#again I wonder the details of Louis involvement in this album

[sunshineandlyrics]

*Louis is mentioned with Andrew Cushin's debut album release news, 2 October 2023 (full article x)

[statementlou]

Does it though? Liam’s socials have been as weird as his promo since they cancelled his album in 2018. He’s said he doesn’t have access to his social media accounts and he doesn’t have management either. Who is booking a tour for him? Why random dates in South America? Why the short notice? Is Liam even aware someone has booked tour dates for him? Plus there were anons to several blogs ‘reminding’ people there was nothing odd about Louis canceling those Asian dates the day before these dates dropped. I’ll be shocked if they actually take place.

I don't think there is anything weird about Louis Asia dates being cancelled, I didn't see any anons like that but wonder if they have to do with the fact that we were discussing it, or if they were just a response to the fact that tbh, whatever story is apparently gaining ground sounds kind of fucking nuts. I would also like to remind people that there's nothing weird about it! I can't imagine what you think is the connection between Louis' tour dates and Liam's announced dates and who on the inside is allegedly sending these anons about it, what kind of weird conspiracy would somehow connect the two and result in them being announced and then cancelled. I would actually really love if you came back and laid out for me exactly what that would be and how it would work (I mean this- whatever you are implying makes no sense to me and I am curious); but I (perhaps overly optimistically) suspect if you try to actually articulate this vague scenario you yourself will see how little sense it makes. But hey, maybe this mysterious conspiracy also involves all the other artists who had to cancel their Asia dates this year due to the exorbitant costs of touring there! But anyway while we're at it: it's not WEIRD that Liam's album was cancelled either or that his management is a mess- it's a BUMMER and it sucks for him, but it isn't some huge inexplicable conundrum. I feel like this kind of stuff in the fandom is related to how when you're young, no matter how much people say otherwise, it's impossible not to believe that adults are Different and that grown ups possess some kind of magic competence- similarly people in this fandom continually discard the idea that behind the scenes things are just kind of a fucking mess sometimes, especially if the person at the top of the pyramid isn't the most together. I have been more up on the exact details of Liam's situation at other times in the past than I am now so I admit, I'm not sure of some exact things and where they stand right now (if anyone is). But one thing I notice here is that I believe you are mashing together things about Liam's situation from the past couple years, some of which may or may not still be true, and things from now. I'm not at all sure that Liam doesn't at this moment have any management and given how many things he's actively up to that seems very unlikely to still be true to me. But also that term is pretty vague- like these guys have various different people and agencies for different things. He could lack a direct personal Manager (again do we know for sure that that's still the case, or just WAS the case) and still employ a booking agency and a PR agency, for example. I'm going to ignore the part where you ask if Liam even knows he's had dates booked because wtf. We all worry about Liam but I personally think the story you've apparently settled on about what's happening with him is unnecessarily extreme and somewhat insulting to him. He may or may not make every one of his social media posts himself (few famous people do) but he is definitely making most of them himself (thus why they are weird tbh, because he is a weirdo and is running wild a bit on the socials, bless him). Also if you think he has no management who do you think is posting his socials and holding him captive and announcing fake dates?? This is giving me a headache. Anyway: yes I do think Liam will play the LATAM shows if he's personally able to, which tbh seems a more likely danger to them going ahead than an international conspiracy.

[ssadropout]

Their Way

A/N- Royai wedding fluff! I didn’t know how to accessorize Riza’s dress. The idea for her jewelry (I wanted her to wear some) is from a forum on theknot.com. I don’t see her wearing a veil. 

The large parlor in the Fuhrer’s mansion had been made cozy with casual arrangements of wildflowers. The sun shone through the large bay windows, but the room temperature was comfortable. They had opted to use upholstered chairs from around the house- there were enough of them- instead of the usual folding or hard wooden chairs for such an event. For the most part, the guests sat chatting happily in anticipation of what was to come. It wasn’t a large gathering, and the good mood was contagious- unless one was not capable of a good mood.

General Armstrong growled and rattled her sword. “Where is that punk Mustang? I swear, if he hurts Hawkeye, I’ll rid him of his sword with my sword!”

