来自长沙的器乐摇滚计划“伞（unrest in shadow）”的首张全长专辑
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小站：
制作人：阿聪
吉他：吉吉，于鹏，阿聪
编曲/录音：于鹏，吉吉，阿聪
bass：阿聪
封面设计/内页插画：子船
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2013年9月于Weary Bird Records | 倦鸟唱片（
）发行。

Margus Voolpriit, a drummer from estonian shoegaze band Pia Fraus, has traded the drums to computers and guitars. He's mixing electronics with shoegaze and post-rock in his solo project, Wolfredt.

我城黑雨滂沱 - 说说甜梅号新专辑 撰文: 詹伟雄
甜梅号的新专辑取名《金光之乡(Hometown of Glitter)》，关键字在于「Glitter」的一字二义，它既代表某个金光闪闪、扣人心弦的事物，又代表耀眼的光芒背后，一种深沉而惆怅的迷惘。
1971年，齐柏林飞船发行的单曲《Stairway to Heaven》，前两行歌词这么写着：「有一位确信所有发光事物都是黄金的女士，正要买一只通往天堂的梯子(There's a lady who's sure all that glitters is gold, and she's buying a stairway to heaven)」；当然，最终，女士并没有在天上的商街寻获黄金，但却让「Glitter」成为摇滚乐历史中一个亘古永恒的隐喻: 当社会疯狂地追逐夺目的光亮，摇滚客得孤独地咀嚼真实且巨大的黑暗。
70年代，正是美国与世界「敲打的一代」敲打芝加哥摩天楼与钢铁坦克的年代。
「金光之乡」是一张典型的后摇滚专辑，它没有歌词可明白地勾勒那黑暗，也没有主唱来嘶喊微光中倨傲的英雄身影，但就音乐形式的要素本身，听者应当可由钟铃般的电吉他拨弦到电气音墙竖起的齐奏间，探寻到台湾都市化生活中的孤独、黑暗与迷惘。
甜梅号，其实是台湾最具时代感的摇滚乐团，虽然，他们操作的是所谓的「后摇滚」(post rock)形式：让一般听众不耐的乐曲长度、扬弃主副歌的ABA曲式、像织绣花布般细密地建构旋律肌理、层层堆叠之后的爆发情绪、自高潮退烧下来的冷漠冰原之够冷够硬，主唱缺席或仅把人声当作另一种乐器……等等；虽然，也常有人说他们的音乐背后有着苏格兰乐团Mogwai的影子；但只要你生活在台北、台中、高雄，你岂会不对那四面八方的工业噪音(《吃伏冒有礼貌 our good strong neighbor》)有所共鸣，不为一把吉他与奔腾套鼓扬起的英雄气质(《1vs99 one versus ninety-nine》)所悸动，不因其精巧设计的都市田园牧歌(《关闭罐头工厂the cannery must go》)而记起童贞情怀曾那么永远、永远的失落。
虽然「敲打的一代」(beat generation)这一词已被Jack Kerouac在半个多世纪前用过了(他巧妙地把「beat/垮掉」转换成「beat/敲打」，殊途同归地呼应了摇滚乐在另一侧的崛起)，但千禧年后的台北、台中或高雄，你不觉得我们正也该拿些什么来敲打那些光鲜亮丽的摩天大楼与天堂幻想吗？
在英、美、欧洲、日本陆续崛起的后摇滚乐团，有着清晰的时代社会发展脉络：六、七○年代壮大的摇滚（吉他、套鼓与贝斯为基本组，以清晰可辨的riff结合强力节奏，外加破嗓主唱），因为大量成员的加入，逐步开始庸俗化(电吉他大厂Fender的产能1964年一下子扩大了三倍，因为自从Beatles上了Ed Sullivan的电视节目后，每个美国年轻人都得要把电吉他)，因而催生了80年代的庞克，他们不要Jimmy Page或Jimi Hendrix出神入化的吉他吟唱，而更强调直截了当的情感吐露与社会抗议，最好直接到把乐器当场摔碎；但正如所有艺术形式一样，当B咖和C咖一齐近来搅和，庞克就得必须被更酷、更本真(authentic)的音乐风格淘汰。
8、90年代交错之际，「后摇滚」诞生了:: 好吧，既然有人声就免不了矫情，那就更纯粹点，回到基本的乐器声音就好；再者，既然每首曲子三、四分钟已成单曲唱片的常态，象徵着乐手屈从工业标准(以便电台播放，从而进军排行榜)、泯灭良心，那么就来个十分钟或以上的海枯石烂，重新抓回创作主导权；更重要的是，乐手愈来愈「感冒」买他们唱片且对副歌还朗朗上口的歌迷，因为「大众」(the mass)不断要求他们重回过去，而天杀的－－那正是艺术家想杀死的第一批灵魂。摆脱「大合唱」的后摇滚，在音乐形式上更接近古典世界的奏鸣曲，它更要求听者运用知性、感性的交相错位与自我控制，解开布局以获得更巨大的聆听快感，有西方乐评说: 聆听后摇滚漫长的飘摇乐音，有如淋着从细密到磅礡的黑色之雨；然而，这样的譬喻，不也暗示着工业体制裡更巨大的绝望，反抗再无可能，惟美学得以救赎。
换个说法: 后摇滚让摇滚乐「变抽象了」，乐迷没有歌词和人声这种肉感的媒材来辅助，必须自己透过声音的感受（旋律、节奏、音色、和声）来想像音乐所对应的生命世界，这过程与企图类似当年马勒与华格纳面对工业社会的那般心境，只是乐器换成电吉他与电贝斯，而鼓手不再是龙套而变成了诗人。
台湾没有西方摇滚乐的发展历程，本土乐团同时面对西方各种风格的冲击与洗礼，各自咀嚼生命经验，发而为创作。此际，如何辨别浮光掠影，双脚能直朗朗地踩穿流沙站牢台湾土地，而又能摆脱大众的魅惑与陈腔滥调(它们可是比摩天大楼的玻璃更油亮)，本身就是一件英雄事业。 孤独、黑暗、迷惘？是的，你该搭上甜梅号，台湾这个时代的齐柏林飞船。

