新人男团Golden Child于8月28日发行首张迷你专辑《Gol-Cha!》正式出道。《Gol-Cha!》共收录主打歌《Dam Da Di(담다디)》、收录曲《Gol-Cha!》、《和我一起(나랑 해)》、《怀疑我的眼睛(내 눈을 의심해)》、《好喜欢你(네가 너무 좋아)》、《SEA》等6首歌曲。其中，成员TAG与长埈参与了3首歌曲的歌词创作，引起了粉丝的关注。
《Dam Da Di》是Locking风格的轻快歌曲，Golden Child将会透过这首歌展现自信且充满少年气息的面貌，并期望这首歌曲能成为让所有世代一起同乐的歌曲。
골든차일드(Golden Child) 8월 28일 정식 데뷔!
금보다 빛나는 소년들! 가요계 첫 발 내딛는다.
Golden Child 1st Mini Album [Gol-Cha!]
첫 미니앨범 8월 28일 발매!
'골든차일드'만의 음악적 색깔 담아냈다
울림엔터테인먼트의 새로운 보이그룹 '골든차일드(대열, Y, 재석, 장준, TAG, 승민, 재현, 지범, 동현, 주찬, 보민)'가 데뷔 앨범 [Gol-Cha!]로 8월 28일 드디어 가요계에 첫 발을 내딛으며 베일을 벗는다.
골든차일드(Golden Child)는 ‘100년에 한 사람 밖에 없는 완벽한 아이’라는 뜻을 가지고 있으며, 대한민국의 가요계를 100년간 이끌어가는 동시에 앞으로 100년의 음악 트렌드를 선도하라는 의미를 가진 11인조 보이그룹이다.
이들의 첫 미니앨범명인 [Gol-Cha!]는 골든차일드(Golden Child)’의 줄임말인 '골차'에서 파생된 단어로 가요계에 첫 도전장을 내민 골든차일드(Golden Child)의 힘찬 각오와 당찬 포부를 표현한 의미를 담고 있으며, 골든차일드만의 음악적 색깔을 확인해볼 수 있는 총 6곡의 음악이 수록되어있다.
또한, 데뷔 전 실력파 면모를 보여주며 '완성형 아이돌'이라는 평가를 받고 있는 만큼, 이번 앨범은 뛰어난 실력과 완성도 높은 음악으로 ‘최고의 기대주’라는 타이틀을 입증할 것이다.
2017년 하반기 가요계 최대 기대주! 골든차일드(Golden Child)
가요계에 대체 불가능한 완벽 퍼포먼스를 펼치며 음악 팬들의 갈증을 시원하게 날려줄 골든차일드(Golden Child)는 11人 11色 소년들만의 밝고 에너지 넘치는 음악 세계를 마음껏 펼쳐낸 이들의 첫 번째 미니 앨범 [Gol-Cha!]를 통해 확실한 이들만의 아이덴티티와 함께 예상할 수 없는 차별화된 매력을 선보일 것이다.
특히 중독성 있는 사운드를 바탕으로 신나는 댄스곡부터 일렉트로닉 스윙 장르 스타일까지 다양한 음악적 시도를 선보이며 이처럼 개성 넘치는 골든차일드 11명 멤버의 에너지를 데뷔 앨범 [Gol-Cha!]를 통해 느낄 수 있을 것이다.
# 타이틀곡 “담다디" 는?
데뷔곡이자 타이틀곡인 '담다디'는 락킹 사운드에 밝고 청량한 느낌의 곡으로 골든차일드만의 당차고 소년미 넘치는 모습을 보여주며, 이들의 순수함과 열정을 느낄 수 있는 밝은 분위기의 댄스곡이다
특히, 지금 우리에게 알려진 동명의 곡 '담다디'와는 완전 다른 느낌의 곡으로, 기존의 동명곡의 노래가 전혀 생각이 나질 않을 흥겨운 비트와 멤버들의 청량한 음색이 어우러지며 골든차일드표 “新담다디”를 선보일 것이다.
기성세대에게는 추억을 떠올리게 하며 ‘친숙함’을, 새로운 세대에게는 ‘새로움’을 느끼게 하며 모든 세대가 신나게 들을 수 있는 노래로 기대를 모은다.
밝고 힘차며 동시에 완벽 ‘칼군무’를 선보일 "담다디"의 퍼포먼스는 '골든차일드‘ 만의 또 다른 무기.
