1977年12月發表的Before And After Science，參與樂手粒粒皆星：Bill MacCormick、Brian Turrington、Paul Rudolph、Achim Moebius, Mobi Roedelius、Dave Mattacks、Jaki Liebezeit、Phil CollinsFred Frith。記得留意By This River。

Remastered re-release of an early, limited Boards Of Canada release, this nine track mini album is available on CD for the first time, seven years after its original vinyl only release. Track nine '1986 Summer Fire' is unlisted on artwork. Includes Boards Of Canada sticker. Digipak. Warp. 2002.

“When I came back from the hospital with a broken thumb and listened to the recordings, I felt they were unfinished. I decided to put them aside and started to work on my small album, Screws. Many many other notes of the piano have been struck since these days, and before we all forget about this, I thought it would be a good moment to share these lullabies with you. I hope they help you stay all strong and calm in these days of solitude – despite the hardship, we can discover introspection and reflection unexpectedly. Who knows what it is good for. ”
— Much love, Nils

„The mother symbolizes our feminine side, nurturing instincts, protecting our minds from the negative. The child on the other hand represents the heedless, unconcerned, competitive masculine citizen, being stripped bare-naked and kicked out of a long lived ideology.“
As evidenced by the album’s title, as well as songs like “Distraction Method”, “Financial Memory”, “Waiting Room” and “Distant Touch” Liam’s penchant for radical politics is especially accentuated on this release. This Album handles and points to the quality of dualism. It yearns to an ideal mother-like mental state of mind, we all should try to be in right now. Instead of just concentrating on a capitalistic, risk taking father-like manor.
Liam sculpts his balance between the female and male energy making subtle melodies and harmonies collide and shift into frantic noise, enriched with substantial rhythmic drum work to lead the way.
Liam has considered this to be experimental music in which he reflects his radical thought patterns. Yet still leaving room for unabashedly fun and child-like fascination. “End Of An Epoch” implements how melancholic but joyous it can be to imagine new futures and possibilities and letting go of the past commodities. While “Vogeltanz” or “Strelitzia Alba” reminds us to dance, re...-connect with nature and howl to the path towards utopia.
In context this is an experience of collective eagerness. a way to enchant the psyche. Each listener moving to it's own individual notion of what the outcome may be.
more info:
thevault.liamback.com/portfolio/dont-cry-honey-its-just-a-game/ more

Conference of Trees Bäume kommunizieren miteinander. Eine bislang kaum für möglich gehaltene Tatsache ist jetzt mehrfach wissenschaftlich belegt. In Zeiten der aktuellen Klimakrise finden sich hierin womöglich alternative Wege, der drohenden Katastrophe entgegen zu wirken. Dafür wäre es sinnvoll, in einen Dialog mit den Bäumen zu treten. „Conference Of Trees“ symbolisiert diesen Austausch, indem es für die Kommunikation der Bäume eine musikalische Sprache sucht. Pantha du Prince hat jetzt mit seinem Werk „Conference of Trees“ dieses Phänomen versucht, musikalisch umzusetzen. Auf höchst unterschiedlichen Instrumenten – vom klassischen Cello, über jede Menge Klanghölzer und Glocken in unterschiedlichen Stimmungen bis zu selbstgebauten Instrumenten und Elektronik – schufen Weber und seine vier Mitmusiker eine zehnteilige Suite. Das Album beginnt mit einem geradezu überwältigenden Schönklang, mit reicher, satter Entspanntheit, und wird dann langsam immer aufgeregter. Es dauert nicht lange und man befindet sich in einer leidenschaftlichen Debatte. Am Ende dieser musikalischen Konferenz wird man zurück zum Anfang geführt, aber nun ist alles anders. Und das gilt auch für den Hörer: Man kommt aus diesem Klangerlebnis anders heraus, als man hineingetaucht ist. Die Aufnahmen sind zum Teil aus Live-Konzerten und im Studio entstanden. Sein Quartett besteht aus vier Spitzenmusikern, mit denen Pantha du Prince zum Teil schon seit „The Bell Laboratory“ zusammenarbeitet. Mit „Conference Of Trees“ veröffentlicht Hendrik Weber sein sechstes Album als Pantha du Prince. Nach Stationen bei DIAL Records, veröffentlichte er 2010 auf dem englischen Rough Trade Label sein Opus Magnum „Black Noise“ für das er auch einen Echo erhielt. Mit „Conference of Trees“ trifft Pantha du Prince den Nerv der Zeit. Musikalisch und inhaltlich bietet es einen Beitrag, wie eine Welt von morgen aussehen kann. Eine Konferenz für das Heute und Morgen.

