Artist:Electrophonvintage
Album:We Sang A Yeye Song
Release Da:May.23.2005
Styles:Folk
Tracks:
01-It's So Hard
02-White Morning
03-My Mountain Town
04-Break My Heart Again
05-Leather Clothes
06-Where You're Not
07-A Girlfriend the Devil Wouldn't Want
08-Sexshops
09-Name on the Landscape
10-Th Former President

最近没听到什么动心的新专辑，也懒的找，懒的下。
这张听起来感觉还比较舒服，只是每一首歌曲都很短。
清切的男音在灰色的天空里滑落，整个天际都收拢起来。
如同一朵异常含蓄素雅的花蕾……
平静中暗涌火焰，似乎下一秒就会爆发，然而又陷入了下一个幽谷……
为什么总是那样短促而平稳？我有点不耐烦了——
……这样的感觉涌上来之后，就真的开始抱怨了。

Artist：Taken by Trees
Album:Open Field
Release Date: Jun 18.2007
Styles:Alternative
Tracks:
01-Tell Me
02-Julia
03-The Legend
04-Sunshine Lady
05-Lost And Found
06-Open Field
07-Hours Pass Like Centuries
08-Too Young
09-Only Yesterday
10-Cedar Trees

素雅清渺，纯净如水。与这个季节带来的感动不谋而合。
我想应该是一个值得好好思考的时间了。
树的叶子纷飞飘落，一场秋风来袭，气温骤然变冷。
萧瑟的风景、温暖的笑容、迷茫的眼神、镇定的脚步……
带着羞涩的浪漫与时间共舞……
守望许久埋藏的愿望，等待开启。

Feist - The Remider

Styles ：
Rock
Indie Rock
Indie Pop
Alternative Pop/ Rock

  Title   Composer     Time   
  1  So Sorry  Feist, Salole  3:12  
  2  I Feel It All  Feist  3:39  
  3  My Moon My Man  Beck, Feist, Gonzales  3:48  
  4  The Park  Feist  4:34  
  5  The Water  Feist  4:46  
  6  Sealion  Bass, Feist, Simone  3:39  
  7  Past in Present  Feist  2:54  
  8  The Limit to Your Love  Beck, Feist, Gonzales  4:21  
  9  1234  Feist, Seltmann  3:03  
  10  Brandy Alexander  Feist, Sexsmith  3:36  
  11  Intuition  Feist  4:36  
  12  Honey Honey  Feist  3:27  
  13  How My Heart Behaves  Feist  4:26   

如需解压 密码为：rsxh

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刚买到上涨的remix又出新的了 哈

artist:Elliott Smith
ablum:New Moon
release:2007.05.08
style:Folk
label:Domino

Elliott Smith出新专辑了？？ 奇怪哦不是死了么？？
这是我的第一反应，哈。
事实上这张专辑收录的都是Elliott Smith 1994-1997 所录制的一些歌曲。
在Elliott Smith逝世的2003年前，他一共发行了五张专辑。但他之前已经录制了很多专辑并未公布过.Kill Rock Stars下发行的两张是最有名的。

保证一月内有效
如需解压 密码为 ：rsxh
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在nini指引下去了趟，那个怕老婆的家伙放鸽子了。

