文件过期:2006-10-05 12:22

文件提取码:9809761774840862

Artist：The Fiery Furnaces
Album：Blueberry Boat
AMG:
Styles：Indie Rock,Garage Rock Revival
Label：Rough Trade/Sanctuary
Release Date：Jul 13, 2004

Review:

Overflowing with creativity and energy, fueled by a cheery restlessness, the Fiery Furnaces are perhaps the most charmingly difficult rock band in years. Most acts wait a few albums to unleash their rock operas and concept albums, but just as Gallowsbird's Bark seemed to contain several albums' worth of ideas and melodies (that often sounded like they were playing at once), the Fiery Furnaces skip ahead and deliver the fascinating, vaguely conceptual, and only occasionally frustrating Blueberry Boat less than a year after their debut. The band packs even more stuff into these 13 songs, nearly all of which have distinct movements that sound like two or three times as many tracks. Stories about pirates, Spain, a love triangle, a girl kidnapped into white slavery, World War I, and (of course) blueberries are surrounded by strange noises and twists that act like funhouse mirrors, stretching and warping the album's essentially simple melodies until they're about to fall apart. At times, Blueberry Boat sounds like it was made entirely out of the noodly bits that most other bands would junk for being too weird and difficult, but the Fiery Furnaces forge them into an album that's both more pop and more radical than Gallowsbird's Bark. Granted, it's not a total change from the band's previous material: Gallowsbird's Bark's medley-like "Inca Rag/Name Game" and "Tropical Ice-Land/Rub-Alcohol Blues/We Got the Plague" suggested that the band really wanted to make multifaceted epics that stretch out to ten minutes or thereabouts (of which there are four on this album).

The rootless, rambling, travelogue feel of their debut remains, but Blueberry Boat feels more like a breakneck tour through different kinds of music — around the canon in 80 minutes. Keyboards, drum machines, samples, loops, and computer manipulation abound, giving the album a sparkly, colder sonic palette that feels like an equal and opposite reaction to the earth-toned garage-folk-blues of Gallowsbird's Bark. The bright, bold title track — the tale of the hapless captain of a blueberry boat beset by pirates — is one of the most striking examples of the album's new sounds: starting with a busy signal-like loop backed by a faux hip-hop beat, the song quickly shifts to a wheezy, shuffling rhythm and steep slide guitars; carnival organs make way for relatively down-to-earth guitars, pianos, and keyboards before beginning all over again. As the captain, Eleanor Friedberger goes down with the ship and her blueberries, and this kind of perversely stubborn bravery mirrors the band's fearless artistic leaps.

The Fiery Furnaces disorient their listeners and then charm them, or charm them by disorienting them; fortunately, because their music actually is pretty charming, this tactic usually works. At their best, their albums feel like the adventures of the Friedberger siblings; Eleanor's voice is as aloof and, er, fiery as ever, although she sounds downright gentle on "Turning Round." Matthew Friedberger sings more on Blueberry Boat, and his quieter delivery makes a striking contrast to his sister's more attention-getting vocals. But sometimes they sound almost like the same person, especially on the strangely sing-songy melody of "Quay Cur," one of many songs with lyrics as insanely detailed as the sounds that surround them. On top of the many allusions and references in the album — which include Beanie Babies, Sir Robert Grayson, OxyContin, and Damascus computer cafes — dazzling, obscure wordplay like "you geeched that gazoon's gow" fill out more than a few songs. You could say that the Friedbergers' stream-of-consciousness approach nearly reaches Joyce levels, but that would be pretentious, and while Blueberry Boat might seem pretentious on paper, it's actually just playfully brainy. The delightful "Birdie Brain" rails against the march of progress and technology (and antiquated technology, like steam trains and livery cars, at that) against a backdrop of twinkly synths straight out of the PBS astronomy show Star Hustler.