1st album "microcosmos" のリリース以降、台湾、ニューヨーク、香港、ロンドンへのツアー等、日本国内のみならず世界を見据えた活動を続けてきたインストゥルメンタルロックバンド OVUM が、待望の 2nd album "ascension" をリリースする。
5年の歳月の間に降りかかった数々の試練を乗り越え、圧倒的なスケールで鳴り響く旋律は透明度を更に増し、研ぎ澄まされたハーモニーと強靭なグルーヴはその強度を確かなものにした。よりプリミティブに、よりプログレッシブに、よりヘヴィーに進化/深化した末に辿り着いた本作は、インストゥルメンタルロックカルテットが描く一つの究極の形と言えるだろう。
緻密な構築美と躍動する肉体性を兼ね備えた、トータル74分に及ぶ珠玉の全8曲。
天高く舞い上がる祈り。
世界を包む悲しみへの祝福。

2011年アジア各国で公開された映画「星空 Starry Starry Night」のサウンド・トラック。
湯川潮音がゲスト・ヴォーカルとして2曲参加
world‘s end girlfriend が音楽を担当し2011年に台湾、中国、香港、シンガポールで公開された台湾映画(林書宇監督作品)「星空Starry Starry Night」。
原作は人気絵本作家ジミー(幾米)の絵本「星空」。
ストリングス、ピアノ、チェレスタ、シンセサイザーなどを用い美しいメロディーと共に少女と少年の憧れと冒険、喪失と希望をやさしく描く。
湯川潮音がゲスト・ヴォーカルとして2曲参加し物語るような唄を響かせる。内なる少女 少年たちに捧げられたサウンド・トラック。

