Originally released in 1983.Between 1979 and 83, Shimizu belonged to this group playing tenor sax with other top class musicians and an American singer in a kind of art pop/new wave progressive rock and jazz mix which could probably be more appreciated now than back then.

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.

Bruce haack's 'haackula' is the record you've dreamt of and the stuff of nightmares. Deemed to be too dark and too offensive for release when it was recorded in 1978, it has languished unheard in the vault ever since. With it's premiere release here it will soon be revered as a lost classic of outsider electronica. Haack's anger with a society he sees as too straight and too claustrophobic is palpable as he hisses and cusses his way over astoundingly elastic electro backings. Already respected as one of the pioneers of twentieth century electronic music, haackula strikes out on this disc into dark, yet playful territory where few have gone before. Imagine a very, very bummed out kraftwerk scowling as they play childlike melodies and sing under their breath of fear and abandonment. One listen to haackula's "blow job" is sure to change the way you view electronic music forever. As well as the full haackula album for the first time this release also features haack's extraordinary 1982 collaboration with russell simmons (def jam/public enemy/beastie boys) 'party machine' and the incredible 32 minute (!) 1979 soundscape composition 'icarus'. All tracks make their first official release here and are lovingly remastered from the original tapes. Often bootleged, (incomplete with an incorrect track-list and much inferior sound quality may we add!) The dark jewel that is haackula now sees the light of day in this deluxe premiere edition. Strap in, and let haackula sink its teeth into you!

A ‘one-reeler’ also entitled ANIMA will be available to watch exclusively via Netflix from 8am BST on June 27. The one-reeler, made by Paul Thomas Anderson, is set to three tracks from Thom’s new album.
ANIMA was written by Thom Yorke and produced by Nigel Godrich. The album features 9 tracks, with an extra track exclusively on vinyl. ANIMA will be available on CD, black double vinyl, limited edition orange double vinyl, and a deluxe 180g heavyweight orange double vinyl which includes a 40-page book of lyrics, and drawings done in pencil by Stanley Donwood and Dr Tchock.

When I Met You is a 2 Many DJs-style mix by Australia's The Avalanches. Fans of The Avalanches will do well to seek this out. It is well put together and a lot of fun. This mix-n-mash collection features 42 tracks from Madonna, Fleetwood Mac, De La Soul, The Avalanches, Blowfly, ODB, Kid Creole & The Coconuts, Cyndi Lauper, The Smiths, Men At Work, Hall & Oates, Fatboy Slim and many others. 2006.

Japanese only B-Sides & rarities collection from the quirky alternative Australian collective. 9 tracks in all including, 'Electricity (Dr. Rockit's Dirty Kiss)', 'A Different Feeling' (Ernest St. Laurent Remix), 'Everyday' (non-LP), 'Slow Walking' (non-LP), 'Thank You Caroline' (Andy Votel Remix), 'Yamaha Superstar' (non-LP), 'Undersea Community' (non-LP), 'Since I Left You' (Cornelius Remix) (exclusive to this pressing) & 'Electricity' (Harvey's Night Club Re-Edit). Packaged in a sturdy gatefold miniature style LP sleeve with exclusive artwork & lyrics. 2001.

Since I Left You is the debut studio album by Australian electronic music group The Avalanches, released on 27 November 2000. It was issued on Modular Recordings and produced by The Avalanches' members Robbie Chater and Darren Seltmann (under the pseudonym Bobbydazzler). The album uses sampling extensively, containing an estimated 3,500 samples from various genres of music. The album was created in two separate near-identical studios by Chater and Seltmann, exchanging audio mixes of records they sampled.

卡薩諾瓦，又名半熟王子，是落日飛車繼金桔希子後的全新錄音室作品。 透過九首歌曲來述說故事的主人翁卡薩諾瓦的熟成冒險旅程。
卡薩諾瓦的自我意識在追尋愛情的過程中萌芽，有如一朵美麗的玫瑰，在東方遙遠寧靜的夜裡蘇醒，溫泉里的玉子孵化成了半熟的王子。
這張作品企圖心旺盛，
詞曲除了延續以往的英文創作更挑戰了法文與拉丁文；
而在編曲上則大膽的挑戰數位調變技術，
搭配飛車既往復古懷舊的音樂氛圍，期待能為亞洲新迷幻注入當代視野。

