Save Your Heart, the 11 track sophomore full-length from cinematic post-rock powerhouse LIGHTS & MOTION, follows what critics have called "the greatest debut album in post-rock history", "perfect" and "album of the year 2013." Released in January, the band's debut Reanimation (deepelmdigital.com/album/reanimation) has received an avalanche of acclaim from both media and fans worldwide. Save Your Heart will be released worldwide on November 12, 2013 (11-12-13).
"Reanimation is undoubtedly one of the best post-rock records ever to be released and you can expect the very same of Save Your Heart. It's hard to believe that every LIGHTS & MOTION song is created and composed in real-time during late night sessions by pure accident, improvisation and inspiration...by one individual. To have such an incredible album represent our 200th release is truly the icing on the cake to our 18 year history as a purely independent label" says Deep Elm Records founder John Szuch. In a recent social media post, Szuch penned the following: "Running down my cheeks are tears of joy, respect and admiration at the utter beauty and sheer brilliance of Save Your Heart. I'm listening to the final masters Chris delivered to us today on my AKG K-240s...and what I am hearing is the most moving record I have ever heard in my entire life. That's what we specialize in here at Deep Elm: songs with the ability to move you, to inspire you, to excite and console you...songs that make you remember. It's our purpose and the reason why we have carried on against all odds for the last eighteen years. It's the reason why I'm alive. I humbly hope our music makes your soul breathe a bit easier as it does mine. After releasing 200+ albums, I can confidently say: Mission Fucking Accomplished! Kudos to Mr. Franzen for an album so passionately composed and well executed. You're making history, Christoffer."
LIGHTS & MOTION's braintrust is 25 year old self-taught multi-instrumentalist, producer, engineer, mixer and master musical savant Christoffer Franzen of Gothenburg, Sweden. Save Your Heart was produced by Christoffer Franzen, recorded and mixed at UpSweden Studio and mastered by Daniel Muhr at Mastringshuset. Christoffer plays all instruments on the album. Artwork by Elias Klingen. Backing vocals and harmonies on "Shimmer" and "Bright Eyes" by a Linnea Herlogsson. Additional harmony on "Shimmer" by Chris Andersson.
LIGHTS & MOTION has released a video for "Home" and is currently in production on a video for "The March", both which appear on the band's debut Reanimation. LIGHTS & MOTION's music is currently being featured in the movie trailers for "Lone Survivor" starring Mark Wahlberg (
) and "Homefront" starring James Franco (
) and also appears in Google's OSCARS commercial "The Year In Film" (
). Through Deep Elm's Music Licensing division, music by LIGHTS & MOTION has been also been featured in other notable projects for NBC, FosterMore, Phillips 66, The Four Seasons, Starwood Luxury Hotels, TED, The Smithsonian and more.
"One of the Best Albums of 2013. Accessible, deep and totally captivating. [4.5 / 5 Stars]" - Alternativ News
"No bones about it, Reanimation is quite possibly the greatest debut album in post-rock history..." - PopMatters
"Perfect! Reanimation is the post-rock album of the year. An absolute masterpiece and a future classic." - Metalglory
"Stunningly spectacular...the ultimate cinematic post-rock record. Tears will be shed, dear listener..." - Muzik Dizcovery
"The first truly brilliant post-rock release of 2013...a magical journey that explores the depths of the soul." - Post-RockStar
"Album of the Year of 2013 is already here...this is where the bar is set. Good luck to any contenders. [5 / 5 Stars]" - Melodic
"Reanimation is a stunner. Gorgeously sequenced, production is top-notch...already on End of the Year lists of 2013." - Chorus
"Lights & Motion embellishes heart-felt emotion to an incredible level, creating this most moving of modern rock albums." - Beard Rock
"Magical moments that completely relax your soul. Lights & Motion is the newest jewel of the post-rock/ambient scene." - Snooze Control
credits
releases 12 November 2013

Tokyo’s Mono is a peculiar group. While most bands offer up their sincerest and most genuine recordings in their infancy and spend the rest of their careers trying desperately to rediscover their youthful energy, Mono's trajectory has been quite the opposite. This flourish of hopeful creativity was captured by Steve Albini in the form of the eight pieces that make up their third album Walking Cloud And Deep Red Sky, Flag Fluttered And The Sun Shined. More lush and orchestral than previous recordings, the album couples an overall slow-melting ambience with a thunderous drive that reaches far greater heights than the band’s earlier work.

