Recorded over 2012 in Melbourne, Oslo and Reykjavík, pianist/composer Luke Howard's inaugural solo album draws upon the minimalist approach of his previous projects, conjuring rich cinematic soundscapes using piano, strings and electronics. The record features members of the Melbourne Symphony and Oslo Philharmonic, along with past collaborators Janos Bruneel and Leonard Grigoryan. Sun, Cloud was long-listed for the 2013 Australian Music Prize.

nothings66 待望の新作は、山梨県在住、独Traum やmule electronic からリリースを続けてきたKosuke Anamizu によるソロプロジェクト、moshimoss の最新作「endless endings」
米dynamophone からひっそりとリリースされた1st Album はその類希な内容の良さと湧き上がるような美しさから、ただ放たれただけにも関わらず音楽だけが一人歩きをしながら、ゆっくりと人々の心に辿り着ていきました。
モンタナのBillings Gazette やUS のUtne Reader ではMax Richter らと、日本のmusic times などを筆頭に世界中の媒体やブログに取り上げられ、Sigur Ros の新曲と称された楽曲はYouTube で50 万回再生を誇る。
目立った活動をせずともFacebook のファン数は1000 人を超えるなど、その愛おしい旋律や夜明けの息吹を感じられるような音楽性は、世界中を旅しながら沢山の人の心を動かし続けています。
2012 年にはFujiRockFestival への出演も果たし、3 年の時を経て、遂にmoshimoss の2nd Album が完成しました。
前作の叙情的で追憶にふけるようなサウンドスケープはそのままに。
1 曲ごとに姿を変えるギターや鍵盤、数々のシーンで記録されたフィールドレコーディング、大地の果てや夕映の空を象徴するかのようなシンセ、名前の無いテープ古いテープから聴こえてくるようなボイスサンプルなど、おびただしい数の有機的な粒子が溶け込み、揺らめく世界が実に精巧に生成されています。
さらにアイスランドでとてもポピュラーなバンドRokkurro からボーカリスト/チェリストであるLily and Fox の唄声をフィーチャーしたトラックも封入されています。
マスタリングにはなんとNils Frahm を起用。
ミニマル・ダブなどで培ってきた音響の感覚なのであろう、普遍的なエレクトロニカ/アンビエントとは決定的に違う独特の響き。
どこまでも続く、終わりのない終わりが、確かにここに存在しています。
次々と折り重なる深淵のアンビエンスが、聴き手を優しく暖かく包み込む、稀代の感動作です。
メディア掲載レビューほか

Must is Spanish Producer Pablo Bolivar's third album and is a showcase of his dubby warm house sounds. There are hints of varying styles across the album's 55-minutes but there is also a consistent atmosphere of lush laid back Spanish vibes and very few vocals.
The album opens with the slow moving 'Rise You Demons', a track full of stumbling, echoing drum beats and gentle electronic melodies that captures the feel of a Mediterranean sunset. 'Eleven Years' is the logical next step, a slight shift in gear as the lights come on - a more measured rhythm carrying a similarly contemplative tune.
Must - Pablo Bolivar
With the help of Fabel, Bolivar delivers a sun kissed jazzy piece in 'Off Soft', complete with gorgeously soft percussive remedies and a gently played melodic hook. The jazz influence is retained for the vibe and composition of the slightly moody 'Diamonds', the track here that Pablo sounds most at home on - it's carefully crafted, tight and atmospheric.
Mantra provides the only vocal on 'New Order' - a track similar in feel to 'Diamonds' but the vocal adds little and if anything the track is symptomatic of Must's primary flaw - for all the attempt to vary styles and a measured length it still feels at times like it runs out of places to go. 'Keep Moving' manages to do little more than it's title suggests, a looped groove that pushes some unconstrained rhythms but little else.
But most moments here shine in their own, subtly refined way. Either side of 'Keep Moving' are 'Don't Hold' and 'Heat' - the former using progressive synths and a stomping beat to build an uplifting, funky piece of electronic music. Album closer 'Heat' is a slow ambient track assembled around the sounds of nature, insect noise and bird calls providing the foreground to a subtly emotional conclusion, and again, it's Bolivar at his best.

The first album by Ben Lukas Boysen (also known for being the musician behind Hecq), "Gravity" is a deeply personal work in which this highly-praised producer sheds the artifacts of electronic music to compose a solemn and touching album of beauty and depths. Melancholic piano lines, warm analogue sound, tender drums: "Gravity" is only as sad as you want it to be, for it is first a solitary and introvert journey through heights and emotions. Much more than a new beginning: a revealing.