“Oh, dear Sister, it’s still early. I’m certain he would never do such a thing. The love between them is strong and true.” Alex Louis could not hold back tears, and his sister scoffed. 

The general stared at the temporary platform at the front of the room. Grumman sat calmly but alone on the riser under a canopy of more wildflowers. He looked as if nothing were wrong. In fact, he had a huge smile on his face. 

“He’d better get up there soon, even if Hawkeye deserves so much better than him. I suppose she is allowed one fault. There’s no accounting for taste.” 

Her brother wrinkled his expressive brows. “I wonder why Fuhrer Grumman is waiting up there. If he is Captain Hawkeye’s grandfather, why isn’t he walking her down the aisle?” Olivier just growled again.

********

Riza stared at herself in the vanity mirror as Rebecca fussed with her hair. Riza rolled her eyes, because there really was nothing to fix about the elegant chignon, but she said nothing.

The wedding, while still small by most standards, was larger than she and Roy had originally wanted. They had figured on a ceremony at City Hall with the team, her grandfather, and Madame. However, when their engagement was announced, congratulations from some people slightly outside their inner circle made them rethink the plan. Dr. Marcoh had restored Roy’s sight and made so much possible for them. Dr. Knox had always been there when Roy had needed him. Gracia… how had they ever considered leaving her and Elysia out? And, Edward Elric had made it clear that he didn’t give a shit about Mustang, but he and his family would be there in case Riza came to her senses and wanted to escape. So, it became an actual wedding with Rebecca and Havoc as attendants. An arf  interrupted her thoughts, and she ruffled her ring bearer’s fur. Roy had immediately agreed to Hayate being involved in their big day.

Once she had decided to wear a dress, she lamented not having a wedding dress from her mother. Her mother and father had eloped, and there had been nothing to remember their wedding  by except an official piece of paper. It would be very different for Riza and Roy. Gracia was carrying on for Maes, and she had already snapped an album’s worth of photos. 

Riza stood to stretch. It was nearly time to get the show on the road. She twisted to observe herself from all angles. The champagne colored dress was plainish- no, simple, not plain. It had detail but was unfussy. It fell around her body perfectly. After their engagement, Roy had had a jeweler make a necklace and earrings from pearls and some crystals he had transmuted. The jewelry was another example of his instinct about her. He had known nothing about her dress, but the accessories were perfect. He had even known that she never wore bracelets. Her bouquet of wildflowers lay on the dresser. 

“I’m ready,” she said with a serene smile. “See if the boys are ready.”

********

Madame had gone to check on the groom’s progress, and she reported to Grumman, whispering several words in his ear. Grumman rolled his eyes, even though it was only five minutes past the intended start. He addressed the audience, which quieted quickly for the Fuhrer. With a grin, he announced, “I believe that this is the first time Riza Hawkeye has ever been late for anything! The ceremony should begin in the next few minutes.” He felt like the cat that had swallowed the canary. He’d secretly requested that Mustang be assigned to him immediately after Ishval and had been more than thrilled when his estranged granddaughter had joined the young officer. The old man had immediately decided that Mustang would be his grandson-in-law, but it had taken him much too long to accomplish this. Who would have thought that he’d be Fuhrer before that idiot couple married? 

********

 Roy was shaking. He hoped that his hands would steady enough that he could get the ring on her finger. He wasn’t really nervous. They had been together in one way or another for more than half of their lives, and they had loved each other, if imperfectly, for many years. This day was really a dream come true. He just wanted everything to be perfect for her, and he didn’t want to be an embarrassment. He tried to keep his hands away from his hair, which looked neat for once. Breda smoothed Roy’s dress uniform but said, “Lookin’ good!” Except for Havoc and Mustang, the men left for the parlor. 

There was a knock at the door. Rebecca peeked in and said, “It’s time.” Then she smiled and looked Roy directly in the eyes. “If you ever hurt her, I’ll kill you.” Rebecca went back to the bride’s room. 

Havoc whispered, “I’m pretty sure she means it.” 

The two men walked into the hall, and the bride’s door opened. Roy’s hands stilled the moment that he saw her. She put her arm through his so that she could hold her bouquet. Hayate yipped around their ankles.

“You look so beautiful,” he softly declared. “You look just like yourself but moreso.” 

