The Seven Mile Journey (demo, 2001)
1. In an Eight Track Universe [Mp3]
2. The Mystery of Olden
3. Distant March
4. When Blizzards are Afraid
Total running time 44:11
Recorded in the winter of 2001 in Aalborg

Notes for the Synthesis” is constructed of 6 unified tracks moving through gloomy and melancholic passages to intense and captivating soundscapes. Each track tells its own tale in the overall storyline, inviting the listener into the role of narrator and interpretor of the instrumental introverted musical journey.
The album further explores The Seven Mile Journey´s musical approaches and concepts deeper than ever before, along with combining these with new ones. Through this the band creates new layers in their music and is intensifying and broadening the overall dimensions and expression in the songs, in the sound of The Seven Mile Journey, and in the new album as a whole.

也许是大自然的特性使然，寒冷的气候和似世界尽头般的地理位置，让北欧这片与世无争的土地总是能源源不断地向人们提供那些不食人间烟火美妙乐音——除了来自冰岛的Sigur ros和Mum,芬兰的Anna kaisa liedes，挪威的Aings of convenience以及瑞典的Club 8,这次为我们带来的礼物则是来自丹麦的Mew(海鸥)。
不同于他们风靡世界乐坛的同胞Aqua(水叮当)和Michael learns to rock(麦克学摇滚)，Mew的声音永远那么的冷静内敛，不管是在如火花跳动一样的吉他噪音响起，还是主唱用那纤细而响亮的声音开始诉说某件事物，都会令人暂且忘记自己所处何时何地，并不由自主地随之伤感起来。
在丹麦的首都哥本哈根，音乐和电影方面共同的兴趣把Mew的四个年轻人联系到了一起。像所的有新生生命一样，他们现在的成就也并非一下所得，甚至花了相当一段时间来建立这个乐队并开始着手工作。“不过这种曲折的经历正好成了我们伟大的资产。”主音歌手Jonas Bjerre用他那一贯易碎并轻描淡写的语气说，“由于一直以来我们不会弹别人的歌，所以不得不考虑去弄一些自己的曲子出来，结果我们发现事情有了起色，我们做对了”。
听了jonas的说辞，我们似乎能大体明白Mew那与旁人不同的声音是如何来的。虽然运用了很多常人看似奇怪的音乐处理手法，但Mew却从来没有舍弃令听觉舒服这一前提，并且幸运的是，音乐声响起，就算jonas那标志性的童声还未到来，你也能听出这是谁在演奏。或许这是Mew独有的一种演奏方式把，看样子他们也打算将它进行下去。在他们的音乐中你能听到吉他贯穿始终却没有任何独奏段落，有钢琴却经常不踩延音踏板，复杂的节奏当然不可能存在，不过却时不时能听到一些贝斯和鼓好玩的切分，说Mew在不经意间为独立流行乐增添了光彩一点都不为过。如果有心，也不难在音乐中感觉到他们对Dinosaur jr及My bloody valentine这些前辈们坦诚的敬意。
要是你还对Mew不同寻常的音乐感到惊讶并好奇的话，不妨来听听吉他手Bo Madsen说了些什么：“许多时候人们演奏是靠听众熟悉的方式来引起共鸣的，因为那些演奏者学习过传统的套路，而我们却连一堂吉他课都没上过，不过我曾学过一个布鲁斯的solo,我至今还记得那些音符。问题是布鲁斯音乐没有什么悬念，你总能猜到接下来会发生什么，而令人惊讶的声音才是你真正所期待的。” 我想，也正是这种跟传统决裂的思维，才造就了Mew简单直接的音乐概念，也正是由于简单和直接，才会有意想不到的力量，去摄取那些等待着惊喜到来的心灵。
早在签约主流厂牌Epic之前，Mew就曾在自资创办的Evil Office下发表作品。做出这样的举动并非因为Mew的音乐没有市场亲和力而得不到大公司的青睐，归根结底是因为丹麦这个远离尘嚣的国度唱片工业的失败。因此，深知自己已远远落后于世界步伐的Mew走出困惑，采取了积极主动的态度，为自己寻找一个机会。
在几张限量单曲推出获得评论界的肯定之后，随后的官方正式专辑《Frengers》呼之欲出，溢美之词也接踵而至。标题Frengers来自friend(朋友)和stranger(陌生人)两个词的合并，Jonas唱出的那些珠玲玉碎旋律贯穿专辑始终，曾作为单曲发行的《Am I Wry? No》作为开场曲在第一声就抓住了那些渴求怜悯的耳朵，让人不得不对这支团体刮目相看。
随后的歌曲《156》从歌词上看似乎和上一曲讲的同一个故事，都是关于无望的恋情。《She Came Home For Christmas》，美极了的一首节日歌谣，开头的钢琴一顿一顿的声音伴着Jonas的吟唱，让人不由自主地会拿他们与德国独立唱将Maximilian hecker作一番比较，评论界甚至认为，此歌应该获得年度no.1圣诞歌曲，其中讲了一个女孩圣诞节回家的经历，Jonas真是一个伟大的词作者，无疑他给予每一个失落的灵魂以安慰，并使我们得到救赎。
专辑中值得一提的是《Her Voice Is Beyond Her Years》，歌中请到了Mew最爱的女英雄，来自斯德哥尔摩的Stina Nordenstam献声——“她试着引开你，却不知自己该身向何处，然后天就黑了”。似乎又是一个童话中迷途的少女，然而Jonas却说，“要是我明白了你的意图，绝不会让你走”。
最后一首是长达九分钟的恢宏之作《Comforting Sounds》，Jonas一动不动地用动人的声音告诉我们他感到多么的不舒服，因为一些承诺总是无法兑现，即使两个人在一起，也无可避免地感到孤独。“迟钝又疲惫像所有人一样，真的，我曾试着避免这一切，如果现在回到童年，我们就知道什么时候该停下来，然而现在为时已晚，一切都不再纯洁，除了孤独”。 曲子伊始先是轻声的吉他，接着缓缓的旋律慢慢燃烧直到火焰填满了整个听觉空间，最后弦乐和高亢的合音相继并入，如冰川倒塌般滞重但却带着清凉感，为我们整张唱片的聆听之旅画上了圆满的句号。