Last month, Nicolas Jaar and Dave Harrington shared "Golden Arrow," which was initially just described as the first 11 minutes of thei r album. Now, the details for that album have been unveiled.
The new record is called Psychic, and offers up eight compositions from the duo. A press release calls the album "a ritualistic song cycle," adding that it explores "rocks cosmic outer edges through the immersive, body-moving framework of 21st-century house and techno."
Psychic will be available on October 8 via Jaars own Other People label under license to Matador Records.

On Iceage's self-produced second album, they come off even younger, wilder, and more chaotic than on their 2011 debut, but also more experienced and nuanced. They've used their resources to hone what they already did well without abandoning their allure.

Zinovia’s compositions stand poignant and intellectual, fusing stylistic classical elements with deep, moving ambient sounds and subtle, uplifting beatwork. Smooth, intelligible, and truly elegant songs that allow the audience to drift away in a wash of tranquil tones that ebb and flow with a rare maturity and grace.
Place yourself in a futuristic lounge hidden away in the depth of some distant unnamed city. The atmosphere inside swirls with a smokey, yet airy charm, as random glasses clink in the darkness and a smattering of enigmatic characters sit and absorb the sounds emerging from within. On the unpretentious stage, a sultry woman stands behind a control panel of various machines, their indicators and displays splashing colors of light across her face, illuminating a gentle sadness in her eyes as she controls and manipulates her sounds. Her name is Zinovia. She is from Athens. Her work is titled ‘The Gift Of Affliction‘ and it seems to have the entire audience entranced. No doubt, there is a deeply personal connection here.

Vår is the project of four best friends from Copenhagen. Each member of the band is involved in several other Danish bands and all four members are also accomplished visual artists. What began as the extremely lo-fi two-piece of Elias Rønnenfelt and Loke Rahbek recording on 4-track has evolved into an experimental noise/industrial/techno pop quartet. On this album Vår utilize everything from acoustic guitar, power electronics, bass, trumpet, multi-tracked vocals, and various percussive instruments, to broken glass & sheet metal samples. No One Dances Quite Like My Brothers is a remarkable debut, an emotional roller coaster of sorts which at times is profoundly uplifting, at times decidedly morose but remains unfailingly moving throughout.
Holing up in the extremely cramped and oft overheated quarters of Sean Ragon’s self-built studio in the back of his Bushwick record store Heaven Street, the band wrote and recorded their first full length during two intense weeks last summer. Exploring themes of love, loss, vanity, hope, fear, sexuality and friendship and drawing more on literary influences than musical ones (Bataille and Shaffer, specifically), the band craft an album which cannot be confined by any singular sub-genre. Words like “industrial” and “electronic” fall short here; they barely begin to scratch the surface of this work. This is soundtrack music for a play that has only begun to be imagined and is light years away from being consummated.

Margaret Chardiet was born and raised in New York City She has been making power electronics/death industrial music under the name Pharmakon for five years. As a founding member of the Red Light District collective in Far Rockaway, NY she has been a figurehead in the underground experimental scene since the age of seventeen. She points out that the environment there amongst so many other experimental artists (amongst them Yellow Tears & Haflings) inspired her to keep making increasingly challenging work. She describes her drive to make noise music as something akin to an exorcism where she is able to express, her “deep-seated need/drive/urge/possession to reach other people and make them FEEL something [specifically] in uncomfortable/confrontational ways.” Engineered by Sean Ragon of Cult of Youth at his self-built recording studio Heaven Street, Abandon is Pharmakon’s first proper studio album and also her first widely distributed release.
Unlike other experimental projects, Pharmakon does not improvise when performing or recording. She is concise and exact; each song/movement is linear with a clear trajectory. Perhaps more than any other style of music, noise is a genre almost exclusively dominated by male performers. Spin Magazine is apt to point out that her,“perfectionism might explain why her recordings are few and far between—a rarity in a scene where noise bros are want to puke out hour after endless hour of stoned basement jams into a limitless stream of limited-edition tapes. Her music may be as cuddly as a trepanning drill, but it’s also just as precise: She glowers in measured silence as often as she shrieks, and every serrated tone cuts straight to the bone, a carefully calibrated interplay between frequency and resistance.” The songs on this album were all written and recorded during a turbulent three month time period during which several fundamental life changes forced her to begin living in a completely new way and in a new space. She describes the lyrical themes of this album as being about, “Loss. Losing everything. Relinquishing control. Complete psychic abandon. Blind leaps of faith into the fire, walking out unscathed. Crawling out of the pit.”

Athlete专辑Vehicles & Animals十周年纪念巡演live专辑发布。