She wiped the tear that ran down his cheek. “Oh, Roy, are you beginning to cry already?” she laughed. She leaned into him, and he reciprocated.  

Hayate took his place at the head of the small procession. Jean and Rebecca linked arms behind the pup. Riza hadn’t really liked the idea of being given away. She had been living her own life and making her own decisions since she was nineteen. Grumman might have been a little hurt when they told him, but he had perked up when they asked him to officiate. Roy had long wanted Riza by his side instead of two steps behind. Already inseparable, they walked each other down the aisle like the true pair they already were.

[sinceileftyoublog]

Wobbly Interview: Going for Happy

BY JORDAN MAINZER

Thurston Moore Ensemble/Negativland band member Jon Leidecker has been releasing electronic music under the moniker Wobbly for over two decades now. In Chicago experimental label Hausu Mountain, he seems to have found kindred spirits, matching his far out idiosyncrasies. 2019′s Monitress and its follow-up, Popular Monitress, which came out earlier this month, are albums about and by machines, as Leidecker ran his music into pitch trackers and synth apps on his phones and tablets, embracing the errors and randomness that were produced along the way. While the source material on Monitress was mostly improvised, the songs on Popular Monitress are more structured and composed, resulting in songs like “Authenticated Krell”, which follows a comparatively clean synth arpeggio before being enveloped by texture, or “Lent Foot”, where the various instruments trail each other. It’s remarkable just how familiar certain sounds are even if not traditionally instrumental ones, like the typewriter clacks of “Illiac Ergodos 7!” or the zooming notes of the thumping title track. Blurring the lines between what’s instrument and what’s not, and even further, what’s composed music and what’s not, Popular Monitress is a defining statement for both Leidecker and Hausu.

I was able to ask Leidecker about various songs on the album and their inspirations. Read his answers below!

Since I Left You: You chose to write more structured songs this time around before running them through the pitch tracker. Do those nuggets of recognizable structures make the final product all the more disorienting?

Jon Leidecker: Hopefully! On both albums, the main thing is keeping the focus on just how live those pitch trackers are. It’s Monitress as long as you can hear how they’re listening. For years, it was strictly a piece for live performance--I needed to be improvising myself, and able to respond instantly, to really underline just how spontaneous the machine responses are. So the first record tried to keep more of that sense of flow. Large stretches of it are simply baked down from stereo recordings of concerts & radio performances of it. Overdubbing more layers of trackers seemed legal, as long all the voices were following that one original sound.

Of course, when you play a tune, something composed or even quantized, it definitely becomes easier to hear what they’re doing. The exact same code running on each phone will respond in very different ways to the same source audio, and you get a chorus of individual voices. They play a lot of wrong notes, but oddly, if you feed the trackers lots of consonant, major chords, it stops being dissonance, and you can tell they’re going for happy. You hear these weird things, trying to sing in unison, and..the result is just pure delight. Weirdly emotional! What’s a mistake? What’s music?

SILY: How did you come up with the song titles? For instance, is there anything particularly Appalachian about "Appalachian Gendy"?

JL: They’re mostly mashed up references to landmark works in the field of generative & algorithmic composition, from the 50’s up to the early 90’s. The recent push of stories on AI musical tools seems to be about automation and labor-saving, but the field of how to develop tools for more creative ends goes back all the way to Bebe and Louis Barron going to the Macy Conferences on Cybernetics and designing their first self-oscillating feedback circuit.

So while my tracks aren’t really in the musical style of the works they reference--something like  “Appalachian Gendy”, which sprung up a fantasy Spiegel/Xenakis tribute, got paired to that stompdown track, and once it did, I added a solo on iGendyn.

SILY: To what extent is your music here inspired by the inner workings of the brain?

JL: Once you get a grip on just how simply neurons and synapses interact, how reassuringly physical thinking is, the electronic music I’ve always found most inspiring often involve feedback systems, self-playing devices, generative music, things that learn rather than settle. Music that helps you model thought. The whole East Coast/West Coast 60’s divide in synth design boiled down to Moog reducing your options until you could easily dial in what you already know you want, and Buchla designing uncertainty machines to be networked together until they approach the complexity of an unknown brain.