Blueberry Boat sounds like it was made for and by people with highly developed long and short attention spans; it's an album of children's songs for adults. This is especially apparent than on "Chief Inspector Blancheflower." It begins as a story about a boy unable to concentrate long enough to get good grades but with a sharp focus for details like "tickets, tangibles, chips and stars." Matthew Friedberger's lead vocal is backed by a tweaked, babyish one, mimicking the song's flashback lyrics. It's a clever trick, and at times, the album threatens to drown in its own wittiness, but every now and then there's a briefly emotional moment that's more powerful than an entire ballad would be; the instrumental coda at the end of "Blancheflower" is one of these glimpses. The band also has a gift for making the strange sound familiar and the familiar sound strange: on "Chris Michaels" they pay homage to the Who, the past masters of rock operas and concept albums. Eleanor plays the emotive Roger Daltrey to Matthew's more reflective, pensive Pete Townshend, and the song's rapid-fire riffs, big pianos, and mix of stomping rock with plaintive interludes is pure Who — although the Who never wrote a rock opera that involves getting arrested for credit card fraud and escaping from the Bombay Army. But, fortunately, the Fiery Furnaces did. As engaging as the album can be, it's still a lot to digest; in the wrong mood, it can feel like too much time spent at the amusement park. Blueberry Boat can be appreciated in the same way you would a puzzle box with intricate, endlessly shifting parts: you can spend a lot of time trying to unlock (or describe) its riddles, or just enjoy the artfulness behind them.

文件过期:2006-10-05 12:58

文件提取码:8798759932446304

Artist：The Fiery Furnaces
Album：Rehearsing My Choir
AMG:
Styles：Indie Rock,Garage Rock Revival
Label：Rough Trade/Sanctuary
Release Date：Jul 13, 2004

Review:

For better or worse, Rehearsing My Choir — the Fiery Furnaces' collaboration with their grandmother, Olga Sarantos — is a family reunion set to tape: equally intimate and insular. It's not that the audience isn't invited to listen in, it's just that the Friedberger siblings and their grandma are so in their element that they don't necessarily notice when their listeners aren't following along. The album, which loosely interprets and embellishes some of Sarantos' memories of life in Chicago (using Eleanor's vocals as flashbacks and Sarantos' as the voice of experience) is easily their most challenging work yet. Interestingly, along with Sufjan Stevens' Illinois, it's also the second indie album in 2005 to explore Chicago and its environs. But while Illinois plays like a Fodor's Guide, Rehearsing My Choir is more like asking a local for directions or a recommendation for a really good pizza place and hearing bits and pieces of their life story along the way. Theoretically, Rehearsing My Choir's singular story should make it a more focused work than Blueberry Boat, but its rambling, stream-of-consciousness feel makes it even harder to get your bearings in the storytelling. Indeed, the album feels more like a radio play or an audio book than a collection of songs (and its liner notes may as well be a play program), and it pretty much demands to be listened to as a whole, at least the first few times. Musically, the album focuses on the Furnaces' signature pianos, which sound like they belong in a speakeasy, parlor, or melodramatic silent movie score, depending on the mood of any particular song. Mischievous, rag-tag melodies abound, especially on "Candymaker's Knife in My Handbag" and "Fortyeight Twentythree Twentysecond Street," which turns into deranged salsa halfway through. Sarantos' voice is strong and sardonic, while Eleanor has never sounded better, particularly on "Slavin' Away." Grandmother and granddaughter have some funny back-and-forth dialogue as past and present. On "The Wayward Granddaughter," Eleanor begins, "Once upon a time there were two Kevins," and Sarantos retorts, "You mean two jerks." And as difficult as the album can be, Rehearsing My Choir does have some fascinating stories to tell, especially when the memories mix with fantasy: "Guns Under the Counter" mentions a doctor who is also a donut maker, and repairs gunshot wounds with blackberry filling. "Seven Silver Curses," which recalls Blueberry Boat's longer tracks and is almost a story unto itself, finds Sarantos racing around town, gathering ingredients for a potion to tame her cheating husband. Still, it's easy to feel that the Fiery Furnaces are throwing way too much at their listeners with this album; it's probably not going to appeal to people who want their indie rock to have hooks, rousing choruses, or singalong melodies, and even some who loved Blueberry Boat might have a hard time getting into Rehearsing My Choir. The album cements the band as a love-them-or-hate-them proposition, but the Fiery Furnaces remain true to themselves.