Inspiration is what drives creation; it is akin to lungs enabling a person to breathe. Musicians in experimental genres such as post-rock and post-metal have taken a great deal of influence from the world around them and have implemented the power of the environment in their music. ISIS, Tides, Up There: The Clouds all reference the sea, the sky, and events triggered by a combination of these and use the inspiration to produce moments of sublime beauty in their work. The Sleep Design gains inspiration from a more divine presence. The Alabama quartet formed out of "a passion for the beauty of God through sound” with an aim to “shed light on the power of a Creator captured in rhythm.” Christianity portrays God as the all powerful creator of the earth, and The Sleep Design successfully encompasses the perception of that power, unleashing moments of true inspiration and beauty throughout with All That Is Not Music Is Silence.
Even with divine intervention it would be difficult to create something in the realm of epic post-rock that has not been touched already. The majority of the tracks on the album begin on the lighter side of instrumental post-rock, some soaring off into spiraling anthems while others continue on the more melodic path. There is a solid blend of ideas, and although a simple formula rears up in many of the songs, there are instances where variation is nicely placed. “Hope Is the Dream of a Soul” makes use of a soaring vocal loop which takes away the attention of the regrouping instruments before hitting a towering ending. The band plays with breathtaking results, and “The Sound of War” is a stunning example of how well its songs are constructed. Following a simple peak-rebuild-peak layout, the track makes use of a great guitar pattern that continues to rise and gain momentum toward a second crescendo, high above the previous one. The success of this record is down to the work that is done between these moments of towering splendour.
Even though the album contains all the hallmarks of post-rock, the variation in the styles alleviates hang-ups over the influences on display and helps the band avoid sounding familiar and repetitive. Not every song ends in the same manner or on the same tone, and the band uses passages of ambient interplay to reset the mood both during and between tracks. This acts in a similar way to a palate cleanser, allowing for something new to come in that could well be similar, yet tastes different. “These Dreams Haunt & Capture” not only breaks the tone down from the emphatic start to the album, it also provides time for a new sound to sink in before more uplifting guitar work sets off towards the middle of the song. Moments of stillness are never stretched beyond their need, and the tracks ultimately benefit. For all the excellent musicianship on display one of the best tracks is one of the shorter songs on the album. “The Fire, The Grave, & The Eyes of Man” takes time to build before it unleashes a torrent of rocketing guitar and an emotional screaming vocal loop. The song is short yet very effective at displaying the heights that this record can reach.
Albums that redefine post-rock music are few and far between these days, and All That Is Not Music Is Silence is certainly above the standard of many releases. The music that is produced is wide ranging and has the ability to enthuse a great deal of emotion in the listener, be it from the rousing crescendos or the ambient plateau The Sleep Design comes to rest on. When a genre has been saturated with so many attempts to provoke these emotions it is always refreshing to find a band that has the talent to work within the constraints and yet creates something that truly is inspirational.
-Gary Davidson

融合樂器、電子、實驗性、大自然、藝術三者為一，以從日常空間作為音樂創作來源的No.9(Takayuki Joe)，再次領軍樂團No.9 Orchestra，在上一張大好評的專輯'' Good Morning ''確立了他平靜而有力的電子旋律聲響，相隔一年後，No.9再次發表最新作品'' Usual Revolution And Nine ''，透過古典吉他與現代電子的融合，再度獻上一首首自然流暢的樂章。 對no.9而言，萬事美好，日常生活的細節也可以帶來新鮮靈感，轉化成一首首充滿戲劇性的音樂詩篇。