SILY: "Synaptic Padberg" and "Every Piano" have moments of recognizable instruments as opposed to alien instruments (strings and piano, respectively). Was that just a product of the errors/randomness of the music-making, or purposeful?

JL: It's supposed to sound orchestral, so I hit my Mellotron and Chamberlin apps pretty hard with this piece. Not like anything remains plausibly real once they're getting hammered by the trackers. That is a real grand piano, however: me playing the tune at SnowGhost Music in Montana. Brett Allen deserves an engineering credit, but I also wanted the first listen to make you wonder.

SILY: There's almost a funky rhythm to "Motown Electronium". Do you envision folks dancing to this record?

JL: Would have been plain wrong to put that title on an unworthy beat. What would a room full of people dancing to this even be like? Maybe in Baltimore.

SILY: Do you think "Training Lullaby" is what a computer trying to write a lullaby would sound like?

JL: Not that relaxing, is it? That’s ten seconds pulled from a five minute live improvisation, just a little burst of fury in the middle. Which I’ve heard enough now that I can sing along to it; so now, for me, it is calming.

I finally had to admit to myself that I’m a fan of the OpenAI Jukebox stuff. It’s right at that stage where their results are still primitive enough to remain a little mysterious. All the context and relationships intrinsic to what humans call music is irrelevant to those GANs. They don’t need culture to make music, they just need waveforms. What does it tell us that simple pattern analysis and brute number crunching on a large enough data set can produce those sounds? They’re training us. I have twelve hours of their Soundcloud dump ripped to my phone, and I play it a lot, though I wouldn’t play it for anyone under four. Can definitely sing along to some of the weirder ones by now.

SILY: How did you approach the order of tracks on the record? I'm struck by, for instance, the chaos of "Grossi Polyphony" following the comparative lull of "Every Piano".

JL: Just trying to show the range, and keep the surprises coming. Perpetual variety becomes monotony so quickly, so there is a very careful balancing act to play between shorter and longer tracks. I like a record where on first listen, any new section that begins, you feel like there are no guarantees how long it’ll last, eight seconds or eight minutes. Even things that sound like they should be songs: no guarantees. I still remember the first time I heard The Faust Tapes as a teenager.

SILY: Did you actually use musical dice to write "Wurfelspiel"?

JL: “Wurfelspiel” is just name-dropping Mozart’s generative piece--again, a real piano, but no musical dice involved.

SILY: The beats towards the end of the album--the pseudo hip-hop of "Cope By Design", techno of "Dusthorn Sawpipe", krautrock of "Help Desk"--seem to me to be far more propulsive than anything else here. Do you see a connection between those tracks?

JL: The album hits you with all these miniatures in the middle to keep things moving, and those three are the last little barrage of them before the shift into the final stretch with the longer, more hypnotic pieces. Can be tough to sequence an album when you’ve got so many short tracks, but it’s also total freedom.

SILY: How did you like getting the Hausu Mountain album art treatment?

JL: Totally family. All the Monitress packaging has always been iPhone panorama mode artifacts, visual glitches not entirely unlike what my phone’s trackers do to what they hear. I gave one of those images to [Hausu Mountain co-founder Max Allison] to work with the cover of the first Monitress, and he sent back this image, saying, “Here’s the initial stage: Your photo reduced to color blocks I’ll carefully render out later.” So when the second hyper-detailed one came back in a more proper Hausu style, they already seemed like a sequence, and this second one was already in place, so it all clicked. Any version of Monitress, the music is different, but it’s always the same piece. I’m really happy they asked me for something. [Label co-founder Doug Kaplan] and Max are just coming from the good place.

SILY: Are you doing any live streams or socially distant shows any time soon?

JL: Multi-location live streams are a blast. The time modulation inherent in all streaming is deeply psychedelic. The kind of listening you have to do when you know that the relationship of sounds together in time is different for each musician involved? I’m learning utterly new tricks, and it’s astonishing just how live the result is. I sat in on a live stream with Thurston Moore Group a few months ago, the four of them in London, and me hooked up to an amp not far from where I normally am when I play with them. And everyone agreed: It felt like I was there, right up until the instant I quit the app.

