以相传为唐时口音“客家话”做为人声表现…辅以朝简惯用的氛围乐音绘陈诗文情景…并‘长恨歌’以“…渔阳鼙鼓动地来…”句为起始而后倒叙前因…
出品人：杨子江
录音/混音/制作执行：李杰
制作人：窦唯
男声：杨一
氛围吉它：文大可
旋律贝斯：何锋
合成器/鼓/采样：窦唯
录音时间：2021年6月
录音室：尊悦光华b1录音棚
鸣谢：余先生 子江及五中校友团队！

一些细节让我感到，你真的摆脱了，进入一个新世界，认真地游离其中，看到天上有露珠瓦解，你会笑着感到疑惑，脑波轻柔地颤抖，继续舞蹈，在似曾相识的霎那，四周响起一首浪漫而用力的钢琴曲，很远的地方，我站在一片旷地，看着公园的路，所有人都在移动，临近质变，我想遍历所有空间，但隔着异样的距离，根本无法迈出一步，想起那天车来车往，年轻又凶的阳光穿透树叶，车站旁是巨大的电钻和灰尘，争先恐后的人群，想要把一切都排除在外，这种聒噪的幸福感，来自那场耳语，想再找到只能选择在一个布满鬼怪的深夜，全速冲进瀑布，经历源自个人历史之一段危险，在充满雾气的尽头，用一小时面对终将到来的自我审判，一直以来我都是干枯地蜷缩着，但住在潮湿的地方，被水汽滋出油沫，浑身泛出香味，于是总有水蛇来缠绕，也不知道是搏斗了还是拥抱了，反正力气耗尽，我还以为我站着，可能这就是逐渐沉默的理由，沉重的生命力发出低声嗡鸣，它们经过我，从脚后跟到后脑勺，脊背没有任何发凉，就掉进了深渊，也许是因为峭壁亮起了灯，原本无法承载的电压，带来了安详，听起来像是死了，我顶天立地地看着上面，不太确定，无声中躺下，在所有平静表象的缝隙中，有隆隆的条理在运转，现在从何而来？这个漫长的假日，我就此对回忆模糊推演。
一张传统、朴素、具体的唱片，带有强烈自省、自责、自怜的意味，记录一段回忆以及展现个人某些意识发展、成立和回忆的关联。

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.

朝简宋词元曲三集之第二篇（第三篇大约在秋季面世）以现代氛围乐韵再谱今声遥和古人……六一儿童节再见！
司职：
出品人：杨子江
录音/混音：罗皓
制作人：窦唯
编曲：朝简
吉它：文大可
小号：文智湧
人声：窦唯
旋律贝斯：何锋
箫：子枫
扬琴：赵霞
录音时间：2021年一月
录音棚：董冬冬音工室
鸣谢：子江及校友团队

"Portrait" is a collection of analogue recreations of music from throughout Yann Tiersen’s career, including three new songs. This includes reinterpretations from his debut album "Waltz of the Monsters", to tracks featured on the "Amelie" soundtrack, to his most recent album, "All". It features collaborations with John Grant, Gruff Rhys from Super Furry Animals, Blonde Redhead and Stephen O'Malley from Sunn O))). The record includes fan favorites "Porz Goret", "Monochrome", "Comptine d’Un Autre t (L‘ Aprs- Midi)" and "La Dispute”.

朝简《宋词》《元曲》借古人文采 荣幸以配乐相和 极尽古朴雅趣 以求本土源韵…更九月间于北海公园为背景音声乃和秋色光天…
1《宴山亭》
2《望海潮·八六子·满庭芳》
3《戚氏·八声甘州》
4《临江仙·卜算子·定风波》
5《故宫拆》
6《清平乐·忆少年·渔家傲·洞仙歌》
录音/混音：罗皓
制作：朝简
六弦琴/箜篌：何锋
吉它/合成器/小号：文智湧
箫：宁英杰
笙：子枫
人声/钢琴/打击乐：窦唯
录音棚：董冬冬音工室
录音时间：2020年6月
鸣谢：子江及校友团队 徐东方 王珊。

All tracks composed, recorded, and performed by Sarah Davachi
Electric organ, piano, Mellotron, voice, synthesizer, and strings recorded October and November 2019 at Alms Vert in Los Angeles, California, USA
Van Straten pipe organ (1479), set to quarter-comma meantone; recorded August 2019 at Orgelpark in Amsterdam, Netherlands, bellows by Hans Fidom
E.M. Skinner pipe organ (1928); recorded June 2019 at Rockefeller Memorial Chapel in Chicago, Illinois, USA
Casavant Frères pipe organ (1964); recorded August 2017 at Pacific Spirit United Church in Vancouver, British Columbia, Canada
Poul-Gerhard Andersen pipe organ (1975); recorded March 2019 at Sankt Johannes Kirke in Copenhagen, Denmark
Story & Clark reed organ (ca 1890); recorded February 2019 at The Museum of Jurassic Technology in Los Angeles, California, USA
Mixed and produced by Sarah Davachi
Mastered by Sean McCann
Lacquer by Noel Summerville

Spread across two albums that function as one stunning piece of music, the Big Thief singer approaches familiar themes of loss, solitude, memory, and regret in some of the most vivid songwriting of her career.

