制作人罗可居在新专辑中继续探索electroacoustic的更多可能。在创作瓶颈期的罗可居从公共版权领域收集了大量古典乐录音，以“窃取”为出发点寻找出口。这些素材经过拼贴处理已近乎不可辨识，但仍留有管弦乐和古旧录音的特殊材质，再结合细心叠加的电子氛围和节奏，构成了一系列诡异而迷人的声音图景。
制作/混音：罗可居
母带处理：Rafael Anton Irisarri
设计：Ross Hawkins
封面照片：1920年，洛杉矶，“音乐可视化”舞蹈课 （图源：纽约公共图书馆）
Producer and film composer Keju Luo further explores electroacoustic possibilities on his latest album. During a period of writer's block, Keju resorted to “stealing” and sampled public domain recordings of works by a wide range of composers from Marais to Liszt to Debussy. These decades-old materials performed by the now deceased were edited and processed until barely recognizable while maintaining their orchestral and melodic nature, and then carefully layered with electronic rhythms and undertones. The result is a collection of haunting and mesmerizing soundscapes.
Produced and mixed by Keju Luo
Mastered by Rafael Anton Irisarri @ Black Knoll Studio
Design by Ross Hawkins
Photography:
Music visualization class at the Ted Shawn Studio, Los Angeles, 1920
The New York Public Library Digital Collections

Hi Friends,
Here are two new things we recorded in November 2019, “In The Afternoon” and “As You Move Through The World.” This is the first ever totally independent release for MGMT. A d.i.y. affair all the way down to the video! As usual and by design these songs may discompose emotionally sensitive constitutions. Please consume with caution.
You can enjoy “In The Afternoon” here:
Listen: ffm.to/intheafternoon
Watch:
Both songs will appear on a limited edition 12” single which you can pre-order here: musicglue.com/mgmt.
This 12” single is only available via MGMT’s online store and will NOT be available at retail. Pre-ordering the 12” will give you an instant digital download of “In The Afternoon” and a download of “As You Move Through The World” when the 12” arrives in late March 2020 (estimated delivery). There is also an exclusive t-shirt available with purchase of the 12” single.
Mexico friends, we look forward to seeing you in March. The MGMT headline shows in Puebla (17 March) and Guadalajara (23 March) go on sale this Friday 12/13 at 11am local time. Clairo will be support on both shows.
Puebla 3/17/20:
Guadalajara 3/23/20:
love and kittens, MGMT
credits
releases March 31, 2020
In The Afternoon
As You Move Through The World
Written by Andrew VanWyngarden and Ben Goldwasser
Lyrics by VanWyngarden
Recorded at Sargent Recorders in November 2019
Engineered by Sean Cook
Mixed by Dave Fridmann
Mastered by Greg Calbi

Susumu Yokota was a Japanese composer. He released several albums under pseudonyms including Stevia, Ebi, and others. Yokota was well known in the English-speaking independent music scene for his albums of experimental ambient music, including albums like Acid Mt. Fuji and Sakura.

PAN welcomes back Objekt for Cocoon Crush, his first LP since 2014’s Flatland. Over the past four years Objekt has continued to challenge conventions with his club output (the Objekt #4 single release and the Kern Vol. 3 mix CD for Tresor), while maintaining his reputation as a DJ who deploys impeccable technical finesse in crafting elaborate narratives from a diverse and challenging palette of electronic music.
Written between 2014 and 2018 in Berlin and on the road, Cocoon Crush once again sees the producer jettisoning the functional requirements of the dancefloor. Marking a further evolution from the youthful exuberance of Flatland, Cocoon Crush explores a more introspective side, with themes of human interaction resonating throughout the record as it ruminates on a spectrum of complex moods rooted in 4 years of sometimes turbulent personal experience.
Cocoon Crush represents an aesthetic departure from Flatland’s largely synthetic tonality, drawing from organic source material and natural textures to illustrate perplexing and unfamiliar sceneries in photorealistic detail. In Cocoon Crush, Objekt diverges further still from his musical influences to craft the purest manifestation of his own musical personality to date: an intriguing and enigmatic album whose reference points are hard to pin down, in which ghostly synth passages weave through mind-bending, weighty drums, and ASMR-triggering foley collages scrape and sparkle. Through meticulous sculpting, Objekt traces a rich and impressionistic journey through claustrophobia, hope, guilt, anxiety and joy, nested in layers of sonic detail which reward with every listen.
The album is mastered by Rashad Becker, featuring photography by Kasia Zacharko, and layout by Bill Kouligas.