I’ve been pre-recording some home live sets for Hausu, Curious Music and High Zero Foundation. Negativland is putting together an hour long performance with Sue-C for the Ann Arbor Film Festival in late March. I finished an album mostly recorded outdoors with my old friend Cheryl E. Leonard for Gilgongo, and we’re going to try to a few outdoor concerts, too.

SILY: What else are you currently working on/what's next?

JL: The second album with Sagan, with Blevin Blectum & J Lesser, is coming out in late April. That one took 14 years to finish. There’s a trio record with Thomas Dimuzio and Anla Courtis coming out on Oscarson. Doing a revision of the last episode of my podcast on sampling music, Variations, to incorporate that OpenAI music. Some Negativland releases tying together the last two albums. There are about four of five other albums that might be done, though it takes time to be sure.

SILY: Anything you've been listening to, reading, or watching lately?

JL: This month has been Maryanne Amacher’s collected writings, Keeping Together in Time by William H. McNeill, Ministry For The Future by Kim Stanley Robinson, important even with happy ending. Interview with Karl Friston - Of Woodlice And Men.  Listening to a lot of “Blue” Gene Tyranny, Xenakis & Lang Elliott, and last week every Ghédalia Tazartès album in reverse chronological order. I don’t care what anybody says: That guy’s immortal.

SILY: Anything I didn't ask about you want to say?

JL: Thank you for your questions!

Popular Monitress by Wobbly

[jackblankhsh]

Fell on Black Days...

When Chris Cornell died my social media feed flooded with posts about those lamenting the loss.  It reminded me of previous occasions such as the death of David Bowie, Alan Rickman, and the plethora of celebrities who passed last year; online communities posting music, gifs, memes, and video clips as a way of eulogizing the departed.  Then as now I scrolled through myriad such signs of mourning wondering why these deaths mean so much.  

I usually feel detached from the demise of a celebrity.  Even those I admire have never really affected me in any obvious fashion.  It’s hard for me to be overly distraught over the loss of a person with whom I had no interpersonal relationship.  That isn’t to say I don’t have some type of personal connection, but such threads always struck me as more nebulous and abstract.  For instance, throughout high school and college I listened to Pantera a great deal, however, when Dimebag Darrell was murdered I didn’t experience any profound melancholy.  And yet, I know for a fact that his death still affects the mood of many Pantera fans.  Simply putting any of their music on a jukebox eventually elicits the attention of a CFH enthusiast, who invariably nods somberly – funerary headbanging – as they turn the conversation, almost immediately, to the death of Dimebag:  “This is a kickass song.  Sucks that he’s dead, man.”  Joy of the song sharply gives way to a reminder of the dead.

Now, that may seem an extreme example, a murder is bound to hold root in anyone’s mind, but the same is true for celebrities who have passed less horrifically.  Dead musicians draw out the most common instance of this, really listen to the conversations people have about deceased celebrities.  Talk starts out mentioning why so and so meant a great deal to an individual, but discussion soon moves towards two statements:  

1.  There will never be more (films, songs, paintings, etc.) from Blank. 2.  What remains will often be less enjoyable; now tainted by death a song, a scene, or a photo becomes a reminder of loss.  

What concerns us most is that we’ve lost those things which gave us happiness.  The joy of hearing a song or seeing a film will never be quite as potent now that it serves as a reminder of loss.  However, it’s never about the person, it’s about their product.  To this day, people still remark on the suicide of Hunter S. Thompson in regards to wanting his writing, particularly the dagger prose with which he might stab whatever current political madness is rising.  Yet, I’m willing to assume, with absolute certainty, Thompson’s son, Juan, doesn’t want his dad back so he could write another book.  Fans can only want back that part of the celebrity they actually knew.

Our connection to famous people is often indirect.  We assume a level of relationship potential based on how their works make us feel as opposed to any understanding of the actual individuals – just because you love Kurt Cobain’s music doesn’t mean you’d be best friends.  (In fact, the more one tends to learn about beloved celebrities the less appealing they actually become.  Hunter Thompson could be a wild merry prankster, or a frighteningly explosive volcano.  Just ask his ex-wife.  Louis Reed may play the music you love, but he never met a woman he wouldn’t brutalize.  Roman Polanski:  rapist.  And let’s not even start down the horrifying litany of offenses numerous sports icons commit from every conceivable type of cruelty to outright murder.)  Because we don’t actually know them celebrities can be the people we want most in life:  someone who understands us; and a vicarious means to see our dreams come alive.

