Composed and produced and performed by David Shea in collaboration with:
Mindy Meng Wang: Guzheng and Voice
Speak Percussion:
Eugene Ughetti – Percussion
Matthias Schack-Arnott – Percussion
David Shea – Electronics, Piano, Singing Bowls, Vocal Overtone and Multiphonic singing, sample collage, and field recordings
Guest Musicians –
Tamara Kohler – Alto Flute/ Flute
(from samples of Rituals)
Oren Arambachi – Elec.Guitar
Joe Talia – Drums
Girish Makwana – Tablas
Ictus Ensemble - (excerpts from Chamber Symphony #1)
Recorded by the Australian Broadcast Corporation at the Melbourne Recital Centre by Chris Lawson and Duncan Yardley March 2017
Additional material recorded by Pat Telfer and David Shea
Mixed by Pat Telfer and David Shea
Overdub/Mix/Editing Engineer - Pat Telfer
Special Thanks: Mindy Meng Wang, Jill Morgan, Monica Lim, Pat Telfer, Paul Ransom, Native Instruments, Diane Shea, Peter Fraser,
DoanTran Nguyen, Eugene Ughetti, Matthias Schack-Arnott, Northwest University for Nationalities, Dunhuang Dance all those I still have so much to learn from and the thousands of artists, monks and workers who made, created and allow the continuing life of the Mo Gau Caves to continue its story.

Street lamps glimmering to a flicker of static. Brass and woodwind bursting through the interstices of dank and smoky bars. A thousand shades of grey, interminably looping. Bring me a half-gramme, a flight far north!
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I began writing this piece of music as a Berliner, physically and mentally entrenched in the noise and bustle of the city. Once I became a traveller again, the music took quite a different turn, a mellower and less frantic one. And later on, I came to discover an awe-inspiring and preternatural landscape surrounding me; the final transition takes me to adventure and the excitement of discovery. From a caged pencil-pusher, to a colonialist explorer with a moustache and golden monocle, leaping from rock to rock on a lunar-like landscape.
This temporary liberation, or change in mental state, elicited the phrase Half-Gramme Holiday. It refers to the Soma drug in Huxley's Brave New World, which is frequently used by each citizen to induce a transient and seemingly delicious holiday of the mind.

Nick Cave的最新专辑《No More Shall We Part》，再一次宣示Nick Cave的音乐风格，已经从过往的火焰般地狂热，降温为冰冷般的霜雪。不见得看得到成长的轨迹，却是Nick Cave选择的另一种音乐着墨。专辑中全部的舒缓古典歌谣，即使偶然出现的摇滚节奏也被冷却得稍纵即逝，Nick Cave在这张以情感为主题，至死不渝的专辑中，把对爱情的执着与不安，铺上深深的忧郁，将悲伤的情绪向下无限探底。
十二首歌曲都是叙事曲的型式，一首首陈述着相连的故事与际遇，没有开怀地欢笑，Nick Cave如受过风霜的慢调嗓音，就说明了悲剧的性质。《No More Shall We Part》从开头曲As I Sat Sadly By Her Side，就把专辑中通篇的绝望做了清楚的交待，而Nick Cave如散文诗般的文字依旧美丽，善于描绘出如电影图画般的意象，将人与人之间的情感，藉由简单地比喻，传神地表达出来，使得歌曲中的故事仿佛跃出歌中。身兼钢琴手的Nick Cave，也把琴音处?淼猛鹑缍斓挠甑我谎坏我坏蔚氐温湓谝蕴崆倨坛傻娜崛硌┑兀械拿恳皇赘瑁己虯s I sat Sadly By Her Side一样，词意感性而曲调优美，吉他手Micky Harvey和提琴手Warren Ellis负责的编曲，高密度的原音器乐成份让稀疏的琴音不致感到轻浮。
忧伤的情绪持续蔓延，渴望的心情不断沉潜，可能是呼天喊地，可能是大叫“上帝”，总之一切都天昏地暗，缺乏光明。而从忧伤的眼中，看到的也尽是不快乐的人、事、物。即使是就在身旁，也有仿佛即将分离的危机，即使是彼此相对，也都仿佛距离遥远。Nick Cave痛苦的吶喊，也在压抑中从头延伸到尾。
或许Nick Cave的转变，会让人他既往的乐迷无法适应，感觉Nick Cave背叛以往的反叛型式，而《No More Shall We Part》专辑的音乐色调太过一致，陈述的情感也缺乏多层次的变化，也可能遭人诟病。但是品味一下Nick Cave具有文艺气息的歌词，以及以吉他、钢琴、提琴组合而成的古典忧郁，Nick Cave在音乐气氛的塑造上，无疑是极为成功的。虽然Nick Cave可能再也无法走回头路，如果想要藉由优美的旋律，感染爱情中的酸苦本质，《No More Shall We Part》仍然是出色的专辑。

Tamas Wells既是团名也是其主唱的名字，这支来自澳洲墨尔本的indie-pop乐团从澳大利亚开始了自己的音乐事业，并且通过他的第1张唱片a mark on the pane让他在美国,英国,乃至日本都有属于他的听众.怎么说他的音乐风格呢?用独立方式制作出带着流行味道的民谣.虽然看起来 有点矛盾,但仔细想想,却是很贴切的.首先,他的音乐制作程序和制作方式完全是属于独立范畴的.其次,他的音乐并非是属于另类的 ,而是朗朗上口,带着流行的气息.最后,他的音乐质朴的风味充满了民谣的气息.也因此,这样的形容完全合理.现在,你要做的,就 是把它down到自己的硬盘中,慢慢体会这一份充满春天气息的温馨

Sixteen years after the release of their critically acclaimed, award winning debut Since I Left You, The Avalanches return with their second album, Wildflower. Created by the band's core duo Robbie Chater and Tony Di Blasi Wildflower is like The Beach Boys' Smile re-imagined in the Daisy Age: a mind-bending cartoon road movie that's best viewed with closed eyes and an open mind.