"It felt like we were in a movie that had a totally implausible ending..."
Slowdive's second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: "The beauty of their crystalline sound is almost hard to believe, every note in its perfect place."
"It was just nice to realise that there was a decent amount of interest in it," says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive's stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears.
Deftly swerving what co-vocalist/guitarist Rachel Goswell terms "a trip down memory lane", these eight new tracks are simultaneously expansive and the sonic pathfinders' most direct material to date. Birthed at the band's talismanic Oxfordshire haunt The Courtyard - "It felt like home," enthuses guitarist Christian Savill - their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles' famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive's wake).
"It's poppier than I thought it was going to be," notes Halstead, who was the primary architect of 1995's previous full-length transmission Pygmalion. This time out the group dynamic was all-important. "When you're in a band and you do three records, there's a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record."
Drummer and loop conductor Simon Scott enhanced the likes of 'Slomo' and 'Falling Ashes' with abstract textures conjured via his laptop's signal processing software. A fecund period of experimentation with "40-minute iPhone jams" allowed the unit to then amplify the core of their chemistry. "Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like 'Sugar For The Pill' and 'Star Roving', which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed."
This open-channel approach to creativity is reflected by Slowdive's impressively wide field of influence, from indie-rock avatars to ambient voyagers - see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films.
"When I moved to America in 2008 I was working in an organic grocery store," recalls Christian. "Kids started coming in and asking if it was true I had played in Slowdive. That's when I started thinking, 'OK, this is weird!'"
Neil Halstead: "We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they're still interesting in a few years time. I don't know where we'd have gone if we had carried straight on. Now we've picked up a different momentum. It's intriguing to see where it goes next."
The world has finally caught up with Slowdive. This movie could run and run...

Caspian present Dust & Disquiet, the band’s first full length since 2012. The band returned to Q Division Studios in Somerville, Massachusetts again with producer Matt Bayless (Mastodon, Minus The Bear, Isis) where they recorded the highly acclaimed Waking Season (“the Best Post-Rock Album of Year,” said SPIN Magazine in 2012). The result showcases a maturation of the quiet/loud dynamic that Caspian has been exploring since their debut EP, You Are the Conductor. The new album reflects the many moods of post-rock from the album opener with horns and a string quartet (“Separation No. 2”), riffs on the wilder, steel-eyed side of country (“Rioseco”), all the while staying true to its epic brand of build-and-release rock (“Arcs of Command,” “Dust & Disquiet”). Look for Caspian to headline across the US through the Fall of 2015.

作曲:白水/All Music Written by Baishui
器樂演奏:白水/Instruments by Baishui
鋼琴演奏:Lamia/Piano:Lamia (6,7)
電子打擊樂:羅可居/Electro nic percussion by Luo Keju (Outro)
人聲:袁田/Vocal:Yuantian (7)
封面設計:袁田/Cover designed by Yuantian
在線試聽：

God Is an Astronaut are an instrumental three piece hailing from the Glen of the Downs, Co. Wicklow, Ireland. They formed in 2002 and released their debut album The End of the Beginning the same year on their own Revive Records label. Their two music videos for The End of the Beginning and From Dust to the Beyond, received airplay on MTV UK and on other MTV European networks. All Is Violent, All Is Bright (2005) is the band’s second album. The album features their build ups from serene ambience to searing intensity and is a closer representation of their live sound. The single Fragile from the album has also received plays on MTV2 UK’s 120 minute show and MTV’s “The Comedown” show. God Is an Astronaut released an EP called A Moment Of Stillness in 2006. Their third album, Far From Refuge, was released in April 2007 on Revive Records and as a download via their website at
. They released a self titled album in 2008, and plan to release their fifth album, Age of the Fifth Sun in the summer of 2010.

It's been over six years since Schnauss introduced the world to his wonderful blend of electronic textures and shoe-gazer aesthetics featured on his debut, "Far Away Trains Passing By". It's also been four years since "A Strangely Isolated Place" hit shelves in his native Germany and cemented his place among the elite electronic artists. That album combined the early 90's Creation Records' sound of pioneering acts like Slowdive and My Bloody Valentine with modern electronic tapestries. "Quicksand Memory" brings Ulrich's musical drought to an end, featuring two new tracks and Robin Guthrie's re-workings of two of Ulrich's most celebrated songs, "Gone Forever" and "On My Own". Look for the upcoming full-length, "Goodbye", in June.

Craig Armstrong是Massive Attack创立的Melankolic厂牌旗下的顶级混音大师和目前在好莱坞炙手可热的电影配乐大师，被看成是Massive Attack的特色标签。他曾在伦敦英国皇家艺术院学习音乐后来又在苏格兰学习。这个时期他获得了作曲和包括GLAA年轻爵士音乐家在内的许多奖励。从那以后他的事业非常成功，参与制作电影，电视，剧院和商业音乐。他曾任皇家莎士比亚乐团，苏格兰管弦乐队和Tron剧院的委任。Craig创作的歌曲包括和Texas合作的 "I Don’t Want A Lover" ，和Big Dish合作"Satellites" ，和Massive Attack合作的"Weather Storm" 和"Sly" 。他的管弦乐出现在麦当娜，U2，Passengers,The London Future Sound和Suede、Bjork等乐队的专辑中。他曾经为《红磨坊》、《007黄金眼》、《永远的蝙蝠侠》、《职业特工队》等电影主题音乐作曲并监制了弦乐部分，他还为Baz Luhrmann广受好评的电影《罗密欧与朱丽叶》联合创作了电影原声。Craig在爱丁堡国际电影节上获得了包括最佳短片《Close》在内的三个奖项。就在最近他为受到高度评价的"20 Movements"作曲，它在96年的电影节上试演。他的首张专集是具有现代感的弦乐作品，充满美丽，豪华，宏大的弦乐，他邀请了Cocteau Twins的Liz Fraser和Blue Nile的Paul Buchanan担任歌手。