So it’s no wonder those products become tainted.  Hearing a beloved song by Bowie is a constant reminder that the man who wrote it, who seemed to speak to your very soul, is gone.  Watching Gentlemen Prefer Blondes, depending on your inclination – Jane Russell or Marilyn Monroe – means that vicarious sex appeal really is just a dream because the actors are dead and gone.  There’s no one living it for you, and though films are always fantasy, they seem less so knowing the performers are alive somewhere in the world.  In essence, what’s lost isn’t so much the celebrity, but a degree of connectivity to others as well as dreams.  

Abstract though it may be art unites at a subconscious level, so do sports.  At the minute details our preferences become subjective; however, broadly speaking they involve general themes.  I may have turned on “Becoming” because of my own particular reasons, yet it speaks to any other Pantera fan who hears it, in essence giving us proof we aren’t alone in life.  There used to be someone who created something that connected strangers to one another.  It’s a profoundly unique accomplishment.  So it’s no wonder the loss of that focal point leaves us adrift for a while.  Such communities orbit the celebrity, and without them a real threat seems to emerge:  the lynchpin is gone, so the whole cosmos may fly apart.  Yet, now is the beginning of true immortality.  The memory sustained by devoted fans, the legends turn into mythical gods, holding the universe together.  

#

I get how material is tainted by the loss of a celebrity, but I’ve always been comforted by the fact those same materials still persist.  For instance, Chris Cornell is gone.  I can still listen to his music, and though it may stir some darker sentiments than before, his absence doesn’t change what it once meant to me, and will mean again.  That thing which was significant to me still remains, so in a way is comforting.  Still, I find it hard to cry over the loss of a man I didn’t know.  Loving his music doesn’t mean loving him, and I haven’t lost his music.  In fact, I haven’t lost anymore of Chris Cornell than I ever had, while his friends and family have lost an entire human being from their lives.

Others aren’t likely to be as dispassionate as I am.  I’m well aware of this.  As such I can’t help wondering if I’m missing out on something.  While no one ever wishes to grieve it seems like those who do, in these instances, who are not his immediate friends and family, have lost something profound.  It’s entirely possible I’ve missed out on a depth of feeling of some significance, and I sometimes worry if that means I lack something human not having that.  Still, it may simply be that I’m more connected to the moments of my own life:  at this movie I got my first kiss; this album acted like the soundtrack to that horrible winter; her book inspired me to be a writer, and his showed me the way to my voice… it probably sounds incredibly narcissistic I’m sure.  Unless one considers it like this:  any kind of death is mostly a reminder of our own mortality, so although there’ll be no more elegant plays, films, songs, or whatever, recognizing the loss should serve as inspiration to spend time with the real people in our lives.  

Sure, let Bowie be the soundtrack to your adventure, but make sure to have one.  He certainly did, and who’s to say you might do any less?  Missing the words of Hunter, what’s wrong with yours?  Alan Rickman can’t share that sonorous voice, so I guess it’s time you did.  There’s an absence in the universe that needs to be filled, not because of some selfish desire for fame, but because maybe you can make someone feel less alone carrying the torch a celebrity dropped when they died.  It doesn’t even require being a superstar.

Going back to Cornell, there’s someone out there right now who feels a bit of worry.  The creeping dread flickers at the edge of their mind-sight threatening the possibility there will never be another Soundgarden, or Audioslave to sing the songs which made their life shiny on dull days, brilliant in blackest night, and endurable when torturous… yet, perhaps, it takes a simple visit to kill such bleakness.  

Put on an album.  Pour some drinks.  Share some memories, while making some more.  Because it’s never really the musician, the actors, or the athletes we’re remembering.  It’s seeing that film where a first kiss happened, hearing the music that made high school bearable, the bonding chats at the ballpark… escapism in real time, flavoring the days.

The seasoning tastes a bit different, but it’s still there.  That’s life.  

