Nicolas Jaar和David Harrington组成的二人组Darkside出的首张EP

BY NATTY MORRISON
One of the most difficult things to do in music is carve out a style all your own. All the heavy-hitters have done it; you have to be able to pull from all your influences without letting their voices bleed too deeply into your music. That task can be even more difficult for electronic artists. The traditional process of dropping sampled music and vocals in and out of tracks can lead critics to accuse them of a musical-identity heist. For Pretty Lights (aka Derek Vincent Smith), it’s nothing he’s not used to.
"One thing I've run into a lot, is people that immediately judge artists who sample as music thieves without enough of their own creativity to make good music on their own,” Smith said. “Now, with some producers, I'd say that might not be far from the truth, but I strive to always use samples in a way that brings new life and feeling to them.”
And it’s really never been a problem for him. Pretty Lights is instantly recognizable; whether you’ve heard the song before or not, within moments you KNOW it’s him. He’s soulful without losing and edge and has been making waves in the electronic community for years, with heavily spun tracks like “Sunday School” and “Finally Moving.” Smith is, if nothing else, a style unto himself, and he’s out to prove that on his terrific new EP “Spilling Over Every Side.”
Opening with a dreamy piano line, the EP’s first cut “High School Art Class” is classic Pretty Lights. Raw and gritty without leaving out any of the soul, Smith get right to work piling up the layers. As the track begins to build steam in the opening seconds, strains of a loping acoustic blend with blurts of distortion, swooping synth lines and horn stabs. Once the drums kick in, the listener is instantly transported to a head-nodding paradise, while the piano’s blue notes tumble over a soulful vocal sample that promises “Soon I will be gone from the trouble of this world.” That’s one of the most impressive features of any Pretty Lights album: he can be emotionally affecting without even realizing it.
The album gets heavier – and glitchier - on the next song, “Hot Like Dimes.” Building from pulsing synth bass and a rapid arpeggiator, the song explodes into a cacophony of hip hop vocals, grinding electric guitar chords and blasts of digitized squeals. It can be overwhelming, but it’s a thrilling ride nonetheless.
Smith finds beauty in “Let the World Hurry By,” letting an acoustic strum stretch out in front of him. It feels like watching an other-worldly deity paint in a summer sunset, beginning with earnestness and focus, until the swirling hues and tones become all too much to take. And then, without saying a word, he takes you gently by the hand, prepares for a brisk jump, and then launches you into outer space. Contemplative, down-tempo electro is soon replaced by intergalactic wobble-bass and shattering snare hits. The drums skitter along and all vocal samples are put aside. This isn’t time for Smith to hearken back to a forgotten world of blues and soul; he’s firmly in control and he knows it’s his time to shine. Once he’s finished building star-encrusted towers of thick synth blasts, he brings it all back home, finishing off with that old acoustic strum and brilliantly placed vocal riffs.
“Look Both Ways” is a nimble cut. It begins with a smoky jazz piano, while vinyl static drags through the background. It feels vintage and fresh at the same time, like a moment of déjà vu just barely out of reach. The drums groove along at an up-tempo beat, all the while Smith is deftly dropping in and out of small melodic sections and sampled pieces. It’s subtle, but noticeable if you dig a little deeper: even when he’s complex he never leads you astray.
“Forever Lost” and “A Million Tomorrows” round out the disc. The former is an explosive and incendiary fist-in-the-air cut, with the cut-up vocal line of a soulful singer trading off the lead with bombastic horn screams. The latter is a moment of cinematic conceptualization. It sounds like a slow-motion montage in a pivotal scene of a classic gangster movie, beginning in a quiet place and eventually rising to an intense crescendo at the album’s close. It’s soulful; it’s dark; it’s over-the-top in the best way possible. Essentially, it’s Pretty Lights. And who would want it any other way?

中英歌 横空出世！
电音舞曲天后王蓉一首中英歌颠覆传统，开创创作新理念！
王蓉新作有望冲出亚洲走向国际！
王蓉十年磨一剑 修炼绝世舞功推出巅峰力作 ！
2013的这个夏日注定是不同凡响 充满期待和制造惊喜的，一首可能是创造奇迹 颠覆传统的歌曲作品在久旱盼甘露的原创乐坛一声惊响 腾空而起 ！业内公认的创作才女 电音舞曲天后我国内地乐坛的骄傲王蓉推出了这首 ＜ 好乐day> 在全面展示王蓉创作精灵的特点同时，也把现今大陆舞曲制作的品质和概念推到了一个新的高度。 用王蓉的黄金搭档，合作超过十多年的著名音乐人老猫的话说：这是一首为大陆原创性音乐证明的超级舞曲，第一，这首歌从创作到制作基本达到了国际最先进的水平，音乐的编曲、混音、制作都是韩国及国内最顶尖高手操刀。大家一听节奏和音色就可以体会和感觉到，已经达到了国内超一线水平，而且在曲风上有了非常大的突破和进步，可以说极为国际化。第二，这歌曲的歌词很有噱头 很有出其不意 出人意料之处，大家会接触接受一种王蓉式的全新作词理念 那就是＂中英歌＂我们将向全世界展示我们中国人自己的英语解读和说话方式，有太多不可思议的亮点在这首歌里面，让我们有理由有信心让这首作品征服全世界的听众！！