開場曲'' Introduction ''就由吉他旋律與輕柔的Breakbeat節拍，引導進入No.9全新專輯的音樂當中，上一張專輯中頗受好評的以改編古典名曲Canon的樂曲'' I Hope ''，這次也以新的混音版本呈現；'' Alive ''在背後女Vocal不斷唱哼[Alive]之中，透過宛如水珠般輕盈節拍，是本次作品的主打曲目；除了電子作品外，也有'' Again And Again ''那透過小提琴與鋼琴演奏過純淨無暇的動人詩篇，更不能錯過No.9替過去介紹過的音樂家Akira Kosemura與Haruka Nakamura合力發表過的曲子'' Afterglow ''，所製作的混音版本，把原先那簡單的吉他風格，透過電子節拍顯得更加的活潑；'' Clover Classic ''是No.9首次以古典音樂的形式，譜出優美感性的動人氛圍；而最後一首'' With Millions Of Love-Fine- ''則是重新製作過去第三張專輯'' Micro Films ''當中的同名歌曲重新編曲製作，從中反映著no.9一路走來豐富的音樂歷程，在這第五張專輯'' Usual Revolution And Nine ''重新登場，故在歌名後方加上Fine。

這一次的作品比起上張'' Good Morning ''那處處感受到自然之美的聽覺比較起來，少了一點花草樹木的味道，取而代之的，是No.9所全新創造出的音樂小宇宙，充滿各式各樣的想像。全14曲73分鐘。Cover design : Shinji Oota (RaNa extractive, inc. )
強力推薦
前作『Good morning』の大ヒットが記憶に新しいno.9の最新アルバムが完成！さらに進化したno.9の世界。穏やかに、力強く、そして美しく。クラシックギターとピアノが織りなすメロディーに、感情的な電子音が絡み合う。『日常と革命とナンバーナイン』そう、普通の事が素晴らしく、当たり前の事が新鮮になるように、ドラマチックな毎日を創りだす。ライブですでに大好評のTrack2. I hopeは名曲Canonのno.9 remix、Track11 今話題のアーティストHaruka Nakamura & Akira Kosemuraのスプリットアルバムよりno.9 remix。ジャンルも由来する音楽も幅広く、それでいて統一されたひとつのシナリオのようにドラマは起こっていく。

对不起…… The Album Leaf真不是冰岛的……

MOONLIT SAILOR isn't reinventing the post-rock genre on their sophomore full-length SO CLOSE TO LIFE...they are well on their way to perfecting it. This Swedish outfit laces cinematic, rise-and-ripple moments with unpredictable hooks and catchy melodies that effectively hold your hand through the peaks and valleys of emotional connection within their songs. These young lasses know exactly how to snare a listener with layers and mood...slowly, effortlessly, quietly (well, not always quietly) reeling you in. An instrumentally solid, exploratory and dynamically varied album with intense depth, So Close To Life is filled with highly spiritual and epic moments. "The theme or feeling behind this record is life experiences. The true beauty of music without words is that it can mean something different to each one of us...it's so close to life...it's about substance above all else. Each song title was determined based on what the song reminds the band of (for example, this reminds us of...Hope, this reminds us of...Fresh Snow, etc.)" says bass guitarist Markus Rundl. "We were very fortunate to have fantastic artist Alexander Jansson design our cover. We wanted people to feel the music by just looking at the cover, and it achieves just that...it makes one curious and conjures thought. Every song title is represented in some way in the artwork. For example, the anchor refers to the song Hope and the aeroplane refers to Landvetter (an airport near Gothenburg)" adds Rundl. You can't judge a book (album) by its cover, but you can when the band is MOONLIT SAILOR. For those yearning for a post-rock masterpiece, this is essential listening. This album is that good. It gives you hope.

冰岛新的年轻天才，很有涵养的Olafur Arnalds 能把古典元素融合在氛围和微电子节拍里，有Sigur Ros的味道，也有Mum的感觉。
Olafur Arnalds原来在家乡Mosfellsbaer离雷克雅维克偏壤的一个小镇上，他同时身兼多支Hardcore乐队的鼓手职务，先是替友人的乐团My Summer as a Salvation Soldier担任多项乐器伴奏，还获邀为美国Indie-Rock乐团Cursive担任德国巡回演出的伴奏乐手。Olafur Arnalds的个人音乐作品以钢琴和弦乐为主， 与其说是post-rock， 不如干脆说是modern classical。