文件过期:2006-10-05 12:43

文件提取码:0690652313844215

Artist：The Fiery Furnaces
Album：Bitter Tea
AMG:
Styles：Indie Rock,Garage Rock Revival
Label：Rough Trade/Sanctuary
Release Date：Apr 18, 2006

Review:

Initially intended to be the companion piece to their 2005 epic Rehearsing My Choir — aka "the grandmother album" — the Fiery Furnaces' Bitter Tea arrived half a year later and on a new label for the band, Fat Possum (where, presumably, the Friedbergers will keep company with the Black Keys as the blues imprint's fledgling indie rock colony). Concieved as a more youthful album of lovelorn songs to go along with Choir's voice of maturity, Bitter Tea is slightly less complicated than its would-be companion album; in fact, it features some of the band's catchiest songs since EP. "I'm Waiting to Know You" turns a moony, '50s-style ballad into slow-dance synth pop, while " Police Sweater Blood Vow" is warm, playful, and even a little sexy, and as straightforward as any song with "Vibrate buzz buzz ring and beep" as part of its chorus can be. However, this is a Fiery Furnaces album, and lest things get too poppy, some of Bitter Tea's best songs are shot through with lengthy passages of burbling synths. Both "Benton Harbor Blues," which features gorgeous vocals, a Motown-inspired bassline, and emotional but not overly sentimental lyrics, and "Teach Me Sweetheart," which could easily be a yearning power ballad along the lines of Yeah Yeah Yeahs' "Maps" in the hands of a more commercially minded band, both feel like thwarted pop singles.

Of course, part of the Fiery Furnaces' appeal from the beginning has been the way they screw with what could be very simple, almost ditty-like songs. However, on Bitter Tea the ways that they mess with their music aren't always as intriguing or memorable as what the songs could've been like if they were eccentric yet concise in the way that, say, Gallowsbird's Bark was. At times, the album feels oddly diluted, neither as strikingly experimental as Blueberry Boat or Rehearsing My Choir, nor as brilliantly catchy as their debut. And at 72 minutes, Bitter Tea is too long; the stories that it tells just aren't big enough to fill up all that space. Still this is a Fiery Furnaces album, and even if all the songs aren't uniformly great, there's something interesting about each of them: "I'm in No Mood" sounds a little like a fractured version of "Flight of the Bumblebee" performed by a haywire player piano; "Oh Sweet Woods" moves from a thumping dance beat to flowing acoustic guitars, then nods to Michael Jackson's "Billie Jean"; and, with its Asian-inspired melody, "Bitter Tea" itself is one of the more rambling, suite-like songs that works. Bitter Tea does indeed work well as a companion piece to Rehearsing My Choir, as well. The refrain of "once upon a time" in "Nevers" mirrors Choir's "Remember Then?," and "The Vietnamese Telephone Ministry" is a spooky, cryptic recitation of places and addresses along the lines of "Seven Silver Curses." Meanwhile, the backward vocals and instrumentation that make up one of Bitter Tea's main motifs could convey looking back on youth or rewinding time — or they could be there just because they sound really trippy. Anyone who enjoyed having their brains and ears rearranged by Blueberry Boat and Rehearsing My Choir should find Bitter Tea enjoyable, but at this point, it seems like the most challenging thing the Fiery Furnaces could do is trust their pop instincts a little more often.

文件过期:2006-10-05 12:35

文件提取码:1161123919341261

PS:The Fiery Furnaces玩的怪奇音乐怪的来即出奇地有新鲜感和悦耳,

其创意度之高,你在歌曲的开头绝对预计不到结尾

Artist：Bettie Serveert
Album：Bare Stripped Naked
AMG:
Styles：Indie Rock,Indie Pop
Label：Minty Fresh
Release Date：Sep 12, 2006

Review:

Bettie Serveert has been at it for a long time. Since the release of 1992's indie rock classic Palomine, the band's career has been a series of ups and downs, missed opportunities, fading fortunes, misguided reviews, and strong comebacks. Basically, it's been the story of any indie rock band that never gave up in the face of adversity and kept their hearts and souls in the music as the chance to make it "big" becomes increasingly remote. You have to admire a band like that, especially one that can still deliver an album as good as 2006's Bare Stripped Naked after 15 years plus of struggling. As the title indicates, most of the record features spare instrumentation and restrained performances as the band settles into a mood of introspection and heartache. Peter Visser's guitar work is heroic as he fills the tunes with achingly melodic lines and dramatic effects-laden smears of sound, but as ever, Carol van Dyk is the focal point of the band. Her vocals are as sweet and intimate as usual, but time has given her voice a ragged vibrato that she uses to stunning effect on the more heartfelt ballads like "Roadmovies" and "The Rope." The album's highlights are new versions of an old classic (an atmospheric take on "Brain-Tag," one of the best songs on Palomine) and a more recent gem (a ripping, Neil Young-inspired version of Log 22's "Certainlie"), but the group's new songs display the usual level of high-quality songwriting and performance. Only the cabaret-style ballad " Painted Word" is a letdown (too quirky by half); the rest of the record features devastatingly heartbroken ballads (especially "2nd Time" and "What They Call Love") and what could have been a huge hit in 1992, "Hell = Other People." Sporting classic indie rock chord progressions, an instantly familiar melody, and van Dyk's most charming vocal ever, the song appears twice on the album and you might find yourself wishing it appeared more because it's just that good! Bettie Serveert is a survivor and this record is a rousing and heroic reminder of what a great band they were and continue to be. [The CD is packaged with a DVD that contains a loose and entertaining concert filmed in Brussels, footage of the band recording the album, a photo gallery, and a video for "Roadmovies." The behind-the-scenes footage is pleasant viewing for Bettie fans, but the concert is vital viewing if only for the wonderful banjo-led version of "Tom Boy."]