机器人(Robot)一词最早出自1920年的捷克科幻戏剧《R.U.R.》。当人类被机器人取代，机器人会如何理解人类的历史？新专辑《R.U.R.》是SRP回归内省的一个转变，也是对日增其怪的世界的反应。拿起一个复合节奏色彩冲突的调色板，在声场中叠置虚拟模拟合成器的吱吱扭扭、日常用品和身体打击乐的敲敲打打、热带雨林的昆虫鸣叫、商场中的促销广播以及外太空的电磁震动声，让我们一起寻找混乱中的平衡。

★水星音乐奖得主暌违五年第三张专辑
★荒芜中执拗燃烧的浪漫
★都会喧嚣间最亲密的孤寂
来自伦敦的青年乐队The xx，2009年首张专辑《xx》以初生之犊的姿态，拿下欧洲指标性水星音乐奖，随后几年间，他们纵横各大音乐祭与颁奖典礼，第二张专辑《Coexist》挤下The Script、Bob Dylan、Pet Shop Boys空降英国流行专辑榜冠军，此等天之骄子般的惊人声势，以及身处譁众取宠的当代音乐潮流中，The xx徘徊午夜的极间低迴旋律铺陈起的黑灰色阶，似乎显得格格不入，然而吸纳著Siouxsie and the Banshees、The Cure、New Order、Cocteau Twins以至Aaliyah音乐养分而来的浪漫声响，却敲醒了层层冰雪底层的炙热，写尽了这时代人们藏得最深的孤寂。
2014年乐队灵魂人物Jamie xx首张创作专辑《In Colour》，在The xx失去时空标记的未来场域，投入大量多元声响取洋的缤纷色泽，让人预见了The xx的可能性，亦塑造出暌违五年新专辑《I See You》首支单曲〈On Hold〉的蜕变，与Hall & Oates 1981年冠军曲〈I Can’t Go For That〉交会之际一脚踩进舞池，让好似被时间消磨了的遗憾，不再那麽难以承受，冬阳洒落的和煦蔓延至〈I Dare You〉与〈Say Something Loving〉，依旧浪漫得执拗。
开场曲〈Dangerous〉强悍bassline与管乐驱策下，扬起了The xx至今最果抉、激昂的一回；〈Lips〉取洋自葛莱美提名挪威人声乐队Trio Mediæval的脱俗吟唱乘著Tribal Beat悠缓跃动的宜人风景，以及〈Performance〉凄薄弦乐于一片荒芜中拉扯出的张力，格外令人惊豔；即便〈A Violent Noise〉和〈Brave For You〉回到那个被喧嚣遗忘的街角，遇到我们熟悉的The xx，冰冷得暴戾的梦，也相对辽阔轻盈，美得令人屏息。
末曲〈Test Me〉绝望的最后恳求，在一片极间冰凝的苍白电气中持续坠落，一段Alessi Brothers〈Do You Feel It?〉的琴音乍现，对映著取洋了同一首歌的〈Say Something Loving〉，麻木了心，模糊了时空，即使在阳光洒落的地方，The xx依旧以近乎任性的执著，耽溺于怀疑与悔恨的结，最亲密的疏离，最炙热的冷冽，让人倚著冰牆试图取暖，距离心一步的位置，目光犹疑试探，却怎麽也踩不进去的怅然。