Disk 1 is "Rhythm And Stealth" album.
Disk 2 is "Stealth Remixes" - limited edition CD of remixes.

（Text : 袁智聪）
要不是看到Simian Mobile Disco的出现，我也记不起当年Source厂牌旗下曾有过Simian这队英伦曼彻斯特独立结他乐团，而且当年我也蛮喜欢他们。
Simian Mobile Disco这队电子舞曲製作单位，便是两位Simian的成员James Ellis Ford和Jas Anthony Shaw所另组成。
其实当Simian尚健在的时候，James和Jas已用上Simian Mobile Disco之名义举行DJing演出。直至Simian解体后，二人才全面投向SMD的发展。况且别忘记从前Simian的新迷幻之音也有若干的电气成分，甚至在乐团的第二张专辑We Are Your Friends里，更沉淀著师承自The Neptunes的影响，已来得儼如一支Indie-Dance乐队。
从Simian进化到Simian Mobile Disco，纵使两者的名字仍是同出一彻，但两者的音乐其实已大相逕庭，没有多大关连，毕竟SMD是开宗明义的走电子舞曲路线，打造出House/ Electro / Techno / Disco / Acid的折衷电音混合物。然而，由於过去SMD曾为Klaxons、Muse、The Go! Team製作过Remix，而James又曾为Mystery Jets、Klaxons和Arctic Monkeys操刀唱片监製，致使SMD在Indie界仍有相当的地位。
Attack Decay Sustain Release是SMD的首张专辑，除了一眾舞池Anthem曲目如Electro-House之作Hustler、非常Acidic的Tits & Acid、科幻奇丽的Techno乐章Wooden之外，他们也打造了不少歌曲作品。
像得到The Go! Team的女Rapper成员为Ninja客串的It’s The Beat，便来得有如Old Skool Electro Rap曲目，I Got This Down更是直截了当的跳脱Electro Hip Hop。Song-Based起来的时候，由前Simain队友Simon Lord主唱的I Believe以及由Barry Dobbin演绎的未来派Disco-Funk歌曲Love，这两首歌曲正是SMD最称得上是Indie-Dance声音的时候。
反而有点意料之外，是碟末他们竟以一首意境美丽而神秘的Ambient电子乐章Scott，作为Attack Decay Sustain Release的结幕曲。
SMD的音乐，谈不上有何石破天惊之处，一切只算是恰到好处而已。
（转载自网络）
★Bjork、Muse、Klaxons超级混音推手；通吃独立摇滚与舞曲界的电音双人组
★The Go！Team主唱助阵；Q四星、Pitchfork 8.4分超高评价曾经先后为Muse、The Go! Team、Air、The Rapture等名将炮制混音而名气高涨的英伦双人组Simian Mobile Disco，由原隶属曼彻斯特吉他摇滚队伍Simian的成员James Ford和James Shaw共组，早在Simian时期两人便流露对电气领域的热衷，巡迴期间不时跨足舞曲DJ工作，也直接引导Simian迈向兼融摇滚和电气的音乐路线，并在2005年正式与Simian分道扬镳。2007年一刚开始，Simian Mobile Disco就受邀为冰岛女伶Bjork新曲＜Innocence＞混音，而团员James Ford更先为英伦传媒大肆吹捧的Disco-Punk新秀Klaxons制作首张专辑《Myths Of The Near Future》，又在水星音乐奖得主Arctic Monkeys新碟《Favourite Worst Nightmare》里担纲为四首曲目混音，加上2005年至今在巴黎Indie Rave名厂Kitsun?旗下发表的＜The Count＞、＜Hustler＞等好评单曲，以及2006年邀来以「Daft Punk接班人」浩大声势出道的法国双人组Justice联手翻玩Simian旧作＜Never Be Alone＞的舞池劲曲＜We Are Your Friends＞，缔造Simian Mobile Disco独立摇滚和舞曲市场通吃的局面，令其首张专辑《Attack Decay Sustain Release》未演先轰动，成为2007年上半年最受注目的劲碟之一！
ANALOGUE PARTY MUSIC begins here!
U.S. VERSION INCLUDES TWO EXCLUSIVE TRACKS!
ATTACK DECAY SUSTAIN RELEASE is the debut album from SIMIAN MOBILE DISCO.
The electronic duo is comprised of James Ford and Jas Shaw formally of experimental indie band Simian. The two took to playing DJ sets after Simian gigs and thus the "mobile disco" took on a life all its own. Coming into the spotlight with the ubiquitous dance-floor remix of Justice vs Simian's "We Are Your Friends" SMD found themselves embraced by dance music fans who were looking for more. When crafting original compositions in earnest, James and Jas purposefully chose to exclusively use analog equipment giving their arrangements a distinct, human quality. Those who lent their voice to SMD include Go! Team frontwoman, Ninja and one time Simian band-mate, Simon Lord.
Simian Mobile Disco have an instinctive knowledge for what will work on any dance-floor and now they've used that instinct to create the most invigorating dance album of 2007.
The Simian Mobile Disco is coming to your town: do not even attempt to sleep.

