Omnipotent Youth Society 万能青年旅店 – Inside the Cable Temple 冀西南林路行
Ten years after their game-changing debut, the seasoned Shijiazhuang rockers have returned with their much-anticipated follow-up Inside The Cable Temple. While it’s impossible to capture the magic or blunt force of that mammoth wide-reaching release, their lushly detailed, intricately assembled follows-up continues showcasing the band’s melodic heft as well as their penchant for rich lyricism that empathically captures the lives on the fringes of society as well as the issues affecting society at large. Jazz riffs crash into exploding delay pedals, rustic guitars slide up alongside rambunctious trumpets – instrumentally speaking, there aren’t many bands that strike with as much graceful virtuosity as they do. The afterglow has perhaps faded but there’s no denying their vigor.
在首张专辑《万能青年旅店》发行十年后，这支经验丰富的石家庄摇滚乐队带着他们期待已久的续集《Inside The Cable Temple》回归。虽然不可能捕捉到那张巨大的、具有广泛影响力的专辑的魔力和钝感，但他们的后续作品继续展示了乐队在旋律上的力量，他们对丰富抒情的执着，以及对社会边缘的生活和影响社会问题的捕捉。爵士乐重奏撞上爆炸的延时踏板，质朴的吉他与奔放的小号并驾齐驱–从乐器上来说，没有多少乐队能像他们一样拥有如此优雅的演奏技巧。也许余温已经褪去，但不能否认他们的活力。
Jiulian Zhenren 九连真人 – Ah-Min 阿民
Jiulian Zhenren, the Hakka rock trio from Heyuan, Guangdong (who made a bit of a splash earlier this year on The Big Band) release their debut Ah-Min – a sprawling, rollicking rock and roll by way of world music album that’s bold and proud. Named after its leading fictional figure, the twelve tracks follow the young protagonist and his journeys and struggles growing up in rural southern China – a seeming wasteland chock full of hard liquor, seedy characters, and sin. Leaning into their rock chops whilst also paying tribute to the traditional sounds emerging from their region through vibrant instrumentation (the suona makes its presence known early on) as well as their born Hakka tongue, it’s a hell of a good time, though one whose bombast does eventually wear thin.
来自广东河源的客家摇滚三人组九连真人（曾在《乐队的夏天》中大放异彩）推出了他们的首张专辑《阿民》–这是一张以世界音乐的方式进行的具有扩张性的、滚烫的摇滚乐，大胆而自豪。这张专辑以小说中的主角命名，12首歌曲跟随年轻的主角和他在中国南方农村成长的旅程和挣扎进行–一个似乎充满了烈酒、肮脏人物和罪恶的荒原。他们的音乐风格偏向于摇滚，同时也通过充满活力的乐器（很早就出现的唢呐）以及他们的客家话，向他们所在地区的传统声音致敬，这真是一段美好的时光，虽然最后还是会让人觉得有些浮夸。
Low Wormwood 低苦艾 – Famous Trademark 驰名商标
While it falls short of capturing the esteemed Lanzhou’s band deeply felt folksy gruff that propelled them to stardom, the band is in fine form on their sixth LP ‘Famous Trademark’ – which finds the band reflecting om both past and present, finding the interweaving states of mind in constant flux. The title of the album references a change encounter with copyrights litigators and how that surreal ordeal came to paint the world around them in a different light – giving much of the LP a rugged and nostalgic charge – giving their heavier and more brooding songs an extra oomph. Of course, there are plenty of romantic detours, an obligatory reggae jam, and even some Bruce Springsteen evoking anthems (with the 80s synths left in off course) that threatens to drag it down, but for the most part, it’s vintage Low Wormwood.
虽然这张专辑缺少这支兰州乐队赖以成名的深情乡音，但在他们的第六张全长专辑《驰名商标》中，乐队的表现非常出色，他们反映了过去和现在，发现不断变化、交织在一起的心态。专辑的标题提到了他们与版权诉讼人的一次交锋，以及那场超现实的磨难是如何以一种不同的方式来描绘他们周围的世界–这让这张专辑的大部分内容充满了粗犷和怀旧的气息—也让他们更沉重和更阴郁的歌曲变得更有活力。当然，有很多浪漫的弯路，有些生硬的雷鬼即兴，甚至一些让人想起布鲁斯·斯普林斯汀(Bruce Springsteen)的歌曲(带有80年代合成音)让这听起来更糟，但在大多数情况下，它仍是老式的低苦艾。
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