“Someone tried to tell me something Don’t let the world bring you down Nothing will do me in before I do myself So save it for your own, and the ones you can help.”

Well said Mr. Cornell.  Thanks for the tunes.  They’re more precious now, though the cost is too high.  Yet, unable to change reality, the only thing I can do is what I will do.  Keep playing those songs so a rock legend becomes a rock god, and so, in a way, immortal.

[852recordstores]

杜德偉 Alex To feat. Detroit Diamond【再見路易 Goodbye Louis】Official Music Video

https://www.852-entertainment.com/products/alex-to-get-up-cddvd-2019?locale=en

Alex To won the American Billboard Icon Award in early 2018, becoming the first Chinese singer to win this international index award, affirming his many years of singing Career, can be said to be with the Western stars such as Celine Dion, Steve Wonder and so on! In the past two or three years, in addition to filming and singing around the country, Alex To actually prepared his new album silently, and finally released a new music album "Get Up" at the end of 2018.

"Get Up" is  Alex To's first production director of the entire album, from selection of songs, production, arrangement to album visual photography, MV shooting, publicity, every detail is involved. Alex To upholds the artist's creative spirit, and strives to achieve the ultimate in his work, and spends time and energy to find the best musicians in China, Hong Kong, Taiwan, South Korea, the United States, etc., and arranges with the young and new composer Ryan.B, also invited Amy Winehouse Royal Guitarist Robin Banerjee, Senior Cuban Drummer David Chala, Grammy Award-winning Mixer Chris Godbey, Rap and Feiting are part of the LA rapper Detroit Diamond and the late Pop King Michael Jackson family. Member B. Howard, who laughed and said that he was a spoiled singer, because he came from the golden age of the album, and now he still has the persistence of the time, he can't compromise the authenticity of the music, he knows that the computer program is now developed. What kind of tone or effect can be made, but he feels that the real thing can't be replaced. It has to communicate with the musicians, and the music made has the soul. The songs recorded during the production process are constantly adjusting the details repeatedly. It is better to have better. Each song has 5 or 6 versions. The MV also remake and make up the shots.  Alex To said with a smile: "I didn't think about doing it. The concert took me on such a journey. The energy spent in the middle was unimaginable when I was a singer. But I think it is worth it for the sake of the work!"

Alex To said that his new album was named "Get Up". Idol Jim Morrison has a sentence that affects him very deeply. "There's no eternal reward will forgive us now was wasting the dawn." (There is no eternal return that will forgive us for wasting time.) There are countless lyric classics like "Love Your Life", "Innocent", "Hide you" and "Make yourself happy", "Take off", "Save the Earth" and other red-and-half-day dynamic dance music, Alex To said frankly: "If I just continue to sing these songs, I can sing all the time." It’s okay, but life is always moving forward. People want to live in the present instead of the past. It’s time to get out of the comfort circle and get up!”

Life turns to inspire music inspiration Alex To Song record life The enthusiasm and vitality of the full-

featured "Get Up" album can be said that  Alex To married in 2012, ushered in the newborn in 2016, became the epitome of the time of the husband and the father, he changed his life from his identity and life experience. Wisdom is put into the song. The first wave of "Goodbye Louise" was written for a sudden death of a close friend, commemorating friends with a smile and sadness, and has the same warm and positive attitude as "See You Again." For the first time, we are welcoming the birth of a child, giving birth to the gift of the child, "holding the treatment", and loving the wife's love song "You are in my love" and personally narrating the "two people's secrets" that love the deeper feelings.

The other two dance music, which combines the most popular electro-acoustic elements, inherits  Alex To's passionate style of fast music.  Alex To puts his positive energy life attitude into the song. The song of the same name is “electro-funk”. Electronic funk, full of energy and enthusiasm,  Alex To conveyed in the song "Life is to live a wonderful life, don't stay in the comfort circle, get up!" Another "嘿"

CD 01. 起來 02. 嘿 03. 妳在我的愛情裡 04. 抱緊處理 05. 兩個人的秘密 06. 再見路易 07. 起來 Club Mix 08. 抱緊處理 Club Mix

DVD 01. 起來 02. 妳在我的愛情裡 03. 抱緊處理 04. 再見路易

Release Date: 9 Apr 2019