With the release of "Tapestry," Michael Hoppe has once again bestowed upon the world a recording of stunning beauty and incredible emotional depth. Hoppe has been one of my very favorite artists since I first discovered his music in 1998, and he seems to just keep getting better with each new release. Hoppe has created a trademark of sorts by including photos taken by his grandfather, E.O. Hoppe, to illustrate the music. This time, in addition to the photos in the twenty-page booklet, there are poems written for each piece by Therese Tappouni AND a video short film, Nous Deux Encore, which Hoppe scored. The British-born and Grammy-nominated Hoppe has released at least seventeen other albums over the past twenty or so years and is one of the most well-respected artists recording today. Several of his earlier albums were recorded with other artists including Tim Wheater (flute), Martin Tillman (cello), and Joe Powers (harmonica), and he has also collaborated on spoken-word albums with artists such as Michael York and Tim Wheater. Over the past several years, Hoppe has realized a life-long dream by recording several of his compositions with The Prague Symphony. While Hoppe's music is very calming and soothing, it is much too nuanced and evocative to relegate to background music. Although I have listened to "Tapestry" at least ten times, I keep pausing while writing about it to drink in the beauty of the music.
"Tapestry" begins with the sweeping "Prairie Moon," a piece we were given a sneak-preview to on last year's Nostalgie. This time it is fully realized by The Prague Symphony, painting landscapes of gently blowing grasses, endless skies, and nostalgia for a simpler life. Violinist Alyssa Park appears on three tracks, the first of which is "Sanctuary." With Hoppe's ethereal keyboard washes behind the soulful violin, peaceful warmth envelops the listener. "Maxie's Theme from Nous Deux Encore" features Mitsuki Dazai on koto. Oboe and guitar create an unusual but spellbinding trio. Strings are added, but the koto carries the enchanting melody from start to finish. "Moonflower," for piano and keyboard, is simply gorgeous in its elegant simplicity. "In Paradisum" is the only vocal piece, and features contralto AnDee Sanchez, whose graceful voice reaches right into your soul. "Impromptu" is the first of three piano solos, all of which are perfect in their simplest form. I love all twelve tracks on this album, but I think "Tears and Roses" is my favorite. It also appeared on Nostaglie, but this time it's a soulful duet for violin (Alyssa Park) and guitar. Joe Powers makes another appearance on "Embers," again demonstrating that the harmonica can be so much more than a campfire instrument. "Pastoral" is a shimmering symphonic masterpiece presented (this time!) on keyboards. Reflective and oh so peaceful, it makes me wonder why Michael Hoppe isn't a household name. "Tapestry" closes with the solo piano "Grace" - tender, honest, and gently embracing.

从10月3日开始，你将可以在“Living Room Songs”网站上，每天免费下载到Ólafur Arnalds当天在自己雷克雅未克公寓客厅中创作的一首歌曲，也可以及时观看演奏视频。Living Room Songs计划总共包含7首歌曲，除了网络免费下载以外，在今年也会发行实体的CD/LP和高质量数字音乐等多种格式。
事实上，Ólafur Arnalds早在09年4月就做过类似的事情。那时他推出了“Found Songs”计划，在一周的时间内，每天推出一首歌歌曲的即时创作，并在twitter上发布免费下载，还邀请网友给每首歌进行插画创作。最终全世界有超过10万网友下载了他的歌曲，也为后来的实体专辑《Found Songs》打下了很好的基础。
这次的“Living Room Songs”计划，则在“Found Songs”的基础上，加入了客厅创作的概念，并且引入了影像的记录。减少了和歌迷之前的隔阂感，少了一些神秘，多了几分互动。

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!
-
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.

14 songs. 55 min. the melody of an empty room.

The Airship is the debut album by American musician and producer Adam Young under his 'Port Blue' alias. It is a collection of 13 melody driven instrumental ambient productions. It was inspired by the novel Airborn, by Canadian author Kenneth Oppel.

Written and recorded by Daigo Hanada
Mastered by Emil Thomsen (ET Mastering)
Artwork by Kevin Townsend / Layout by Nicolas Hyatt

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.

《Realign》是电子音乐人罗可居以Broken Thoughts的名义发行的第三张全长专辑。在涉足实验/氛围，器乐摇滚，电影配乐等多个领域之后，罗可居在新作中对风格融合的可能性进行着持续探索。不同于前作中精细到近乎于数学陷阱的音乐构架，《Realign》是对节奏本能 和声音材质本身的重新发现。简化作曲，以合成器和采样为主体搭建出更直接、更具进攻性的声响，是Broken Thoughts试图实现的自我突破。

制作/混音：罗可居
母带处理：Bo Kondren @ Calyx Mastering
封面摄影：Frédéric Fontenoy - “Metamorphosis #17”
设计：Seariel

"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...

作曲：白水
all music by baishui
器樂,音效,编混：白水
instruments,sounds,produced,mixed by baishui
母帶：羅可居
mastered by luo keju
設計，繪畫，人聲：袁田
vocal & artwork by yuan tian