Alexandra Ioana Stan is a Romanian singer-songwriter. Born and raised in the city of Constanța, she made her worldwide breakthrough with the 2010 single "Mr. Saxobeat", which was written and produced by Marcel Prodan and Andrei Nemirschi.

听这张专辑，最好先把过去Paul Oakenfold给摆在一旁，这不是一张满载高能量的电子舞曲的作品，应该是他对流行音乐的敏锐观察和触角的延伸，习惯看见Paul在跳舞场DJ形象的朋友们，听这张专辑的时候一定需换换观念，舞池之外的Paul Oakenfold也有绝对动人的一面。
第一首Ready Steady Go出现于米国影片《借刀杀人》中Tom Cruise在舞厅内大开杀戒时的音乐。

4 x 4 = 12 is the debut artist album from dance music A-lister Deadmau5, with 11 brand-new tracks. It's no exaggeration to say that he's the most exciting name in clubland right now, with a Grammy nomination, a Juno award for Dance Recording of the Year for his CD collection For Lack of a Better Name, a performance at the 2010 Winter Olympics and MTV booked him as the house act for their 2010 Video Music Awards. Over the last years he's released a string of club and radio friendly chart-toppers, and this album promises to produce an equal plethora of hits

威猛乐队由两位高中时代的好友组成，他们是乔治·迈克尔（George Michael）和安德鲁·维治利（Andrew Ridgeley）。他们的首张专辑《异想天开》一经推出，很快就在英国的排行榜上名列第一，并连续两周位居榜首。1986年6月，“威猛” 乐队在英国的温布里体育场举行了盛大的告别演唱会，并发行了其最后一场专辑《来自天堂边缘的音乐》。红极一时的威猛乐队从此解散。但主唱乔治·迈克尔单飞之后，仍然取得了巨大的成就，为当代最成功的西洋流行歌手之一。

"Future Memories" is compiled by Interchill label DJ/AandR Nathalie Edell and
features 10 previously unreleased tracks by top ambient and downtempo
producers.
With hypnotic beats, sublime atmospherics and delicate ambient textures this
compilation reaches forward into uncharted realms while stirring up ephemeral
recollections of days gone by. A perfect blend of chilled-out rhythms and open
spaces, Future Memories offers the listener plenty of room to drift and
groove. Unfolding in its own time, this stellar collection of tunes represents
the sound of the ever-present moment.
Future Memories is the first Interchill release of 2008 and is reminiscent of
earlier compilations such as Interior Horizons, Infinessence and Bliminal.
With tracks by Mauxuam and Eat Static, this album gives a taste of what's to
come for Interchill's two forthcoming artist albums due out this Spring and
Summer, paving the way for one of the busiest years yet for the label.

Made at The House Of Love.
Track 2 "The Rockafeller Skank" contains elements from "Sliced Tomatoes" as performed by Just Brothers. Also contains a sample from "Beat Girl" by The John Barry Seven included.
Track 4 "Gangster Trippin" contains a sample from "Entropy" as performed by DJ Shadow. Features a sample of "Beatbox Wash" by Dust Junkys.
Track 5 "Build It Up - Tear It Down" features a sampled extract by The Purple Fox.
Track 7 "Soul Surfing" features a sample from "I'll Do A Little Bit More" performed by The Olympics.
Track 9 "Praise You" features a sample from "Take Yo Praise" by Camille Yarborough.
Made in England.
Desert road photograph copyright (C) Photodisc Inc..

The Chemical Brothers are a British electronic music duo composed of Tom Rowlands and Ed Simons, originating in Manchester in 1989. Along with the Prodigy, Fatboy Slim, and other fellow acts, they were pioneers at bringing the big beat genre to the forefront of pop culture.