이외에도 수록곡 ‘나랑 해’, ‘내 눈을 의심해’, ‘네가 너무 좋아’, ‘SEA’가 수록되어 있다. ‘SEA’는 데뷔 전 단독 리얼리티 프로그램 ‘2017울림PICK’ 방송을 통해 선 공개되어 화제가 된 곡으로, 인피니트의 ‘One Day’, ‘고마워’, 러블리즈의 ‘1cm’, ‘첫눈’ 등을 만든 Razer 작곡가의 작품이다.
앨범의 첫 시작을 알리는 인트로곡 인 ‘GOL-CHA!’는 인피니트 남우현의 ‘끄덕끄덕’, 러블리즈의 ‘Aya’ 등을 만든 엠씨더맥스의 작곡가 제이윤이 맡았다.
뿐만 아니라 멤버 TAG(태그)와 장준이 ‘담다디’, ‘SEA’, ‘네가 너무 좋아’ 까지 총 3곡에 걸쳐 랩 메이킹에 참여해 눈길을 끌며 팬들의 열렬한 호응을 얻었다.
이처럼 11人 11色 개성 넘치는 골든차일드 열한 명 멤버의 에너지를 데뷔 앨범 [Gol-Cha!]을 통해 느낄 수 있을 것이다.
# 앨범 수록곡 Preview
1. Gol-Cha!
Composed J. Yoon / Arranged J. Yoon
골든차일드의 첫 서막을 알리는 인트로곡. 곡 전반을 감싸는 신비하고 묘한 긴장감이 인상적이며마치 미지의 세계를 탐험하는 듯한 기분을 느끼게 해 준다.
2. 담다디 [TiTlE]
Lyrics 예아나이스, Gavin, JayJay, 이장준, TAG / Composed 예아나이스, Gavin, JayJay / Arranged 예아나이스, Gavin, JayJay
'담다디'는 젊고 활기찬 신인의 패기와 에너지를 보여 줄 수 있는 곡으로, 좋아하는 이성에 대한 세레나데를 골든차일드만의 느낌으로 위트 있게 표현했다. 경쾌한 느낌의 비트 위에 락킹한 기타 사운드, 멤버들의 표현력이 더해져 듣는 이로 하여금 한결 더 재미를 느끼게 해준다.
3. 나랑 해
Lyrics 심은지, 라파엘, CROQ / Composed 심은지, 라파엘 / Arranged 심은지, 라파엘 / Programming 라파엘, 심은지
‘나랑 해’는 일렉트로닉 스윙 장르로 일렉트로닉의 정갈함과 엣지감, 어쿠스틱의 러프한 요소가 절묘하게 크로스오버 된 곡이다. 남자다우면서도 귀여운 매력을 어필하는 재치 있는 가사에 셔플 리듬의 유쾌한 에너지가 골든차일드의 패기에 걸맞게 녹아들어있다.
4. 내 눈을 의심해
Lyrics 원택(1Take), 탁(TAK) / Composed 원택(1Take), 탁(TAK) / Arranged 원택(1Take), 탁(TAK)
‘내 눈을 의심해’는 Complextro 사운드를 기반으로 활동 중인 뉴타입이엔티의 대표 프로듀서 원택(1Take), 탁(TAK)의 프로듀싱으로 완성된 곡으로, 첫눈에 반해버린 감정을 믿을 수 없어하는 소년의 설레임을 Synth 라인과 Chip-Tune 사운드에 녹여 마치 게임 속 미션을 해결해 나가는 주인공의 모습을 떠올리게 하며 메인 테마를 따라 골든차일드 멤버들이 함께 던지는 Hook과 점점 최고점으로 떠미는 Dance DROP이 매력적인, ELECTRO-POP 장르의 곡이다.
5. 네가 너무 좋아
Lyrics Esbee, 리시, Stereo14, 이장준, TAG / Composed Esbee, 리시, Stereo14 / Arranged Esbee, 리시, Stereo14
미디움 템포 팝 댄스 트랙으로 순수함 속에서도 직설적인 사랑고백을 하는 가사가 매력적인 곡이다.
6. SEA
Lyrics Razer, 문설리, 이장준, TAG / Composed Razer / Arranged Razer
SEA는 바다, 사랑, 설렘을 담은 시원한 트로피컬 사운드의 곡으로 일렉트로닉 장르의 폭발력을 더해 청량함을 최대한 끌어냈다.