Oct 4 - 6, 2006 at Electrical Audio Recording, Chicago IL

CRB 001
Mono《Hymn to the Immortal Wind》
黑洞唱片荣誉发行，Human Highway Records官方指定发行，中国地区独家发行！
温暖春意，黑洞唱片亮色系列正式起航，推出Post Rock界著名日本乐队MONO的全新专辑《Hymn To The Immortal Wind》中国地区引进版！
MONO乐队10年音乐里程之见证，首次运用交响元素，MONO后摇音乐全新超凡体验汇集于《Hymn To The Immortal Wind》。
全24页全彩色内页文案，7首出色作品，造就2009年最完美的概念性专辑！
发行时间：2009.4

This collaboration with fellow Tokyo native and modern electronic composer World's End Girlfriend is a five-part sojourn of neoclassical grace and luminescence that defies lazy categorization. As dark as the bottom of the ocean and nearly as otherworldly, "Palmless" finds Mono inhabiting a magical world previously only hinted at in their most orchestral compositions. Forgoing their tendency to erupt into hellish bursts of speaker-destroying noise, Mono instead exhibits remarkable restraint, stretching song lengths past the 15-minute mark, turning barely-there crescendos into earth-shaking events. This record is a miniature panoramic view of the sea on an eerily still day, the current swaying at an impossibly lazy pace, and the sound of a thousand tiny waves crashing all at once.

Phonographic Copyright (p) – Forty-4
Copyright (c) – Forty-4
Credits:
Mastered By – Cozy Noda
Mixed By – Masashi Yabuhara
Recorded By – Tetsuya Morioka, Toshiro Kai
Sound Designer – Mono (7)
Notes:
"Mono's first contact"
Sound Designed: Mono (Tamaki, Takaakira Goto, Yasunori Takada & Yoda)
Limited to 1000 copies.

专辑名称：《Melody/Summer》
艺 术 家：The Tumbled Sea
音乐类型：Ambient/ Alternative
唱片公司：Self Release
发行日期：2009年
专辑语言：英语
资源整理：北岸
相关介绍：
《Melody / Summer 旋律/夏日》是来自美国马萨诸塞州波士顿的 The Tumbled Sea 下跌的海 的第二张专辑，网上有人评价说“Silence is also a Sound”，即沉默也是一种声音。专辑定位是Ambient(氛围)、Dark-ambient(黑暗氛围)、Post-rock(后摇滚)、Piano(钢琴)、Minimal(简约)。氛围的确是有，黑暗倒是不见得，简约确实很到位。不同于一般的清爽专辑的表达方式，可是夏天的味道却愈加深刻。然后多些其它元素，还好，并不显繁杂，宛如夜来香。不要怀疑曲名，确实就是这样子的，偶尔给夏天编目也不错，夏日一曲夏日二曲，还不按顺序穿插着来，因为这个夏季会不一般。

2001年、world's end boyfriend名義で限定リリースされ、2003年に再発。
そして、昨年12月限定でOTOTOYにてフリーダウンロード行い話題となった
world's end girlfriend 「Xmas Song」が
今年も12月2日より12月31日まで
未発表曲"Self Sale Fantasia"(97年作）追加されフリー配信される。
OTOTOY(12月2日15時～)では44k/16bit/wavファイル。