文件过期:2006-09-20 22:17

文件提取码:5805765349540139

In late 2003, things picked up rapidly and a bit weirdly for folkie Alexi Murdoch. Moving to balmy Los Angeles from Scotland in the late '90s, Murdoch let the sleepy, weepy U.K. folk sound seep into indie and lo-fi influences. But he never did much with his music beyond some local gigs, he worried about damaging his personal attachment to the songs. That was until September 2003, when Murdoch appeared on Nic Harcourt's tastemaking Morning Becomes Eclectic show on the L.A. public radio outlet KCRW. The singer's halting, tender vocals and understated acoustic guitar work made a huge impact, and suddenly, savvy music licensers — not to mention major labels — were knocking on the Scotsman's door. He performed at the Sundance Film Festival in January 2004, was slated for SXSW that March, and made all the teenagers cry when his dusty, melancholy "Orange Sky" tinged a particularly sentimental moment on the breakout Fox TV hit The O.C. Murdoch took his sudden and unexpected success in stride, promoting his self-released EP Four Songs and planning a spring U.S. tour while continuing to field offers from the clamoring major labels. However, not finding the right offer, Murdoch decided to again independently record and issue his first full-length, 2006's Time Without Consequence, which contained three of the four songs also included on his EP.

Artist：Alexi Murdoch
Album：Time Without Consequence
AMG:
Styles：Lo-Fi,Indie Rock
Label：Zero Summer
Release Date：Jun 6, 2006

Review:

After appearing on the soundtrack to the hit TV show The OC, Alexi Murdoch could have easily followed Death Cab for Cutie onto the major label merry-go-round and let a bevy of A&R folks shape him into Next Big Thinghood. Instead, the Scottish singer/songwriter's self-released debut full-length bears haunting similarities to the likes of Nick Drake's Pink Moon, hardly the way to mainstream stardom no matter how many car commercials it inspires. Nearly a third of the album will be familiar to those who already have Murdoch's 2004 EP Four Songs, three-quarters of which is reprised here, including "Orange Sky," the aforementioned small-screen favorite. ("It's Only Fear" is the sole track that didn't make the leap, insuring collector-geek status for the EP.) The remaining eight songs are, in the best possible sense, more of the same, and in the case of the first single "Dream About Flying" and the haunted opener "All My Days," they surpass the older songs. Murdoch's murmuring, Drake-like vocals and John Martyn-style acoustic guitar are at the forefront of the album, with only the most minimal accompaniment. Detractors might dismiss Time Without Consequence as the work of a Cat Stevens for the Garden State generation, but there's a always a place for hushed intimacy and delicate folk-pop singer/songwriters, and Alexi Murdoch fills the bill without the mewling self-absorption of the emo contingent.

文件过期:2006-09-15 18:47

文件提取码:4964928239849735

PS:大家可曾记得Prison Break第一季里的插曲Orange Sky


正是这位民谣诗人所演绎.