马海平（MHP）的豆瓣音乐人小站：
iTunes:
Spotify:
《折叠痕迹》CD购买：
对于许多人来说，“Techno”是一种遥远、艰深而略显生硬的西方文化。马海 平 (MHP) 的作品却绝不如此。受到 Techno 发源地底特律特别青睐、有着“上海 Techno 之子”美誉的马海平所创作的，是一种融合了力量感和优美细腻情感的电子音乐，像是一个个科技感十足、 五光十色的壮丽梦境。2016年4月13日，马海平将于北京独立厂牌大福唱片发行全新唱片《折叠痕迹 Folding Traces》。除了《黄昏之光》这样有口皆碑的作品，唱片还收入了多首全新曲目。
《折叠痕迹》是一张关于都市与未来的专辑。从《速度之城》到《梅雨之城》，再到《墨尔本日光》..... 快速的机械律动和闪光的合成音，构建出一座未来都市的宏伟场景：流动、演进、复杂、无穷无尽，充满希望与活力。而《未来主义宣言》中宛若著名大师 Vangelis 配乐般大气壮美的氛围，则将科幻和现实结合在了一起。马海平特别邀请了科幻文学主播杨校军，朗诵菲利波·托马索·马利内特百年前撰写的同名诗篇，以略带戏谑的方式点明唱片的精神主题。
《折叠痕迹》是一张关于光线的专辑。马海平有多年美术专业的背景，“折叠痕迹”这个名称，亦取义于光线折射后产生的斑斓印记，以及未来主义/立体主义的视角折叠技巧。即便是在 Techno 这种重视节拍和韵律的音乐类型里，马海平也用优美的旋律和精妙的音色，营造出超凡的画面感和空间感。尤其是《黄昏之光》和《暮色余晖》这前后呼应的两首曲目，仿佛能够从音乐中听出光影的交错和色彩的流转。
《折叠痕迹》也是一张关于情感和回忆的专辑。“折叠”致敬了著名科幻电影《银翼杀手》的剧情：电影中的折纸动物其实是对人性的隐晦象征。整张唱片所选择的音色，让人想起八九十年代的科幻电影：在广阔深邃的同时带着复古怀旧的气息。但和大多数 Techno 专辑“一电到底”的纯粹科技之声不同的是，《折叠痕迹》里还有点睛的原声乐器演奏：开篇曲目《情感入口》中夏豹和李浩然的管乐演奏，结尾曲目《墨尔本日光》里曾和Gorillaz乐队合作的王萌的古筝拨弄，都为音乐增加了听觉的维度和别样的温度。
《折叠痕迹》是马海平在国内发行的首张全长唱片。在此之前，他曾在底特律厂牌 Cratesavers International 与荷兰厂牌 Nightvision Records发行过多张黑胶作品；近年来，他也在不断尝试和不同领域艺术家展开跨界合作，在剧场、美术馆等空间中进行实验即兴演出。这些与众不同的经历，也都折射进这张专辑的作品中，构成马海平独特魅力的一部分。《折叠痕迹》新专辑小型全国巡演也将于今年夏季开始。

在一个未来反乌托邦世界里，外星生化人在地球着陆，释放出一股绿色的烟雾。这片迷雾实际上全由纳米尺寸的机器人构成，会随着人类的呼吸进入他们的神经系统，让他们立刻变得兴奋异常，跳起舞来。第一次接触就此发生。
也许没有什么地方比上海更能激发人们对于未来世界的幻想和焦虑了，鸭打鹅乐队的第二张专辑《未来俱乐部 CLVB ZVKVNFT》里描绘的，也正是这样一个科幻迷境。曾经被打上“数学摇滚”标签的他们在过去几年时间里已经完成了电气化的转变：完全抛弃吉他演奏，改用合成器和各色制作软件表达自己对于未来狂热而偏执的想象。韩涵和熊猫的合成器演奏时而危险阴暗，时而流光溢彩；33和JB组成的节奏组合，则平衡着凶猛冰冷的机械力量和温热的人类韵律。这张唱片中音乐内部本身的对立也正是乐队想要探索的主题：如何才能用机器的语言表达出复杂微妙的人类情感？科技进步之于人类文明究竟是良药还是倾覆？
《未来俱乐部 CLVB ZVKVNFT》一定程度上算是“概念唱片”——在创作过程中，深受《异形》系列电影、《辐射》等游戏影响的乐队发展出一个贯穿所有曲目的科幻故事。但这张唱片所涵盖的剧情可能显然不止一种：人类、外星人、人工智能之间的相互依赖和斗争，陌生事物和冲突带来的恐惧与兴奋，财富和科技带来的恩惠与诅咒等等，所有这些经典的主题足够每个人想象出属于他们自己的故事。鸭打鹅的音乐前所未有地低沉而尖锐，也更加细腻和富有层次感。同所有优秀的club一样，未来俱乐部如同黑客一般潜入人类躯体，阻断与“真实世界”的联系，用电气之声助你逃离这个星球，哪怕只是短短的一小时……
《未来俱乐部 CLVB ZVKVNFT》由大福唱片分别以数字、CD及双LP黑胶三种载体发行。鸭打鹅与DOC乐队的特别多媒体联合双城专场《林比克人》也将在上海和北京上演。鸭打鹅还将参加摩登天空今年秋天在芬兰及美国举办的音乐节。

