Kraftwerk (German: [ˈkʁaftvɛɐ̯k], lit. "power station") is a German band formed in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Widely considered as innovators and pioneers of electronic music, they were among the first successful acts to popularize the genre. The group began as part of West Germany's experimental krautrock scene in the early 1970s before fully embracing electronic instrumentation, including synthesizers, drum machines, and vocoders.

Trans Europa Express/Trans-Europe Express was the first Kraftwerk album to be mixed in two entirely separate versions, one in German, the other in English. In addition, a French language version of 'Showroom Dummies' entitled 'Les Mannequins' was included on French pressings of the album (which otherwise features the English mix).
Most German pressings (as well as the 2009 remastered reissues) list 'Metall Auf Metall' as two separate tracks, the second part entitled 'Abzug'. Most other versions only list 'Metal On Metal', but include both tracks.
The original German pressing (and many of the other editions) features a monochrome portrait by New York photographer Maurice Seymour, with the group dressed in suits to resemble mannequins. A highly retouched colour photo montage of the group by J. Stara is used for the British, American and other editions. A color collage of the group sitting at a small cafe table designed by Emil Schult was used for the inner sleeve. Most of the 2009 reissues feature a simplified monochrome 'TEE' design.
The original German release includes a colour poster of the Emil Schult image.

Kraftwerk (German: [ˈkʁaftvɛɐ̯k], lit. "power station") is a German band formed in Düsseldorf in 1970 by Ralf Hütter and Florian Schneider. Widely considered as innovators and pioneers of electronic music, they were among the first successful acts to popularize the genre. The group began as part of West Germany's experimental krautrock scene in the early 1970s before fully embracing electronic instrumentation, including synthesizers, drum machines, and vocoders.

Haggard于1991年成立于慕尼黑。吉它手Asis是乐队的核心，1994年发表了一张MCD，并
在Amorphis的巡回演唱会作暖场表演。在这期间，Asis一直在探讨如何加入更多的古典
元素，其结果就是他不断找来越来越多的提琴手、钢琴手、女高音以及其它古典乐器演
奏者丰富Haggard的音乐风格。到了1997年发表首张概念专辑"and thou shalt trust…
the seer"的时候，乐队已经拥有了16名正式成员，真是不厌其烦啊。这张专辑以法国著
名的预言家Michael Nostradamus（诺查丹玛斯）的生平与著作为主要内容，在音乐风格
上也显得古风盎然，钢琴、提琴等古典乐器与吉它、鼓等金属乐器错落有致，其间并无
主次之分，同时大量运用了唱诗班、圣咏、歌剧女高音等人声因素，与男声低音、念白
以及黑死唱腔结合起来，构成了非常独特的魅力，引人入胜，使人时而仿佛置身于中古
世纪的繁华市集，时而又在冷峻阴森的教堂中漫步，充满了深邃神秘的氛围感。
2000年发表的"Awaking the Centuries"是上一张专辑的延伸，此时的时间是在1546年左
右，Nostradamus的第一任妻子与孩子都去世了，这也正是Nostradamus开始撰写《诸世
纪》的时候，专辑的名字即来自于此。在本张专辑中，Haggard把它善于整合不同风格的
音乐元素的特长发挥到极致，团员已达到20人，同时还邀请了3位guest乐手、5位口白及
9人的歌剧唱诗班，真可谓宏大之极。
专辑是以改编的Rachmaninov唱诗开始，于是时光倒流，我们仿佛置身于中世纪法国那泥
泞的城镇中，紧跟着的"Pestilencia"（瘟疫）则充满了歌剧的张力，尤其是女声的嘶叫
"c\'est la peste"（这是瘟疫！）更是让人透不过气来。第三首"Heavenly Damnation"
是前卫金属网站长评为的超级爱歌，我们来听听他的评价："以强劲的弦乐、大键琴对弹
开场，紧接带出男女唱诗班大合唱，soprano的一阵拉高后，death腔也随后喷出，精彩
的弦乐、oboe、单簧管对奏，伴随强力双大鼓接续登场，death腔、声乐腔大合唱，弦乐
、长笛、oboe、大键琴、双大鼓，真的是有够美啊！"
我最喜欢的则是第6首"awaking the centuries"，开场是以小提琴与双簧管等乐器的协
奏为引子，接着转向欢快的旋律，在这美妙的奏鸣中，吉它与双大鼓悄然现身，带来一
阵震撼性的气息，似乎在预示Nostradamus眼中所看到数百年后的战火。在忧愁的女声吟
唱"Awaking the centuries"过后，一段凄美的旋律引出了Asis的黑暗唱腔，在两位女高
音的伴唱之下，旋律转向激昂，似乎在倾吐Nostradamus内心的不安--恐怖的景象不断叠
现，而那参破生死的平静则更显得无奈。
本首歌曲直接引用了大段Nostradamus《诸世纪》的原文，诸如：
"When I open my eyes
I see soldiers in the fields
Dead bodies on the ground
There are children inbetween
Explosions shock the land
And the evil shows its face
The one called Hister rises
This is the fall of grace..."
令人听后，如有阵阵寒意袭背。
总的来说，本专辑唱念俱佳，不仅充满了浓厚的古欧洲气息，氛围感十足，同时旋律优
美，编配合理，除了时间太短以外（38分钟），几乎挑不出什么毛病，无疑是张"五星级
"的专辑。