好在东西还不错，只是价钱也不便宜。

Damaged - Lambchop

Review
After the ambitious sweep of releasing two full albums on a single day in 2004 and creating a collaborative electronic EP with Hands Off Cuba while assembling a collection of singles and rarities in 2005, one can hardly blame Kurt Wagner and his partners in Lambchop for wanting to take on a less challenging project for the group's ninth album proper. And indeed, Damaged is a simpler and more streamlined effort than Lambchop have offered us over their last several releases. Damaged is a set of ten elegant tone poems which rarely call full attention to the size and scope of the 15-person ensemble (enhanced with a string section) employed for these sessions. But don't get the idea Wagner and his cohorts have gotten lazy; Damaged is as moving and accomplished an album as this band has ever made, with the subtle but expert musicianship used in the service of a handful of songs which look deep into the heart of longing, disappointment, and the troubling mysteries of faith. If you're hoping for an easy-to-follow narrative from Wagner's songs, you'll be disappointed, but through a collection of accumulated, gestured, offhand asides and occasional confessions of weakness, he creates a world that's telling, poignant and as real as the dust in the air on a Sunday morning. And the mighty Lambchop ensemble approaches the melodies with the care and dynamics of a great orchestra, where each note is carefully balanced as if it was assembling a house of cards that can miraculously balance a grand piano. While Lambchop's country gestures recede a bit on Damaged, as a master class in the art and craft of record making in the great Nashville tradition, this album is a true wonder, a quiet and deliberate recording that cumulatively hits with a massive emotional impact. This ranks with the best work of one of America's most original musical visionaries.

Feist - Open Season

Review
Though Leslie Feist declares in the liner notes to Open Season that initially she "didn't really understand what remixes were," she obviously was quickly acquainted with them and the potential they could hold by the time she started putting her album together. Open Season, a collection of remixes of some songs from Let It Die as well as collaborations with others, provides an interesting look into the possibilities of Feist's music. With help from artists like K-Os, the Postal Service, Mocky, and songwriting partner Gonzales, Feist's songs are reconstructed using new drumbeats, added instrumentation, and vocal effects, with each producer choosing certain aspects and emotions of the original to emphasize. Sometimes, like in Julian Brown's "Apostle of Hustle Unmix" of "Inside and Out," the results are sparse and haunting, while other times what is produced — the Postal Service's version of "Mushaboom," complete with a Ben Gibbard vocal track — is much more intricate and intense than the sweet daydreams of the Let It Die version. Usually these reworkings turn out quite nicely, exploiting the different facets of the songs for what they're worth. Only toward the end of Open Season, when production team VV (Gonzales and Renaud Letang, who also worked on Let It Die) take over and add dancey, almost house-like elements to "One Evening," "When I Was a Young Girl," and "Mushaboom," do things begin to sound a little cheesy and unnecessary, over-produced in that campy way, which is unfortunate, because most of the record is really quite good, including her performances with other artists. Her duet with Jane Birkin, for example, "The Simple Story" (which is also found on Birkin's 2004 album, Rendez-Vous), is lovely with its lush strings and chorus, and sounds very much like something Birkin would have sung in the 1970s. But more than its individual parts, Open Season as an album shows the versatility of Feist's music and voice, how it can move from near trip-hop to French cabaret and all those delicate spaces in between, and almost always sound just right.

Emilie Simon - La Marche de L'Empereur

Review
When documentary producer Luc Jacquet contacted Emilie Simon about contributing music to his award-winning 2005 documentary March of the Penguins, he might have felt a little uneasy — somewhere in the conversation, he would have to let on that he found her sound well-suited to themes of ice and snow. If he did hesitate before making the call, though, he needn't have: Simon was already working on new songs that would conjure images of ice when she first met the director in 2003. Though The Flower Book, Simon's acclaimed 2006 U.S. debut, established her as a rising electro-pop star and, more specifically, one with a penchant for merging concepts from the natural world with beats rooted firmly in technology, it didn't let on that the Parisian artist was so skilled at dreaming up frost-covered soundscapes. In the 15 songs on March of the Empress, Simon evokes both the beauty and bitterness of winter: "Song of the Sea" captures the fun of slush, "Mother's Pain" recalls the hushed energy that attends a coming blizzard, and "Antarctic" finds hope in the stillness of a world frozen over by polar cold; other standouts include the tense "The Sea Leopard" and the menacing but moving "The Attack of the Killer Birds." Though the soundtrack (which did not make it onto the U.S. and U.K. film versions of March of the Penguins) was originally intended to be strictly instrumental, Simon's Kate Bush-reminiscent voice surfaces on five English tracks. They all reinforce a sense that whether the scenery that surrounds her is pastoral or frozen solid, she infiltrates it fully, until she is able to echo it down to the last thunderclap or whistling wind.