Phaedra is the fifth major release and fifth studio album by German electronic music group Tangerine Dream. It was recorded during November 1973 at The Manor in Shipton-on-Cherwell, England and released on 20 February 1974 through Virgin Records.

Prolific and critically acclaimed composer Jóhann Jóhannsson releases his DG debut album.
ORPHÉE is his highly anticipated new studio album the first in 6 years!
Jóhannssons genre-blending score represents all facets of his previous works from intimate string quartet pieces, to large string orchestra works, featuring electronics, drones, organ, piano, choir, as well as enigmatic shortwave broadcasts to create an evocative & immersive sound.
I started writing this album in 2009, using a number of simple contrapuntal themes. I began to reshape and transfigure these ideas, writing many different variations. These renderings slowly mutated over time in a process of deconstruction and re-assembly, to the extent that the original versions began to fade into the darker corners of my hard disk. Unlike many of my previous albums, this one didnt start out with a conceptual or narrative theme binding the music together. Rather, the music seemed to be waiting for its form, for its momentum. Jóhann Jóhannsson
ORPHÉE is a melancholic, yet optimistic musical journey inspired by the Orpheus myth Orpheus rising from the underworld, trying to escape darkness into the light.
Orphée was for me about moving to a new city, breaking up old relationships and beginning new ones, leaving behind an old life in Copenhagen and building a new one in Berlin. I think thats why I gravitated to Ovids version of the Orpheus myth, which tells of death, rebirth and an artist s search for truth. This album is an oblique reflection on personal chang

Low is the eleventh studio album by English singer David Bowie, released on RCA Records in January 1977. Recorded largely in France following Bowie's move to West Berlin and decision to break his drug dependence, Low became the first of three collaborations with musician Brian Eno and producer Tony Visconti later termed the "Berlin Trilogy". The album marked a shift in Bowie's musical style toward an electronic and avant-garde approach that would be further explored on subsequent albums "Heroes" (1977) and Lodger (1979).
Though it was initially met with mixed critical reviews, Low has since become widely acclaimed as one of Bowie's best and most influential works.

Limited Edition Japanese "Mini Vinyl" CD, faithfully reproduced using original LP artwork including the inner sleeve. Features most recently mastered audio including bonus tracks where applicable.

这是一张配乐精选 + 重制专辑，收录了我 2016-2020 年间制作的一部分配乐作品。
原本制作这张专辑的动机是，这些配乐此前只出现在影片里，从未以 44100Hz 采样率的音乐形式存在过。
在整理工程的漫长繁琐过程中（显然几年前的我并没有养成好的工程管理习惯），我逐渐产生了这样的想法：这些配乐作品是影像的辅助，在创作时，它们服务于导演的表达。然而音乐有自己的个性，既然它们现在要以音乐形式独立存在，那就不应仅仅是重做母带如此草率。于是我花了一些时间，对它们进行了完全的重新编曲与混音，有时也会忍不住改动一点点作曲。
这就是它们以音乐形式存在的样子了。
作曲：梁欢
编曲：梁欢
混音：梁欢
母带：梁欢
钢琴：赵鑫

Japanese remastered pressing packaged in a miniature LP sleeve.

The album title is 'Abolition Of The Royal Familia' on the front cover and 'The Abolition Of The Royal Familia' on the spines.Promo copies have a sticker over the barcode.

Hosianna Mantra has finally been remastered with sparkeling and sharp sound quality. The bonus track Maria (Ave Maria) was recorded at the same time as Hosianna Mantra (1973) and is considered to be Popol Vuh’s poetic album. A beautiful album and a beautiful bonus track.