Saybia是一支丹麦乐队，1993年创团，期间一直走地下乐队的小众风格，沉静，平稳，温和，有人曾认为作为丹麦的英伦乐队，Saybia似乎比本土化的Starsailor更加地道和娴熟。

The Second You Sleep是Saybia的第一张专辑，在这11首歌曲，53分11秒中，纠结了Saybia乐坛近10年的企望、不安、成长及在音乐中得平复与安慰。融合英式摇滚流畅与北欧流行的风格，虽然在Saybia音乐中借用了许多不同的音乐元素，但他们跳脱北欧情歌给人的滥情的刻板印象，改以真实生活的沈稳呈现的手法，让他们创造出一套自己特有的Saybia式风格。团员将他们各自在不同领域的音乐风格中获得体会，融会成专辑中一首首美丽的歌曲。

'Aventine' is the eagerly anticipated new album from Agnes Obel, released 30th September on Play It Again Sam. 'Aventine' is the follow up to her critically acclaimed debut album 'Philharmonics' (2010), which has sold 450,000 copies across Europe, achieving Platinum status in France and Belgium, five times Platinum in her native Denmark, where Agnes picked up five Danish Music Awards (the Danish Brits) in 2011.
Originally from Copenhagen, Agnes has lived in Berlin since 2006, where 'Aventine' was recorded at her Chalk Wood Studios between January and May this year. Like 'Philharmonics', the new album was written, arranged, and produced by Agnes, who provides piano and vocals. Anne M_ller, who has also played with Nils Frahm, adds cello, with Mika Posen of Timber Timbre playing the violin and viola on 'The Curse', 'Pass Them By' and 'Fivefold'. Robert Kondorossi of Budzillus plays guitar on 'Pass Them By'.
"While touring 'Philharmonics' I kept on getting all these ideas for recording, and I wanted to explore the cello and other string instruments" says Agnes of 'Aventine'. "I recorded everything quite closely, miking everything closely in a small room, with voices here, the piano here - everything is close to you. So it's sparse, but by varying the dynamic range of the songs I could create almost soundscapes. I was able to make something feel big with just these few instruments."
Agnes Obel will play a few intimate shows before the album release, prior to a full European tour in the autumn. Details to follow soon.

Thank you to all the people who continue to support us.
This one is for you.
credits
released 11 November 2011
Anders Kildebæk: Guitars
Casper Hübertz: Guitars
Patrick Worm: Bass
Lars Mårtensson: Synths and percussion
Søren Kragh Simonsen: Drums and percussion
Additional musicians:
Lukas Frederiksen: Guitars
Kenn Hedegaard Eskildsen: Production

Under Byen今年3月发行新专辑<<Samme Stof Som Stof>>，风格一如既往的妖冶深邃。

On Iceage's self-produced second album, they come off even younger, wilder, and more chaotic than on their 2011 debut, but also more experienced and nuanced. They've used their resources to hone what they already did well without abandoning their allure.