今作のテーマは自身の名でもある「world's end girlfriend」。
18年間、作家自身が想い描き続けたその名が持つ根源のイメージ。
3.11後の世界、テロの時代における抵抗と祝福。
これまででもっともパーソナルな哲学と領域に深く踏み込んだ作品となっている。
世界中のどこにもない音世界で描かれた新作「LAST WALTZ」。
静寂と轟音、生音とプログラミング、旋律とノイズを自在に行き来し、
喜怒哀楽や善悪の彼岸も越え、全10曲70分ひとつの物語として描かれる。
「死の舞踏」のその先、「メメント・モリ」の向こう側。
震える地の上で踊り、放射される光と闇の中で最期まで遊びつづける。
ゲストミュージシャンとして
downyのギタリスト青木裕、湯川潮音、Piana等が参加。
アートワークは中国の現代美術家Jiang Zhiの作品を使用。
The album theme is his own name “world's end girlfriend”.
The writer keeps imagining fundamental images of that name creates, for 18 years.
It's Resistance & The Blessing , among the world after 3.11 and this terrorism-era.
This album is filled with most personal his philosophy. This one steps into his personal universe deeply.
The new album "LAST WALTZ" is painted by a quite unique sounds world that anywhere of the world have not ever heard.
Coming and going freely between silence and roar, acoustic sound and programming sound, melody and noise.
That passes over Joy, Anger, Sadness, Humor, Good and Evil.
It draws as a story of 10 tracks in 70mins.
Beyond "Dance of Death", the other side of" Memento mori".
We are dancing on the shaking ground and keep playing in emitted lights and darkness until the end.
Guest additional musicians are Yutaka Aoki(downy), Shione Yukawa, Piana, so on.
The album cover artwork is a fantastic photograph by Chinese modern artist, Jiang Zhi.

‘How To Be A Human Being’ is a scrapbook of the bands time spent on the road, gathering memories and perceptions of different types of people from all around the world.
Unveiled in mid May as Annie Mac’s Hottest Record, ‘Life Itself’, the first single from the album, has already elevated the band’s sonorous buzz to a whole new level. The track is an immersive, exotic and characteristically off-kilter earworm, reintroducing the band in the wake of their sensational ascent into a force to be reckoned with.
Glass Animals’ debut ‘Zaba’, released on Paul Epworth’s label Wolf Tone, has so far sold nearly half a million copies worldwide and amassed a staggering 200 million Spotify streams, obliterating all expectations simply by word of mouth. Their anomalous rise has gained the Oxford four-piece a legion of fans all over the world, including festival appearances at the likes of Falls in Australia, Coachella, Bonnaroo, Lollapalooza, Glastonbury and has resulted in the band playing 2 sold out headline shows at LA’s 2000-capacity Wiltern and NYC’s 3000-capacity Terminal 5.
To those expecting another album like Zaba, this album may end up as a disappointment. Glass Animals found success on a rather unique and creative sound and continued to expand their inner-weirdness and creativity by not playing it safe, instead opting for more ambition. This approach has paid off admirably as How to Be a Human Being is more than just a collection of stories told through characters like the ones on the album’s art, but is also a showcase of the band’s talent. Taking this talent, expending as much creative energy and ridiculousness as possible while deviating from their beloved sound, the result is an album that one would be hard pressed to find a comparable output to; and that’s a fantastic dilemma.

《What's up with That？》是电子音乐人Dave Liang（上海复兴方案）和视觉艺术家雷磊合作的多媒体艺术项目。
他们用现场电子音乐演奏和视觉vj表演的方式，描绘孩子们与生俱来的好奇心，和天马行空的想像力。10首电子音乐的创作从雷磊孩童时期讲故事的磁带录音出发，在其基础上Dave进行了采样和编辑，并加入电子音乐的元素和当代城市生活的声音。视觉方面的动画创作，来自于雷磊对父亲80年代旧书《国际书籍装帧设计选》的再创作，用手工拼贴的方式制作了一系列充满了几何形体和抽象设计感的动画 。