这张于2009年秋天在大连New Vision录音棚由录音师柳丕刚录制完成的惘闻最新唱片日前已经在加拿大蒙特利尔著名的Godspeed You! Black Emperor老巢Hotel 2 Tango完成了全部的缩混工作，而担任这张唱片缩混师的正是Godspeed You! Black Emperor的吉他手Efrim。唱片的母带目前尚在蒙特利尔的Grey Marketing Mastering Studio由Harris Newman做最终的后制工作，4月初，惘闻这张全新的唱片将由狐狸尾巴唱片正式推出，正版专辑在独家在挖挖哇数字音乐商店提供下载。

Genre: Post-rock
Myspace:

"Words like breathtaking, introspective, graceful, and powerful all describe their music aptly. It's for people who like their music to take them places, even within themselves, that they hadn't dared before. It's music to help you realize the beauty of a broken world around you." - INDIEWORKSHOP

"I still hear a band of ragtag improvisers, engaged in a heavy channeling of Americana that fuses Henry Flynt or Tony Conrad with the smoldering remains of Black Sabbath. Who can't dig that?" - DUSTED

At the start of 2005, Grails returned to the U.S. from a month-long European tour. Stepping off the plane, most of the band walked in one direction and the violinist strayed off in another. It ended up being the last time most anyone would see or talk to him again. A bandmate of five years had vanished, existing thereafter only in the form of vague rumors. As the varied reports of brief encounters and sightings grew stranger and darker, the band started a series of recordings called Black Tar Prophecies. The remaining members had particular dissatisfactions with how the band had been grouped into the innocuous, contemporary post-rock movement. This frustration, combined with newly liberated instrumental roles, introduced new possibilities for their sound.

In this way, the collected Black Tar Prophecies ends up being a more idiosyncratic mission statement for future Grails recordings, revealing their fondness for the groundfloor sixties and seventies experimental artists who saw music as a process of discovery as opposed to the pre-conceived, pre-parametered, commodified sport that underground music has become. A parallel is now forming between Grails and old-school experimental bands like Faust who, rejecting their past, started over from the beginning to build new languages in music.

Black Tar Prophecies is Grails' third full-length recording (and their first since leaving Neurosis label Neurot). Seven of the nine tracks were released in small, highly sought-after pressings of 12" vinyl on two European labels. Important is now proud to release Black Tar Prophecies in its complete form, including two tracks not available on the vinyl releases.

For My Parents
After years of exploring, searching ourselves, and composing pieces here and there, we found ourselves with more questions than answers.
When we could not find these answers in the outside world, we were bound to turn inward. And so we went back to our roots.
This is something we wanted to do while we still have the chance. What cannot be explained in words to parents, we hope can be captured by these songs.
We hope that this album serves as a gift from child to parent. While everything else continues to change, this love remains a constant throughout time.
——Mono

今回のアルバムにかかわる作業は完全にメンバー自身の手によって行われています。演奏はもちろん、リズム録り・ダビング・MIXの全てのレコーディング・エンジニアリングはボーカル&ギターの森川裕之が、そして、ジャケットのアートワークはベースの佐藤昭太によって、時間をかけて、納得するまでじっくりと行われてきました。隅々までがバンドの強いイメージによって貫かれた作品です。
アーティストについて
凛とした内面の世界を研ぎ澄まされた感覚で描き出すeuphoria(ユーフォリア)。 その楽曲には、ひとつひとつ丁寧に紡がれる暖かみのある音と、刺すような鋭い冷気とが共存する。3ピースという最小限の編成でありながら、空間を何倍にも広げ、様々な音像、感情を思い起こさせるライブは各方面から高い評価を受けており、The Album Leaf(US)、Tarentel(US)、Bellini(IT)、Yndi Halda(UK)などの来日アーティストとも共演。 タイ最大のロックフェス「FAT FESTIVAL」では数千人のオーディエンスを前に演奏。 バンドも戸惑う程の熱烈な歓迎を受けました。また、アメリカのミュージック・ウェブジン「The Silent Ballet」ではBand of the Weekに選出、スウェーデンのバンド、efのリミックスCDにアイスランドのStafraenn Hakon、イギリスのIsanらと共に参加するなど、国内のみならず国外でも広く注目を集めています。 メンバーは、個々でも音楽を始め幅広い創作活動を精力的に行っており、リリースしている全ての音源のジャケットアートワーク、フォトグラフィー、ウェブサイトデザインはベースの佐藤昭太、イラストレーションはドラムの木下陽輔が担当。euphoria作品のレコーディング・エンジニアリングを行うギター・ボーカルの森川裕之は、organic stereoとしてソロ形態でも音源をリリースしています。

