The end of the world tastes like bubblegum and emo guitars 五月逆襲：七年、十二年、都回來了

American Football — American Football (LP4)

Laibach — MUSICK

Leave it to Slovenia's most uncompromising art-rock band to produce their most unabashedly fun album in twelve years. MUSICK finds Laibach pillaging the global pop charts—K-pop euphoria, J-pop maximalism, 90s Eurodance excess—and feeding it through their own industrial furnace. The result is almost Wagnerian in its maximalism: everything is turned up to eleven, synthesizers bloom like neon, and there is a track called "Luigi Mangione." Richard X, who has shaped everyone from Goldfrapp to Years & Years, co-produces, and his fingerprints are everywhere in the sugar-sweet synth melodies and production polish. This is Laibach at their most ironical and their most sincere simultaneously. That neon pink vinyl isn't just packaging; it's a proclamation. 十二年沒出原創了。這一次，Laibach 放下了冷調工業的盔甲，跳起了舞。K-pop、J-pop、歐陸舞曲的節奏雜糅，甚至還有一首叫《Luigi Mangione》的。Richard X 操刀製作，聽起來怪誕又上頭。如果說斯洛文尼亞工業巨人也能搖晃舞池，那我們對"嚴肅"的定義得重新洗牌。

Juventas New Music Ensemble — Throughlines: New Chamber & Solo Works

Recorded last year at Shalin Liu in Rockport, Massachusetts, this collection from Boston's Juventas ensemble surveys seven contemporary composers across fourteen tracks spanning 65 minutes. Chamber music in 2025 doesn't need to whisper; here it argues, questions, and occasionally soars. The Navona label has made a specialty of intelligent contemporary classical, and this feels like a conversation among serious people about what it means to write for instruments in an age of infinite replication. This is the music you need if you've ever wondered what happened to chamber music after the twentieth century moved into the twentieth century. 波士頓的新音樂集合體，七位作曲家，十四首作品。這不是古典音樂拼盤，而是一場思想的對話。每一首都在問："我們能在這裡走到哪裡？"室樂的親密感和當代作曲的拆解美學在這裡碰撞，結果既尖銳又溫暖。

Kacey Musgraves — Middle of Nowhere

Musgraves' seventh album is not the country record you might expect from a Texas artist—or rather, it is exactly that, but country as expansive plural rather than singular tradition. Western swing bleeds into bluegrass, norteño rhythms dance with zydeco accordion, and the guest list reads like a who's who of American roots music: Willie Nelson, Billy Strings, Gregory Alan Isakov. The album was inspired by the illuminated sign at the edge of her hometown, that romantic idea of escape and arrival. What makes this work is that Musgraves has never been precious about genre boundaries; she moves between sounds with the confidence of someone who understands that all American music is fundamentally about diaspora and belonging. Kacey 回到了德州的根。Willie Nelson、Billy Strings、Isakov 都來了。這不是流行鄉村，而是真正的鄉村——泥土的聲音，紡織品的粗糙感。十三首歌，每一首都像午後的陽光漏進一間老房子，金色、溫暖、帶著陳舊感。她從未這麼鄉村過，也正因此，從未這麼真實過。

Young the Giant — Victory Garden

Victory Garden arrives as the sixth statement from the Los Angeles band, this time with Brendan O'Brien at the production helm—a decision that signals ambition without apology. O'Brien has shaped U2, Springsteen, and the Red Hot Chili Peppers into their most expansive selves, and he brings that sensibility here, one of eleven tracks designed to accommodate both the immediate hook and the two-minute deep cut that reveals itself only on the fourth listen. "Radical empathy" is what the band calls their intention, which is either the most sincere statement or the most inadvertently funny one—but with guitars this big and melodies this patient, intent matters less than execution. 第六張專輯。Brendan O'Brien 參與制作，那個曾經與 Pearl Jam、Springsteen 合作的製作人。Young the Giant 沒有變，他們依然是那支堅定的樂隊，只是這一次的歌詞在談論成長、損失和修復。十一首歌，每一首都像在一個更大的花園裡種樹——知道有些樹不會在你的餘生里長成參天大樹，但你仍然選擇種下。