Mitski

Nothing's About to Happen to Me (Explicit)

The Land Is Inhospitable and So Are We

Star b/w Heaven

Bug Like an Angel

Son Lux

David Byrne

This Is A Life (From the Original Motion Picture "Everything Everywhere All at Once")

Laurel Hell

CLARK

Love Me More (Clark Remix)

Glide (cover)

Cop Car

Be the Cowboy

Xiu Xiu

Between the Breaths

Puberty 2

Mitski on Audiotree Live

Bury Me At Makeout Creek

Bury Me At Makeout Creek (Explicit)

Mitski 發行的新專輯《The Land Is Inhospitable and So Are We》。 在這張迄今為止最具驚喜的專輯中，Mitski積極地展示傷痛並治癒它們；她將一系列巨大的影響彙集成一種崇高的聲音，除了她本人和長期製作人Patrick Hyland的樂器之外，還加入了管絃樂隊和合唱團。

New single ‘This Is A Life’ from Son Lux, out 8th March.
An incredibly cinematic collaboration between electro-pop duo Son Lux, current indie darling Mitski & the legendary David Byrne; ‘This Is A Life’ is featured as the end credit song for new A24 film Everything Everywhere All At Once.

Mitski發行新專輯《Laurel Hell》。繼2018年的專輯《Be The Cowboy》一鳴驚人後，Mitski再次帶來一張融合了驚豔人聲和當代indie pop音色質感的優秀作品。

New remix of Mitski’s ‘Love Me More’ by Clark, out 5th July.

 

Following the release of her critically acclaimed 2022 album Laurel Hell, Mitski brings in UK producer Clark to put a huge IDM spin on album standout track ‘Love Me More’.

Mitski Miyawaki has always been wary of being turned a symbol, knowing we’re quick to put women on pedestals and even quicker to knock them down. Nonetheless, after the breakout success of 2016’s 'Puberty 2', she was hailed as the new vanguard of indie rock, the one who would save the genre from the white dudes who’ve historically dominated it. Her carefully crafted songs have often been portrayed as emotionally raw, overflowing confessionals from a fevered chosen girl, but in her fifth album, 'Be The Cowboy', Mitski introduces a persona who has been teased but never so fully present until now—a woman in control. “It’s not like it just pours out,” she says about her songwriting, “it’s not like I’m a vessel. For this new record, I experimented in narrative and fiction.” Though she hesitates to go so far as to say she created full-on characters, she reveals she had in mind “a very controlled icy repressed woman who is starting to unravel. Because women have so little power and showing emotion is seen as weakness, this ‘character’ clings to any amount of control she can get. Still, there is something very primordial in her that is trying to find a way to get out.”
　　Since 'Puberty 2' was released to widespread acclaim, ultimately being named one of the best albums of 2016 by Rolling Stone, TIME, Pitchfork, The Guardian, Entertainment Weekly, New York Times, NPR, and SPIN, Mitski has been touring nonstop. She’s circled the globe as the headliner, as well as opening for The Pixies, and most recently, Lorde. The less glamorous, often overlooked aspect of being a rising star is the sheer amount of work that goes into it. “I had been on the road for a long time, which is so isolating, and had to run my own business at the same time,” Mitski explains, “a lot of this record was me not having any feelings, being completely spent but then trying to rally myself and wake up and get back to Mitski. I was feeling really nihilistic and trying to make pop songs.”
　　We want our artists to be strong but we also expect them to be vulnerable. Rather than avoiding this dilemma, Mitski addresses directly the power that comes from appearing impenetrable and loneliness that follows. In 'Be The Cowboy', Mitski delves into the loneliness of being a symbol and the loneliness of being someone, and how it can feel so much like being no one. The opening song, “Geyser,” introduces us to a woman who can no longer hold it in. She’s about to burst, unleashing a torrent of desire and passion that has been building up inside.
　　While recording the album with her long-time producer Patrick Hyland - “little by little in multiple studios between tours” - the pair kept returning to “the image of someone alone on a stage, singing solo with a single spotlight trained on them in an otherwise dark room. For most of the tracks, we didn’t layer the vocals with doubles or harmonies, to achieve that campy ‘person singing alone on stage’ atmosphere. We also made the music swell louder than the main vocals and left in vocal errors like when my voice breaks in “Nobody,” right when the band goes quiet, all for a similar effect.” Not a departure so much as an evolution forward from previous albums, Mitski was careful this time to not include much distorted guitar because “that became something people recognized me for, and I wanted to make sure I didn’t repeat myself or unintentionally create a signature sound.”
　　The title of the album “is a kind of joke,” Mitski says. “There was this artist I really loved who used to have such a cowboy swagger. They were so electric live. With a lot of the romantic infatuations I’ve had, when I look back, I wonder, Did I want them or did I want to be them? Did I love them or did I want to absorb whatever power they had? I decided I could just be my own cowboy.” There is plenty of buoyant swagger to the album, but just as much interrogation into self-mythology. The music swerves from the cheerful to the plaintive. Mournful piano ballads lead into deceptively up-tempo songs like “Nobody” where our cowboy admits, “I know no one will save me/ I just need someone to kiss”.
　　The self-abasement of desire is strewn across these 14 songs as our heroine seeks out old lovers for secret trysts that end in disappointment, and cannot help but indulge in the masochistic pleasure of blowing up the stability of long-term partnership. In “A Pearl” Mitski sings of how intoxicating it is to hold onto pain. “I wrote so many songs about being in love and being hurt by love. You think your life is horrible when you’re heartbroken, but when you no longer have love or heartbreak in your life, you think, wasn’t it nice when things still hurt? There’s a nostalgia for blind love, a wonderful heady kind of love.”
　　Infused with a pink glow and mysterious blue light, the performer in Be The Cowboy makes a pact with her audience that the show must go on, but as we draw nearer to the end, a charming ditty recedes into ghostly, faded melancholia, as an angelic voice breaks through to make direct communication. “Two Slow Dancers” closes out the album in a school gymnasium, though we’re no longer in the territory of adolescence. Instead, we’re projected into the future where a pair of old lovers reunite. “They used have something together that is no longer there and they’re trying to relive it in a dance, knowing that they’ll have to go home and go back to their lives.” It’s funny how only the very old and the very young are permitted to indulge openly in dreams, encouraged to reflect and dwell in poetry. In making an record that is about growing old while Mitski herself is still young, a soft truth emerges: sometimes we feel oldest when we are still young and sometimes who we were when we were young never goes away, leaving behind a glowing pearl that we roll around endlessly in the dark.