Virgin Babylon Recordsではmp3ファイルがダウンロード可能。

Leicester's Maybeshewill have never previously done things by halves, they have always put the maximum effort into everything they have ever written, and their third album, 'I Was Here For A Moment, Then I Was Gone,' is no exception.
Opening track (Which is cleverly called 'Opening') is a brilliant orchestral piece, starting off the album in the style of 65daysofstatic. An epic drum line and choral singing help to create a dark atmosphere, which leads nicely into the second track.
'Take This To Heart' kicks in straight after 'Opening,' with no chance to sit back and take in what you just heard. Heavy guitar lines and violins give this song a very epic feel, which is what this record is about. This song is nicely unpredictable, every now and then the guitar stops and an orchestral piano or violin section will come in, which is really what helps to seal Maybeshewill's reputation as a great post/math/whatever rock band, I have never been able to make up my mind as to what genre to classify this band as.
Next track 'Red Paper Lanterns' starts with a calm guitar line, which then is layered with drums and xylophones to build up to a climax where everything goes very Explosions in the Sky-esque. Then everything goes calm again, with a synth interlude mimicking what the guitar was doing previously, all building up to a math rock guitar riff that seems very common in the current UK underground scene, reminiscent of bands such as Tubelord, Tangled Hair etc.
Next track and lead single 'Critical Distance' is a good example of how well this band can do post rock, I would have to, once again, refer to 65daysofstatic in order to describe how this sounds, but it's not in a way that they are ripping them off, more as in they are acknowledging what 65days are doing and trying to do similar. For me this is the best song on the record, a very good choice for lead single, and probably a very good way for people who haven't listened to Maybeshewill in the past to get into them.
'Accolades' follows with distorted guitars and a fast synth line in an odd time signature, this track is almost in the style of early Biffy Clyro, in the way that it is fast, heavy and unpredictable. Once again this song like most on this record cut out to a calm, almost orchestral section, then goes into a great calm build up which leads to what is probably the album's heaviest moment. The track leads into a quiet outro, while xylophones and sampled violins play what the guitar was playing prior to it. By this point I am totally won over by this album, listening to the next 5 songs is just a mere technicality that I have to do in order to give a fair review.
'An End To Camaraderie' is another brilliant example of how much talent this band has, there is so much energy in this song it becomes hard to sit still after a while. There is a brilliant background synth part in this song that you have to really listen out for, in my opinion it should have been turned up in the mix as it would have made this song so much better, but regardless this song is the best example of what this band does, heaviness mixed with ambience.
The album then leads into 'Words For Arabella,' a calm song, all the way through this time. This was a good tactical move by Maybeshewill, as everybody listening would be expecting this song to get really heavy like every other one on this album, but this keeps the album unpredictable. As well as working as a good way to maintain unpredictability it is a refreshing break from distorted guitars and loud drums, even if just for a few minutes.
Next up is 'Farewell Sarajevo,' which starts with ambient synths, this intro could quite easily go into a drum and bass song, but I am quite glad that it doesn't, instead going into a brilliantly formulated post rock crescendo.
Penultimate track 'Relative Minors' is the longest on the album, and is also the most epic of every song on it. With brilliantly thought out guitar melodies over distorted chord sequences, energetic drums over amazingly well sampled piano parts, this song just reinforces the great impression that the rest of the album has made, and cements them as one of the great post rock bands in the world, I expect one day to see the name Maybeshewill alongside Mogwai, Explosions in the Sky and Godspeed You! Black Emperor.
Final track, 'To The Skies From A Hillside' is a good way to end the album, with both guitarists contributing to what is essentially a 5 minute long riff with the occasional slowing down point, presumably because the guitarists need a second to catch their breath.
All in all this is a brilliant post rock album. It will not be everybody's cup of tea due to how hard some people find it to get into post rock, but for fans of the genre, it will win them over with no effort.

Lights Out Asia来自美国威斯康星州密尔沃基市，由Aurore Rien的前成员Chris Schafer和Mike Ystad及吉他手Mike Rush组成。继2003年的首张专辑《Garmonia》之后，Lights Out Asia带着新作《Tanks and Recognizers》归来。新专中那略微带电的缓和节拍、空旷迷幻的合成器氛围，如同封面的意境：朦胧中略带清醒。亮色的吉他旋律漂浮在电气鼓点之上，在不急不噪中循序渐进，成熟而大气；点缀装饰一样的飘渺人声，堆积出梦幻般的空间感，令人沉迷其中。

