Part of the essential series of reissues playable on SACD players (is a Hybrid SACD). Remastered from the original tapes by the band with beefed up artwork including rare and unseen photos.

Everything Is Open Again is the 2007 album from the German Avant Rock legends!

Classic avant-garde/krautrock legends Faust release another classic album in "C'est Com.. Com.. Complique".

muscle snog
来自中国上海
noise pop/experimental/yes!wave

憬观：像同叠第一张EP，磁带。
编号：RMA001

Compressed, self contained, and brazenly unique, each song by the Offset: Spectacles hits like a short, sharp shock. Percussive guitar and organ scrape at the surface of the left eardrum, and the bass hits like a combination of a synthesizer and a bongo. Get ready to be hectored by the ghosts of Cantonese poets and the Kowloon King. Sure as you can draw a straight line from The Offsets’ birthplace in Hong Kong to the site of their self-imposed exile in Beijing, there’s a connection between their music and the Velvet Underground, just somewhere along the 24 hour train ride things got muddled. Oscillator solos are reinterpreted for guitar, Bo Diddley blues get played drum-less, with only phantom rhythm for company. Songs like “Bodies’ Descendents” and “Snags” may bring to mind the endless empty highway, but the only possibility here is a brief sprint on an overpass above the midnight lights of a rotting port. Today, no escape is possible from a(ny) city, so the Offsets simply claim ownership, pushing back against at the neon signs, TV’s, and computers with a seductive spectacle of their own.
Words by Simon Frank

我想，听 Maja Solveig Kjelstrup Ratkje，也就是Maja Ratkje最大的问题并不是她那满佈实验与诡计噪音，跨越多个领域及禁界的编曲概念，而是乐评们过度将她神化，一手将她捧上断头台，并为她贴上那阶级性的标籤。以至於仅管多年来Maja Ratkje仍属Spunk阵中最为活跃的主菜，始终无法在真正地进入到我们的耳朵，更徨论是日常生活。熟悉Spunk的乐迷也许明白该乐团曾经是艺术世界的无政府主义，也就是从卢索诺(Luigi Russolo)、原生艺术(Art Brut)以降最具学院派前卫音乐风貌的组合。而Maja Ratkje又是Spunk当中何其重要的角色，亦曾是挪威噪音怪杰Lasse Marhaug於Fe-mail上的合作伙伴；Maja Ratkje固然不是声名狼藉，却也恶名昭彰。
2002 年至今，Maja Ratkje仅在Rune Grammofon厂牌底下发行过一张名为【声音】(voice)的个人专辑，很明显当时Focus的对象是她个人的嗓音，而非全然只是音乐本身。无怪乎整张专辑的收音对象从美术馆、地下室乃至正式的录音间，Maja Ratkje尽可能地於每个场域里头释放出自己的声音与能量。我会形容，这是非常女性，异於常人的举动。而整张唱片的初始结构还是交由最佳搭档 Jazzkammer操刀製作，Spunk其他成员几乎没有参与。多年来，Maja Ratkje的声音或音乐几乎全维绕在「实验」的字眼里打转，很少数聆听者真正地去体会【声音】想要传达的意象。意象往往显得模糊，所以人们经常透过声音的分辨与对位来重新釐定她的音乐、或声音。我想，KIM HIORTHØY的封套设计有著加分的效果，但也该把他抓来打屁股，原因是他把面容清秀佼好的Maja Ratkje变得像是印地安少女、也好似古希腊女子。回复到音乐本身，【声音】直截了当地传达了Maja Ratkje声音上的本能及绝卓技巧，比任何仪器更精準、比任何噪音更加疯狂，实在很难与她的科班出身相作联想。无论你喜不喜欢Spunk去年的10週年大碟【En Aldeles Forferdelig Sykdom】，我想透过【声音】再一次温习Maja Ratkje，等待著另一场声音美学的到来将不至过於漫长。【声音】是我目前为止听过最棒最佳的「人声典范」。
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Ege Bamyası is the fourth studio album by the German experimental rock band Can which was originally released as an LP in 1972 by United Artists. The album contains the single "Spoon", which charted in the Top 10 in Germany, largely because of its use as the theme of a German TV thriller mini-series called "Das Messer" (The Knife). The success of the single allowed Can to move to a better studio in which they recorded Ege Bamyası. Ege Bamyası was remastered as a hybrid SACD in 2004 which includes a booklet with commentary on the album by former Melody Maker journalist David Stubbs, as well as previously unreleased photos of the band.