Jäje Johansson (born 11 October 1969), better known by his stage name Jay-Jay Johanson, is a Swedish singer-songwriter, known for his melancholic vocals.

Ben Frost convulses a new EP of original solo material recorded with Steve Albini. Vast systems - unstable, overloaded, and on the verge of collapse were fed into an array of amplifiers inside a cavernous studio. Behind the glass, Albini committed this to tape, slashing at it intermittently with a razorblade and more than two hours of music was recorded. The Threshold Of Faith EP is the first release of music from those sessions.
Frost fully bares his teeth on five tracks inside, entering with the electrical storm and depth charge detonations of the title track, and hunting down an apocalyptic muse throughout the rest of the EP, from the nerve-gnawing string convolutions of Eurydice’s Heel (Hades) to the chromatic chamber vision of Threshold Of Faith (Your Own Blood), and with shuddering, tempestuous torque in The Beat That Don’t Die In Bingo Town. The finale climax, Mere Anarchy errs a bit to heavy into his cheesy side for us, though.
Integral to the ruptured flow of the album, All That You Love Will Be Eviscerated (Albini Swing Version) catches a quietly dynamic moment from the master engineer, rendering a hyaline cloud of intensely bright and sparse tones that could shatter at any moment, whilst Janus member and Björk remixer Lotic sends the same elements flying in corkscrewing militant drum rolls that sound like Chino Amobi’s wildest dreams.

Mercury Prize-nominated Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group created their own singular, cinematic sound over the course of three studio albums, from their 2007 breakthrough ‘Knee-Deep in the North Sea’, and 2010 John Leckie produced ‘Isla’, to the self titled record ‘Portico Quartet’ in 2012. Now rebooted as Portico Quartet after a brief spell as the three-piece Portico, the group are set to release their fourth studio album Art In The Age Of Automation this August on Manchester’s forward thinking indy jazz and electronica label Gondwana Records. It’s an eagerly anticipated return, with the band teasing both a return to their mesmeric signature sound and fresh new sonic departures in their new music. So much so that their four-night run at Archspace E8 (June 22-25) sold out in less than an hour as fans from around the world scrambled for tickets to hear the return of Portico Quartet.
Recorded at Fish Factory Studios in London at the beginning of the year and mixed at Vox studios, Berlin, Art In The Age Of Automation finds the band building on the sound world they first explored with their eponymous 2012 release Portico Quartet, mixing the cinematic minimalism, that first made their name, with electronic and ambient textures alongside a welcome return for Jack’s ethereal saxophone and Duncan’s unique mixture of live and electronic drums as well of course as the band’s signature sound, the chiming other worldy tones of the hang drum. It’s hard music to define, as Jack acknowledges. “Our sound falls between many genres, jazz, electronic music even minimalism in places, but naturally it’s an amalgamation of everything we’ve listened to”. And as you would expect from a band that have evolved with each recording, this is no barren retread of the past, instead it represents another step forward sonically and musically in the band’s ongoing evolution, as Jack explains. “We’ve really gone into detail with the sounds and production, building dense layers and textures but retaining a live, organic feel to it. We wanted to use acoustic instruments but find ways in which they could interact with more modern production techniques and technologies to create something that was identifiably us but sounded fresh and exciting, futuristic even.” Its an ethos that also informs the album’s title and the distinctive artwork by Duncan Bellamy (under his Veils Project identity) that adorns the album’s cover “The artwork came about when I started to explore the idea of scanning moving images. The resulting image is exactly that - a film playing on a tablet whilst the scan is in action. So the image is something created by the scanner itself, and in this way it establishes a relationship with the title of the album”. And it’s the mix between the human and the electronic that makes the music on AITAOA so fresh and exciting as Portico Quartet one again evolve their music into the future.
The album opens with insistent, catchy Endless, which references the classic Portico Quartet sound, but expands outwards into a hypnotic, blissful collage of strings, hangs, electronics, saxophones and Bellamy’s unique drumming. It’s a sound that permeates the whole record, feeling both familiarly Portico Quartet, but transformed into something bold and new, sounding somehow bigger than ever but even more detailed. Elsewhere Rushing draws on the bands love of minimalist music, a repeated piano motif merges with a contorted vocal sample that twists its way through juxtaposed spaces to reach an uplifting resolve. Meanwhile the title track offers a moment of down-tempo respite: the hang drum is joined by a full horns and string section, culminating in a orchestral outro where cellos and violins blend with saxophones and hang drum to form a densely layered blanket of sound. The sound of strings are prevalent on much of the record, and as Jack explains they add an extra layer of humanity to the music “It’s exciting working with a string section and to hear the ideas you sketch on a computer being played on acoustic instruments, then being able to direct them in a way in which is just not possible on a computer, it brings a real emotional depth and nuance to the record”. On A Luminous Beam an infectious drum grove drives the piece while synths, flutes and strings are layered with the saxophone floating freely over the top. Beyond Dialogue is classic Portico Quartet, exploiting the ethereal, otherworldly timbre of the hang drums and Jack’s saxophone to create a hypnotic track that references minimalism and ambient music to create something beautiful and new. Current History has nods towards more electronic and urban music as drum machines underpin a collage of hang drums and saxophones. The album finishes on the aptly tilted Lines Glow, the saxophone weaving its melody over an organ and string section culminating in an epic, euphoric moment of release. It’s a fittingly uplifting way to end an album that announces the return of one of the UK’s most singular, and influential bands, one that a decade from their founding are still pushing the boundaries of their music into the future and still sound like nothing you ever heard before.