Artist：Jay Jay Johanson
Album：Tattoo
Styles：Electronica
Label：BMG
Release Date：1999

文件过期:2006-09-15 08:48

文件提取码:1541505984748230

Artist：Jay Jay Johanson
Album：Whiskey
Styles：Electronica
Release Date：1999

文件过期:2006-09-15 08:55

 文件提取码:4954911586646245

Artist：Jay Jay Johanson
Album：Poison
Styles：Electronica
Label：BMG
Release Date：2000

文件过期:2006-09-15 08:55

文件提取码:3593551516444897

Artist：Jay Jay Johanson
Album：Antenna
Styles：Electronica,Club/Dance
Label：E-Magine
Release Date：Apr 29, 2003

文件过期:2006-09-15 09:03  

文件提取码:2632590236447727

Artist：Jay Jay Johanson
Album：Rush
Styles：Electronica
Label：EMI
Release Date：Oct 4, 2005

文件过期:2006-09-15 08:49

文件提取码:2542508393747600 

Their sound veering from post-grunge balladry to funk and ambient breakbeat to Madchester acid house, the Beta Band emerged on the British scene as (nominally) a pop group with few similarities to any other act going. Formed around three friends originally from Edinburgh — vocalist Stephen Mason, drummer Robin Jones, and DJ/sampler John Maclean — the group later drafted bassist Richard Greentree. Scant months after forming, the Beta Band added a formidable ally in gaining exposure: manager Brian Cannon, the designer responsible for virtually every Oasis sleeve released to that point. The group's first EP, 1997's Champion Versions, featured mixing by the Verve's Nick McCabe. Two additional EPs followed in early 1998, The Patty Patty Sound and Los Amigos del Beta Bandidos. After collecting all three EPs on an album, the Beta Band began recording for their proper debut, a self-titled effort released in 1999. While prepping for the release of their sophomore effort, Hot Shots II in summer 2001, the Beta Band scored the opening slot on Radiohead's monumental summer tour of the United States. Initial recordings for their next LP began around the same time; after self-producing the record and subsequently passing it over to Nigel Godrich for a final mix, the group released Heroes to Zeros in spring 2004. Just a few months later, the Beta Band announced they would disband at the end of 2004, citing the frustration of much critical praise but no commercial impact. The Best of the Beta Band — a two-disc package containing one of their last performances — was released in 2005.

Artist：The Beta Band
Album：The Beta Band
AMG:
Styles：Trip-Hop,Indie Rock
Label：Astralwerks
Release Date：Jun 15, 1999

文件过期:2006-08-31 14:31

文件提取码:6116076361648171

Artist：The Beta Band
Album：Hot Shots II [Bonus Track]
AMG:
Styles：Indie Rock,Trip-Hop,Electronica
Label：Astralwerks/Regal
Release Date：Jun 26, 2001

文件过期:2006-08-31 14:36

文件提取码:0650619320245944

Artist：The Beta Band
Album：Heroes to Zeros
AMG:
Styles：Indie Rock,Indie Electronica
Label：Astralwerks
Release Date：May 4, 2004

文件过期:2006-08-31 14:24

文件提取码:5515470932040479

You Say Party! We Say Die!是一支加拿大乐队，成立于2004年。当年曾自己发行了一张EP “Dansk Wad”。
　　2005年秋，他们正式在加拿大和美国出版了自己的第一张专辑《Hit The Floor!》，随后，他们就开始了自己的第一次加拿大巡演——结果，半路上车坏了……
　　当然，后来他们还是演成了，甚至还在春天去了趟欧洲。
　　现在，他们正在准备自己的下一张专辑，而且会在8月的欧洲以及北美巡演时演出。在那之后，他们计划去日本和澳洲。

Artist：You Say Party! We Say Die!
Album：Hit the Floor
Styles：Dance Punk、UpBeat、Indie Rock
Label：Sound Document
Official web：http://www.yousaypartywesaydie.ca
Myspace:http://www.myspace.com/yousaypartywesaydie

Tracklist

1. Overture
2. Cold Hands! Hot Bodies!
3. Stockholm Syndrome Part One
4. Stockholm Syndrome Part Two
5. You Did It!
6. The Gap (Between The Rich And The Poor)
7. Midnight Snack
8. Love In The New Millenium (Your Pants My Couch)
9. Jazz Crabs
10. Rise
11. He!She!You!Me!They!We!Us!OK
12. Don't Wait Up

文件过期：2006-08-03 13:02

文件提取码：2672633550542015

Artist：Jim O'Rourke
Album：Eureka
AMG:
Styles：Post-Rock/ Experimental,Indie Rock,Experimental Rock
Label：Drag City
Release Date：Jul 1997-Dec 1998