「陽が沈んでから夜が来るまでの淡く美しい、その時間へ捧げる」
薄青い夕方。窓辺からの風。その旋律。
haruka nakamura2年振り、待望の2nd Album。海辺のスタジオで録音された、ピアノが
紡ぐ静謐なセッションに、ARAKI shin、akira uchida、Janis Crunch、April Lee等の 演奏家たちが出会っては、過ぎ去って行く。
1日の終わりに。彼方に祈りを。夕べの祈りを。
Scholeレーベルからの1stアルバム『grace』が大絶賛された、東京在住の音楽
家haruka nakamura(ハルカ・ナカムラ)が、2年振りに新作をリリース。リリース元
のkitchen.レーベルはシンガポールを拠点とし、これまでにaspidistraflyやfjordne
等の美しいエレクトロニカ～アンビエント・サウンドをリリースしてきた良質レーベ
ル。アートワークにもこだわり、写真集付きの特殊パッケージという、サウンドとビ
ジュアルを独特の審美眼でトータル・プレゼンテーションしている。もちろんこ
のharuka nakamuraの新作も、アーティスト本人が撮り降ろしたポラロイド写真のアー
トブックと共にパッケージされている。
『陽が沈んでから夜が来るまでの淡く美しい、その時間へ捧げる』、という冒頭
のharuka nakamuraの言葉のように、本作は、太陽が水平線へとゆっくり沈む夕暮れ時
の光景に捧げられた作品。ARAKI Shinやakira uchidaによるドリーミーなサックス、
isao saito(kadan)のやわらかく繊細なパーカッション、そして透き通る歌声のApril
Lee (aspidistrafly)、優しくアーシーな歌声のJanis Crunch (kadan)という個性的な
女性ボーカルが、haruka nakamuraの静かで柔らかなタッチのピアノやギターと出会っ
ては、過ぎ去っていく。徐々に消えゆく太陽の光やそれに伴う空の色の移り変わりな
ど、夕暮れ時が醸し出す儚くメランコリックな空気感を、繊細な音とテクスチャーの
ヴァリエーションによって、とても丁寧に、とてもおだやかに表現した音の風景。
For fans of : Keith Jarret “ The Melody at Night, With You”、坂本龍一、高木正 勝、
akira kosemura、Olafur Arnaulds、Peter Broderick

It doesn't take long into Tales and Dreams before Kwoon unviels its influences.
"Intro" may through the listener for a loop (perhaps a snapshot from Scars of
the Midwest?), and even "I Lived on the Moon," with it's gloriously ascending
guitar line, may still leave us scratching our heads. Some very somber vocals
are even added to the mix to further complicate the matter; yes, Kwoon is a
post-rock band that likes to sing on occasion. Then we come to "Blue Melody" and
as the slow, celestial ambience slowly begins to dissolve, the pace of the
guitar quickens and the drums flare to life, signaling the beginning of the
triumphant finale. The sextet sure knows how to pack a powerful punch, a punch
which sends me back listening to Agaetis Byrjun. Tales and Dreams is not nearly
as ambitious as Sigur Ros' masterpiece, but over the course of 40 minutes the
band lays down 10 tracks, all of which are easily accessible. Those who find the
Icelandic quartet too pretentious might do tell to check out Tales and Dreams,
in fact. Kwoon's take is much more guitar oriented, favoring a reliance on
tremolos to surge through murky ambience and digging deeply into the reserves
when needed. "Tenkleh Skofa" displays the cleverness of the act, layering loops
in opposing directions to juxtapose the light and dark aspects of the music
while stitching it together well enough to almost convince you it's all in a
linear fashion before the heavy reversal thump becomes apparent. The artistic
merits of the music are never once compromised through the album's entirety, but
at the same time the band is very conscience of who it's playing for -- an
audience.
For what it's worth, Kwoon does well to not delve too heavily into a single
source of inspiration and presents a well-sampled and varied taste of modern
music. Conceptually, the album works well, and musically it not only highlights
the conceptual theme, but also stands very strongly all by itself. In my book,
we call that "success."