History freely dilates and collapses on Valgeir Sigurðsson’s Dissonance, his first solo release since 2012. Its three large-scale works are haunted by the old Western tradition, infused with the ethereal workings of electronics and sound manipulation.

Dissonance treads elegantly along a fine line between traditional symphonic organicism and the fissures of the faltering structures of reality. It takes forward Sigurðsson's typically expansive, panoramic writing, and elevates it to a perpetual construction and deconstruction of time and space.

These are hardly his first experiments with the archaic technology of classical instruments, but here the distance between past and present is precisely what the music itself is designed to explore, and to distort.

Recorded and produced between September 2015 and November 2016 at Greenhouse Studios, Dissonance is disarmingly human, reflecting the most extreme four years of Sigurðsson’s life full of ecstatic joy and deep sorrow. Dissonance is a personal and collective musical treatise to explore and question a world that is collapsing under its internal dissonances.

The recording process on Dissonance incorporates an orchestral recording technique that Sigurðsson has been developing for some years now, where he breaks up the orchestra and records each of its sections separately. Layer after layer he records performances by collaborators Liam Byrne and Reykjavík Sinfonia. A handful of string players and just one of each of the orchestra's instruments are then multiplied to create an imaginary orchestra. This method enables Sigurðsson's complete control over all the details and nuances, and the trade-off for the time-consuming process is a truly unique sounding ensemble that is at the composer's disposal for further electronic manipulation. This also results in an elastic palette of sound for the live performance version of Dissonance which Sigurðsson will take to the stage in 2017, alongside Liam Byrne (on strings) and visuals created by the Antivj collective.

Having previously worked as a renowned video director David Douglas switched his attention to music in 2012, and has since gained a reputation as one of the most expressive and all- encompassing electronica producers around. Over the years he released music on several labels (Atomnation, Kompakt, !K7 and Kitsuné ) and is always writing and producing new music and projects.

Hyper Opal Mantis marks a significant moment in the career of David Letellier. Since first appearing as Kanding Ray back in 2006, Letellier has released a series of fine albums on Raster-Norton, many of which explore the blurred lines between club-ready techno, off-kilter IDM, and worthy experimentalism. For this latest full-length exploration, Letellier has transferred to Stroboscopic Artefacts, in the process subtly tweaking his sound. While rooted in his established "high definition" style, many of the tracks draw influence from ghostly ambience, industrial textures, and the muscular throb of Electronic Body Music. Despite the subtle variations, Hyper Opal Mantis is still very much a Kanding Ray record.

Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group have created their own singular sound.And while their new music mixes dense layers and textures with electronic and acoustic instruments the sound remains uniquely, recognisably their own.
In 2017 they released their fourth studio album in a decade, Art in the Age of Automation, on Gondwana Records. Released to a chorus of acclaim, the album marked a triumphant return for the Quartet after a brief hiatus as the three-piece, Portico, and marked a welcome return to the stage for the foursome with sold-out shows across Europe including the Roundhouse, London earlier this year.
Untitled (AITAOA #2) was largely recorded at the same sessions as Art in the Age of Automation at Fish Factory Studios in London and Portico Quartet's own studio in East London. Like it's predecessor, the album was mixed at Voxton in Berlin. It is intended as a companion piece to last year's AITAOA. But works equally as well as a stand-alone album and explores similar areas of enigmatic, widescreen minimalism alongside the more hard-hitting sounds that have become a notable part of their live shows. There is no lessening of quality here, album opener, Double Space, Index, View From A Satellite and Berlin were all originally slated for AITAOA, before being held back as the band's vision of that album came into sharper focus. The insistent groove of Unrest and cinematic beauty of Celestial Wife were enhanced with further recording sessions till the band felt they wer