专辑介绍：

It's a good bet to expect the unexpected with Jim O'Rourke — no matter which hat he's wearing (solo artist, bandmate, producer, remixer, etc.), each of the endlessly prolific projects that bears his name takes on a shape and identity all its own while retaining the originality and ingenuity that have become the hallmarks of his singular body of work. Eureka is perhaps his most stunning and surprising detour yet, a full-blown excursion into lush, melodic pop; granted, there's something inherently perverse about the very notion of O'Rourke and Chicago underground cronies like trombonist Jeb Bishop and cornetist Rob Mazurek tackling such classicist stuff, but instead the album is short on irony and long on affection — in fact, its most subversive dimension is its very real mainstream appeal. What's most fascinating about Eureka is that its big, bright pop is actually the perfect showcase for O'Rourke's mastery of sound — highlights like the epic opener "Women of the World" and a joyously schmaltzy cover of the Bacharach/David chestnut "Something Big" are crafted with remarkable care and depth, the former in particular building and blooming in truly majestic fashion. On a conceptual level, of course, it's easy to view Eureka as another in a long line of deconstructionist experiments, a reading more overtly avant songs like "Movie on the Way Down" and "Through the Night Softly" certainly bears out; on a deeper level, however, it's a true labor of love, and its sheer exuberance and creativity go further in re-shaping the pop aesthetic than any pure intellectual exercise ever could.

（by allmusic)

专辑曲目：

1. Prelude to 110 or 220/Women of the World
2. Ghost Ship in a Storm
3. Movie on the Way Down
4. Through the Night Softly
5. Please Patronize Are Sponsers
6. Something Big
7. Eureka
8. Happy Holidays

文件过期：2006-08-02 23:46

文件提取码：6946905236247112

惘闻成立于1999年的大连，这是由当时2个酷爱The Smashing Pumpkins的蹩脚吉他手发起的乐队，鼓手加入并为乐队带来了“惘闻”这个名字，当时的想法是：没有人知道，也不在意外界的看法。乐队于1999年自行录制第一张小样“动物世界”，之后，乐队在不停的创作与演出过程中不停的更换着乐手，2000年自行录制“凌水河”，2002年录制第三张小样“晦涩的阴阳之路”，同时乐队的风格也逐渐发生变化，逐渐抛弃了人声而朝着纯器乐的方向发展，并开始受到广泛关注，被认为是中国后摇滚和迷幻音乐的代表乐队之一。对惘闻音乐影响的乐队主要包括:Mogwai, Red Red Meat, Mono, Explosion in the Sky, Polvo, Tortois，GYBE等。

惘闻乐队现成员：
吉他：谢玉港/耿鑫
贝斯：铮子
键盘：岩峰
鼓：连江

2003年在So Rock唱片公司旗下发行首张唱片“28天失眠日记”。
2004年3月，乐队接受“我爱摇滚乐”杂志的专访
2004年歌曲“垂死的岁末”和“丰收”入选so rock当年的精选集。
2004年录制长达20分钟的单曲“潮”，并发表在“我爱摇滚乐”和“通俗歌曲”杂志的附送CD中。
2004年7月，乐队接受“通俗歌曲”杂志的专访。
2004年底-2005年初录制完成并自主限量发行唱片“6 Tales for 50 People”
2005年 6月，乐队创建Rock Action Club, 目前已成为大连唯一一个摇滚音乐的演出基地。
2005年11月，乐队重新缩混了“6 Tales for 50 People”中的作品，并再版发行，并把专辑更名为“RE:RE:RE”。
2006年1月，乐队为05年MIDI音乐节DVD纪录片录制片尾曲“APPLE”。