德语乐队用中文演绎他们的歌曲
华语乐队用德语演绎他们的歌曲
附迷你汉语/德语教程

Urthona
In the mythological writings of William Blake, Urthona is one of the four Zoas, who were created when Albion, the primordial man, was divided fourfold. Specifically, he is the Zoa of inspiration and creativity. His female counterpart is Enitharmon. Urthona usually appears in his 'fallen' form, that of Los.

by Tim DiGravina
Alphaville's 1984 debut, Forever Young, deserves to be viewed as a classic synth pop album. There's no doubting that Germans are behind the crystalline Teutonic textures and massive beats that permeate the album, but vocalist Marian Gold's impressive ability to handle a Bryan Ferry croon and many impassioned high passages meant the album would have worldwide appeal. Indeed both "Big in Japan" and the touching, sad change-of-pace "Forever Young" raced up the charts in multiple continents. Borrowing inspiration from Roxy Music's detached theatricality and Kraftwerk's beats and rhythms, Gold and company hit upon a magic formula that produced here an album's worth of impossibly catchy tunes that could almost serve as pure definitions for the synth pop genre. The hits race straight for one's cranium and embed themselves upon impact. "Big in Japan" feels like a more serious cousin to Murray Head's "One Night in Bangkok," as a slow-pounding beat spars with Gold's desperate voice. "Forever Young," a stark, epic song that would become essential for every post-1984 high school graduation, drips sadness and never fails to cause a listener to nostalgically reflect on life and loss. Outside of these hits, the remainder of the songs rarely falter, mixing emotion, theater, and of course electronics into a potent, addictive wave of synth euphoria. It's likely every fan could pick his own favorite of the other should-have-been-hits, but "Fallen Angel" deserves special mention. It begins with spooky, funny warbling and icy keyboards, and then explodes and transforms into a startling, romantic epiphany at the chorus. If its lyrics are a bit goofy or juvenile, it only adds to the heartfelt love the song expresses. Alphaville stick firmly to their synths and sequencers on Forever Young, but they keep things interesting by incorporating motifs from funk, Broadway, Brazilian jazz, and even hip-hop. Even when the band takes itself too seriously, the songs' catchy drive and consistently smart production cover any thematic holes. Forever Young is a technically perfect and emotionally compelling slice of 1980s electronic pop/rock music. It's also a wonderfully fun ride from start to finish.

且不管人们怎么去争论Darkwood，倒不如还是静下心来好好欣赏一下这张专辑，单说这张唱片，专辑的封面就把我吸引了，要做成怎么的一张概念虽片那只有Darkwood才能明白，为了延续他们的实验成分这次特别请来了JONFISHMAN来为这张专辑做前期的准备，当然看着封面就能给我一种全新的感觉。
专辑中的亮点就是曲调的转换和主音歌手的好噪音，同时也展示了他们的成熟、稳重、歌曲的创作的确给我们带来了十分的惊喜，歌词中的音效情节纠缠在一起，有点让人错昏昏欲睡的感觉。这的确是一张不折不扣的Darkwood专辑。
开首的“ Wintermaerchen”显然用铃声带出了Darkwood，平和，充满善意，谦恭文雅，使徒般的端庄稳重和高尚纯洁。为我们营造与好进行心灵沟通的约会的氛围和机遇。其实任何问题都是多余的，因为他可以让你自然而然地进入一种心灵交通的状态。Darkwood要让我们相信，只有好的音乐才能塑造自由的空间。