◎入選滾石雜誌「你必須要知道的10大藝人」個性女聲最新大碟
◎論及步入青春期的各種狀況，相互依賴的友誼和愛情關係，在滿心歡喜的迎接同時，也充滿着彷徨與手足無措
◎探討種族和文化差異影響戀情的〈Your Best American Girl〉，添入更為流暢的旋律，媒體大感驚豔推薦曲
  
入選滾石雜誌「你必須要知道的10大藝人」，Pitchfork、NME、紐約時報爭相報導推崇的個性酷娃Mitski，本名為Mitski Miyawaki，出生日本，從小聆聽父母播放的大量70年代歌曲，隨着家人造訪世界各地，足跡曾踏遍馬來西牙、剛果、捷克、土耳其、中國，現居美國，透過各文化與風情民俗的差異，寫下才情充沛且獨特觸角的詞彙，同時吸收當地傳統音源，替日後的音樂創作增添豐富多樣化。説道：「碧玉打開我的音樂世界觀，教導我如何將千變萬化的音樂風格與思維融冶一爐，並不需要特別予以歸類，即能贏取各界的廣大接受。」這理念也反映在Mitski處女秀《Lush》裏頭，兼容幷蓄的蒐集滿溢情感，每首歌曲都能獨立成一個故事，提供戀愛過程中的箇中滋味！
  
繼各傳媒最愛的《Bury Me At Makeout Creek》作品後，交出全新大碟《Puberty 2》，藉由歌曲的描述，論及步入青春期的各種狀況，相互依賴的友誼和愛情關係，在滿心歡喜的迎接同時，也充滿着彷徨與手足無措，以過來人的立場分享種種經驗。專輯從製作、詞曲撰寫的所有幕後工程，到封面拍攝、設計等，全部都是Mitski和唯一夥伴Patrick Hyland兩人共通完成。前半部的詭譎顫音效果包覆迷離頻率，憂喜參半的〈Happy〉，行進至後半部終告撥雲見日，踩着明亮酷勁節拍探索快樂根源；爆裂式的噪音隆隆四起，Mitski獨特咬字與高黏稠度，呈現混亂失序的美感；探討種族和文化差異影響戀情的〈Your Best American Girl〉，添入更為流暢的旋律，令人回想到90年代大舉入侵流行領域的搖滾女將相似情節，厚實的吉他刷弦撼動人心，已是各媒體大感驚豔的推薦曲；不到兩分鐘的〈My Body`s Made Of Crushed Little Stars〉和〈A Loving Feeling〉，瘋狂至極的野放徹底，毫無收斂的衝出剽悍驚悚！

<Bury Me at Makeout Creek>是Mitski於2014年11月11日發行的專輯。

專輯 | 單曲