试听链接

Keith Kenniff mustn’t sleep at all, after releasing the incredible Goldmund album ‘Corduroy Road’ for Type early in 2005 he was already busy at work crafting his second record as Helios; all this while finishing a degree at the acclaimed Berklee College of Music in Boston! ‘Eingya’ is very different from his work as Goldmund, as it incorporates not only his piano playing, but his delicate touch on guitar, drums and his masterful electronic production. It is an album of wordless songs, eleven carefully measured movements, each holding inside it an entire movie’s worth of emotion. Beginning the album on a high with the pastural beauty of ‘Bless This Morning Year’ we witness a showcase already of what Kenniff does best; hearbreaking guitar and piano melodies punctuated by crumbling beats and backed by the most atmospheric synthesizer sounds this side of Eno’s ‘Apollo’. Moving on we are treated to the appetising ‘Halving the Compass’ which blends subtle field recording with the kind of piano melodies so beautiful they could be compared to Virginia Astley or Harold Budd. This is followed by the album’s clear highlight – ‘Dragonfly Across an Ancient Land’; an unsurpassable folk guitar piece with a decomposing percussive background and the sort of melodies that would turn evil tyrants into weeping babies. An album which could as easily appeal to fans of Nick Drake as fans of Boards of Canada or even early Air; this truly has something for everyone. To put it simply – it’s gorgeous.

乐队官方小站：

The second album, first released in 2009. Also available on both CD and vinyl at Blueneck.com.
Download 'Seven' for FREE!
For all publishing/synchronisation enquiries please email hello@blueneck.com
credits
released November 1, 2009
Written and performed by Blueneck. Additional cello parts by Sandy Bartai. Engineered and produced by Corin Dingley (Don't Touch Recordings). Music and recordings owned by Blueneck. Copyright Blueneck 2009.

惘闻是来自中国北方大连的一支纯器乐/后摇滚乐队。在惘闻的音乐中充斥了时而甜美时而悲伤的旋律、厚重的吉他音墙甚至传统的中国五声音阶。闭上双眼，你会很容易陷进惘闻音乐所营造的意境，或者说在他们的音乐中，你能够错觉般的浮现出你做过的一个梦或者你看过的一部电影的情景。惘闻认为有词或者唱的音乐会很容易的引导听者按照歌者所希望的方式思维，所以他们放弃了词和唱，试图通过音乐构造出了一个开方式的听觉场，让听者进入这个场并有自由的思考空间。
乐队成立七年了，他们一直怀着“不被人所知，被不被别人接受也无所谓”的态度低调地向前迈进，如今惘闻的作品已与当年的《二十八天失眠日记》截然不同了，应该说是更具国际水准，非常赞！舞台上的谢玉岗依然背对着观众，头也不回的将音乐进行到底！

继07年4月惘闻推出他们第三张专辑“7 Objects in Another Infinite Space”以及07年末限量发行的EP“0306”后，时隔仅仅半年，惘闻将于08年五月正式推出他们成军9年来正式发表的第四张全长“IV”。这也是 惘闻前键盘手归队后参与创作的最新唱片，作为中国器乐摇滚的代表乐队，这张唱片早已让很多喜欢器乐摇滚、后摇滚的乐迷们拭目以待。为配合这张唱片的宣传， 惘闻将于五月十七日在北京的MAO做唱片首发演出，在此之后惘闻08年的中国巡演将于7月份正式启动。

This self-titled 12” vinyl split between Swedish experimental instrumentalists pg.lost and domestic post-rock outfit Wang Wen (罔聞) is definitive proof that China’s musicians have become equal partners in the global creative community.
pg.lost tackles the A-side with a suite of two ten-minute songs—“Desperdicio Parts I & II”—that open with a decidedly doom-influenced Spaghetti Western flair before nestling into more comfortable post-rock ground: crashing rock movements that intoxicate the listener and ferry them through waters of aching, almost heartbreaking emotion stamped with forceful, triumphant and occasionally-violent melodies that recall sweeping windswept vistas.
Wang Wen excels at running emotional relays from melancholy grief to guarded hope—and back again—multiple times within single songs, feats of sonic prowess that make their contributions an ideal soundtrack for these troubled times.
On the B-side, the Chinese quintet counters pg.lost’s fiery, outward-looking tracks with three subdued and inward-looking sketches. The fragile opener, “13th”, is dominated by mellow, intricate guitar interplay overlaid upon warm and reassuring throbbing organ tones before disintegrating into a pedal-induced feedback fuzz.
“Homeland Accent,” a subdued island in which a glockenspiel, Hammond organ, earnest percussion work, soaring lead guitars and a violin all take turns occupying center stage, offers a tranquil respite before the barnstorming closer “Mouse Song,” the aural equivalent to a flash thunderstorm.
The seven-minute jam neatly pivots from languid mandolin and violin-laced guitar wizardry backed by sunny, bubbling synths to a brief midpoint moment of stark lucidity before the band throws themselves into cathartic, film credits territory marred by agitated and fitful guitar squalls.
And then the sky brightens, the string section chirps and all is well again—置若罔聞: turning a deaf ear to the wolf at the door.