Hiroshi Yoshimura was a Japanese musician and composer. He is considered a pioneer of ambient music in Japan. His music lies mostly in the minimalist genre of kankyō ongaku, or environment music—soft electronic melodies infused with the sounds of nature: babbling brooks, steady rain, and morning birds.

“I think I am the same as an artist and as a person. Music is my way of communication and I see the art, the music as a whole thing, with no borders, divisions, or even genres.”
Hania Raniis a pianist, composer and musician who splits her life between Warsaw, where she makes her home, and Berlin where she studied and often works. She has written for strings, piano, voice and electronics and has collaborated with the likes of Christian Löffler, Dobrawa Czocher and Hior Chronik, and released an album with her Polish group tęskno last year. She has performed at some of the most prestigious venues in Europe - from the National Philharmony in Warsaw, to Funkhaus in Berlin, to The Roundhouse in London (where she made her debut at the Gondwana 10thanniversary festival last October) and at festivals such as Open’er, Scope Festival and Eurosonic. Her compositions for solo piano were born out of a fascination with the piano as an instrument, and her desire to interpret its sound and harmonic possibilities in their entirety and in her own way.
Esja is her debut solo album and for Rani it is her first, real, personal statement as an artist. “No hiding behind the "collaborations" or "projects" anymore. For the very first time, finally - just me, as I am”.
Recorded at Rani’s apartment in Warsaw (the piano room has a beautiful reverb and the space has become part art studio and part sound laboratory for Rani) and at her friend Bergur Þórisson’sstudio in Reykjavik, Esja is a series of beautiful melodic vignettes. Sensual, sensitive, rhythmic, atmospheric, free but harmonious, beguiling and hypnotic, collectively they project a sense of unlimited space and time.
Originally, Rani hadn’t planned to release a solo piano album at all. “I would like to be considered first of all as a composer of music - so not being limited to any instrument or voice or whatever. The solo album came when I went to Reykjavik, where I wrote some new songs instantly while in the studio, so they were almost improvised compositions. It was then that I decided to release an unadorned solo piano album - telling a lot about my musical roots, which are definitely in this instrument. But it’s also just a small prelude of all the music that I want to share in the future”.
Rani grew up in Gdansk with her parents (a doctor and architect) and surrounded by music and films. Initially inspired to study classical music, she was introduced to jazz and electronics at music school, widening her interests and as she puts it, “mixing Chopin & Schostakovitch with Dave Brubeck and Moderat”.Other inspirations include composers such as Max Richter, Esbjorn Svensson, Miles Davis, Nils Frahm, Murcof, Portico Quartet, Radiohead and even The Beatles.“It’s what connects all these artists that inspires me, their special approach to music and sound. For me they have big hearts and huge minds.”
But Rani’s inspirations aren’t just musical, she has drawn inspiration from places she has lived and visited. “It’s about the feeling, the general atmosphere, sometimes about memories. Moving to Berlin (where you have the freedom to be yourself), exploring Iceland and the wild mountains in Bieszczady, South-East Poland, all changed me as a person, so I guess, also affected me as an artist.” And inspiration comes too from visual arts. Her father was an architect and the arts remain hugely important to Rani. “Ifind that what really inspires my music is not the music, but all the other things. I take inspiration for the form of my own pieces from architecture and design. Then I translate this "foreign" language, to my own music and the outcome is way more interesting for me than just getting it from the music.
Indeed, for Rani it is often an image or a colour that comes first, what she calls a sound image. “I can really feel the colours, the mood - just like with photography. If the image is strong enough, sounds come along very quickly, trying to build the right image stuck in my head. The music fills the space, the music brings the new worlds, new spaces. One such inspiration was the collage artist Anthony Zinonos whose artwork adorns the cover of Esja and whose work Hania first found when she was working on the music that would become this album.“I really like the mix of colours and minimalistic style which perfectly describe me as a person and as an artist. I am really in love with his sense of humour and rare ability to match pure shapes with energetic colours and mood”
Beautifully sculpted, Esja opens with the gorgeous Eden,which features a chorus full of warmth and grace. Sun is inspired by the sensation of the warmth of the sun, but also by the feeling of being small in the face of the universe. Hawaii Oslotakes its name from the film of the same name, but is inspired by the contrast of mood and location, always changing as you listen. Biesyis named for the Bieszczady Mountains and a memory of driving in Bieszczady'sforests and twisted roads with friends. The wistful, charming, Luka, is a love song written for someone who affected Rani’s music profoundly. The shimmering Glassis named for its fragility, but also for its many colours, like glass caught in the light. Today it Cameis the only song from the album recorded on a grand piano (belonging to Olafur Arnalds in his studio in Reykjavik). Inspired by the piano, Rani wrote a simple, beautiful tune, and when asked what the song was, she replied “it came today" and that became the title of a memorable piece. Finally, Esjais the named by the mountain in south-west Iceland (which can be seen from almost everywhere in Reykjavik) and because of constant changes to the weather there, it always looks different. It therefore became the perfect title for one of her favourite pieces, one that sounds different every time she performs it. And in turn it became the perfect title for her debut album. A powerful, entrancing statement that offers new delights and new insights on every listen and announces Hani Rani as a major new artist.