专辑名称：Heimkehr
专辑歌手：Seelenthron
发行时间：2005年
发行厂牌：Nielozilla
专辑种类：Neo-Folk
压缩比率：CBR 192kbps
专辑介绍：
这是一个异常温暖而厚重的乐队，敦实的，解压的，温情的。所以我才这样迷恋Seelenthron。这些天里把自己置身于广阔悠远的民谣里，似乎整个世界都在附和着自己变的温和。而这张专集带给听者的欢喜自是不可估量的。
秋天来了，正如朋友说的，这是张适合秋天的唱片。对我而言，秋天是一年中最棒的季节，而在这个秋天，这张唱片让人感到一种，秋风中享受那一丝温暖回味的情怀，很舒畅。
Seelenthron是Dies Natalis的side Project。大家知道，在DN音乐中，家庭的那种温暖会让人回想起很多事情，原声乐器的运用更把这种情怀突出得非常优美。Neofolk是什么？其实没人能与它下定义，或许Neofolk本不完全是Dark的。在低调中去体会那如露水般的柔情。这样很好。也是音乐本身的面貌，无论什么音乐，感动是永久的注释。情绪是流动的，随着事情变化。还是说说这张唱片。
开场曲Track 1以钢琴开始，那钢琴的高音琴键所分解出的情绪，把我们缓缓带入了一个音乐所创造的世界。钢琴是一种很能有共鸣的乐器，当军鼓和重旋律想起那一瞬间，那是种情绪的飞跃。他们做得很好，让人不知觉中，得到了情绪的感染。
这里我想重点谈下Track 3:“Der Tag”。主观上来说，实在太美丽的一首曲子，很有画面感。温暖的原声吉他渲染出一片和谐的画面，我好象看见了妇女，孩子，老人，和绿地，麦田。男声的独白，深情而婉转，浑厚却充满魅力。他仿佛在为你讲述着故事。属于他们的故事，也许也同样属于你。在这个凉风阵阵的日子，听着这样的旋律。我有种说不清楚的感觉，可我久久地去回味。高潮部分，定音低音鼓和军鼓奏起了情绪的旋律。而男声的吟唱岁着旋律的摇摆，仿佛我也随着流淌在那条纯洁的河流里，去享受那种情怀。
Track 4“Gestrandet”，一首充满着节奏感的民谣。温暖而散漫，气息流淌。饱满你的耳朵，充足你的听觉。Track 7“Heimkehr”在弦乐的伴奏下，定音鼓如雷鸣般轰鸣着，而纯洁的童声贯穿其中。仿佛在呼唤.....像是在深邃中的呼唤。悲壮的旋律伴随着男声的独白把情绪升到了顶点。迷乱的高潮过后，那清脆的童声再次响起，一首甜蜜，但忧伤的童谣一点点含糊地哼出，让人联想感叹。结尾曲在氛围和钢琴的伴奏下，男声说道出一种压抑，或许更多的是一种阴愁。
总得来说，在今年新民谣低迷的年份，传统的声音再次响起（虽然这张是２００５年的，但我也是才听到），让人开心，更让人回味。---转自网络

电影配乐有着无尽的魅力，而喜欢电影配乐的爱好者很少人不知汉斯·季默这个名字的。无论是气势雄壮，或是至情至性，不断实践的汉斯·齐默尔都可以将其处理的完美无缺，难怪著名导演雷德利·斯各特在专辑的文案中将他赞誉。

本CD是收录2000年10月在比利时国际音乐电影节（Flanders International Film Festival）上举行的主题音乐会的现场录音，精选演奏了汉斯·季默最重要的电影配乐作品，其中收录乐曲12首，出自汉斯·季默配乐的《角斗士》、《为戴茜小姐开车》、《末路狂花》、《碟中谍》续集、《狮子王》、《雨人》、《真实的浪漫》（“TRUE ROMANCE”）、《9个月》（“NINE MONTHS”）、《红色警戒线》（“THE THIN RED LINE”，又译《狂林战曲》）和《一人之力》（“POWER OF ONE”）10部影片，其中既有主题曲也有情节音乐。