乐队演出经历：
1999年4月7日，参加大连诺亚方舟酒吧纪念Kurt Cobain的演出，这是乐队首次亮相。
1999年10月，参加在大连机车俱乐部举行首次大连的摇滚音乐节。
1999年11月-2000年1月，惘闻进行了一次高校的小规模巡演（大连大学、大连海事大学、辽宁师范大学等）
2000年3月，惘闻在大连开发区朋克酒吧进行专场演出。
2000年4月，参加诺亚方舟的纪念演出。
2004年6月，在大连海事大学小礼堂进行演出。
2000年11月，在北京的橡树酒吧进行专场演出。
2001年3月，参加大连民族学院艺术节演出。
2001年4月，在诺亚方舟酒吧进行第二张小样“凌水河”的首发演出。
2001年6月，旗中旗酒吧同棚栏乐队进行演出。
2001年7月-9月，惘闻同苔藓以及旗帜乐队进行大连高校的巡演。
2001年10月，参加青少年宫举办的摇滚音乐会
2002年2月，在小鸟酒吧进行第三张小样“晦涩的阴阳之路”的首发演出。
2002年4月，在轮回酒吧同苔藓乐队进行演出。
2002年6月，在诺亚方舟酒吧进行演出。
2002年7月，在都市夜景酒吧同多只大连乐队进行演出。
2003年9月，在极地酒吧进行“28天失眠日记”的首发演出。
2004年5月，在北京新豪运酒吧参加“谁在春天里歌唱”的系列演出。
2005年5月，在北京的无名高地酒吧、13 CLUB、上海的哈雷酒吧进行小规模的巡回演出；
2005年7月，同上海的戈多乐队一同在大连的希夏邦马酒吧进行演出；
2005年8月，参加R.A Club的开业演出。
2005年10月在大连R.A Club进行主题为“马拉松演出”的长达150分钟的不间断演出。
2005年10月，同Spiral Cow乐队一起进行“RE:RE:RE:”的首发演出。
2005年11月，北京无名高地酒吧专场演出。
2006年1月，北京无名高地酒吧专场演出。
2006年1月14日，在RA Club举行乐队的7周年纪念演出。受到广泛的关注，被认为是中国后摇滚和迷幻音乐的代表乐队之一。

中文名称：二十八天失眠日记
发行时间：2003年
专辑歌手：惘闻乐队
地区：大陆
语言：普通话

专辑曲目：

1．光（演奏曲）
2．垂死的岁末
3．丰收
4．奔丧
5．报仇
6．汉人（演奏曲）
7．辞行
8．素食者
9．A Song For Yu Wen

文件过期： 2006-07-15 21:10

文件提取码：9689674081813914

The punchy modern rock outfit the Bravery features Sam Endicott (vocals/guitar), John Conway (keyboards), Anthony Burulcich (drums), Michael Zakarin (guitar), and Mike H. (bass). The New York five-piece got its start in early 2003. After playing its first gig at the Stinger Club in Brooklyn in mid-summer, the Bravery's post-punk-influenced dance rock was all the rage. A residency at Arlene's Grocery and whispers on the street eventually led the Bravery to a recording contract with Island Def Jam in the States and Loog in the U.K. The Unconditional EP followed in early 2005. Critics almost immediately trounced on the band. The Village Voice proclaimed the Bravery to be "New York's Official Next Big Thing" while MTV and Rolling Stone hailed them as an artist to watch. A co-headlining tour with Ash in the U.S. in spring 2005 coincided the release of the Bravery's self-titled album.

Artist：The Bravery
Album：The Bravery
AMG:
Styles：Indie Rock,Alternative Pop/ Rock
Label：Island
Release Date：Mar 29, 2005

专辑介绍：

The Bravery's self-titled debut is a slick twist on '80s new wave and post-millennium modern rock. Those who've followed the Killers, stellastarr*, and the like will surely pounce on the Bravery's luscious synth-driven pop. The 11-song set, produced by the band's frontman, Sam Endicott, is playful and confident, unlike the stressful production of the Killers' Hot Fuss. Sure, obvious influences (Duran Duran, the Smiths, the Cure) carry the weight of this album, but it's without haste. An overcast backdrop dresses the trashy hints of love and desire, and cocksure moments such as "Public Service Announcement" and "No Brakes" showcase the Bravery's swagger with style. Endicott goes from sounding like a Robert Smith copycat ("Tyrant") to a dirtier Julian Casablancas ("Out of Line") and maintains a focused, fashionable dance sound. "Unconditional" soars with a sly guitar/keyboard two-step while "An Honest Mistake" saunters like classic New Order with its dark-hued mechanical energy. The Bravery isn't sonically mind-blowing, but the new millennium new wave revival remains intriguing. This New York five-piece makes an interesting effort without it coming off contrived and dishonest. Get ready to shake your hips!

(by allmusic)

专辑曲目：
1. An Honest Mistake
2. No Brakes
3. Fearless
4. Tyrant
5. Give In
6. Swollen Summer
7. Public Service Announcement
8. Out of Line
9. Unconditional
10. The Ring Song
11. Rites of Spring

文件过期：2006-07-16 18:33

文件提取码：7016978407347590