Recorded At – Cool Anatomy
Recorded At – Ubik Sounds
Credits
Performer, Composed By – Hiroshi Hashimoto, Kenzi Kobayashi*, Shingo Sugiura
Notes
Recorded at Cool Anatomy, Ubik Sounds, summer-winter 2001.
Digipak packaging.

Hania Rani is a Polish pianist, composer and singer. She studied music at both the Music School Feliks Nowowiejski in Gdańsk and at the Fryderyk Chopin University of Music.

What Remains is a dynamic confluence of sonic worlds — four interconnected passages that venture from floating sequencer woven elegant futurism, to yearning and mysterious tribal ambient, to conclude with the heart-wrenching, pure-atmospherics of the title track. This sonic odyssey reveals a masterful culmination of the different electronic musics Roach has developed and explored over the last forty years.
Deep emotion, soulful longing and vast interweaves of sonic epiphanies of grace and beauty are immersed and nourished in a balance of darkness and light. The four distinct — yet allied — movements progress as one stylist space opens to the next, each emerging from the resonance of the previous piece.
What Remains is a powerful meditation upon Steve’s journey of one. “As I grow deeper into time,” Steve reflects, “my devotion to deeply engaging in this creative life progressively increases the potency to burn away that which is no longer needed. The shedding of old skins, patterns and perceptions have to be examined. What remains infuses the art with this essence. This transcendental state inherently evolves as one is tempered through the priorities of time. There are no boundaries around what I do. I venture to the place I feel in my imagination or discover while creating the music; it is how it wants to unfold. I desire to keep pushing further and deeper into places that are connected to what I’ve done while also pushing me into new worlds to explore. As an artist, I use these instruments with the agility to move between a lot of dynamic soundworlds. Like an actor, I inhabit different roles and disappear into them. That creative experience embodies all these incredible emotional, spiritual and psychological spaces as a daily meditation upon what remains vital.”
Sean Williams, New York Times best-selling author: “The final track, ‘What Remains’ is a great pay-off to what feels like a quartet of distinct answers to the question ‘What Remains?’ While the title doesn’t have a question mark, it’s easy to feel it in the music. Everything remains, and nothing. Consonance, and dissonance. At times driving, relentless, urgent, and at others: fractures, and healing. This closing track has a deep sense of lamentation and acceptance, of rolling time and final breaths, bringing the endless moment around full circle. This is classic Steve, really, my favourite kind of his music, with heavy, repeating chords holding court over bottomless depths of nuance. How he manages such perfect clarity with such dense reverberance, I don’t know — but I feel as though every momentary sound is caught and held forever, right up to the last tiny tintinnabulation.”
credits
releases August 5, 2022
released August 5, 2022
Created in 2022 by Steve Roach using only analog and digital instruments, mixing console, hardware effects, Eurorack modular, large format analog modular and ocarina
Graphic design by Sam Rosenthal
Mastered byHoward Givens — Spotted Peccary
Studios NW, Portland, Oregon
Special thanks to Frank Beissel for additional
recording support, Chris Meyer, Tony Ober,
Glen Darcy - ASM for the Hydrasynth support,
1010 Music - Black Box support,
and Linda, Flint, Mica &Ravi.
©2022 Soundquest Music, BMI
© all rights reserved