The end of 2019 was soundtracked by one of the most unanimously critically acclaimed film scores of recent history, an anxiety-driven joyride paired to the Safdie Brothers’ noir thriller Uncut Gems. Unknowingly, Lopatin captured a universal feeling of dread that cuts even deeper in the current state of world affairs. And now, just as many artists are leaning into a newly discovered darkness as this year closes, Lopatin turns his dial towards a frequency of profound self-awareness on an even deeper journey inwards towards peace. With the backdrop of re-imagined programming for a soft rock-era format that symbolically spans from morning drive into late night hours, Magic Oneohtrix Point Never, the name a reference to a misheard play on words of Boston’s Magic 106.7, is a nostalgic and self-referential career defining body of work, collaging maximalist baroque within atmospheric glitter. Here Lopatin has mastered his own autobiography; an ornate musical double entendre from an artist making the most enlightened music of his career.

First collaboration of multifaceted electronic artists MONOLOG (“an impressively detailed assault on the senses” TEXTURA) and SUBHEIM (“Sometimes gloomy, and sometimes lush, but always sweeping and atmospheric” INTRO).
With ‘Conviction’, Monolog and Subheim merge two worlds together by using the same creative triggers: Berlin's night sky, the urban scenery, faces and places, action and reaction, the calm before the storm as well as the storm itself.
Monolog brings structure with with his unique, unforgiving drum rhythms and heavy basslines while Subheim contributes fragile melodic undertones and lush ambiences to the whole.
’Conviction’ is intentionally imperfect. It symbolizes the acceptance of its creators’ very human nature: sometimes relentless and sometimes serene, a calm force that thrusts them forward like sea waves in winter. ‘Conviction’ is dark and heavy yet full of light and hope, expressing the closing of important chapters and the beginning of new ones.

Autechre return with their 14th studio album, SIGN. SIGN is comprised of 11 songs with a runtime of 65 minutes & 32 seconds.

Howyoudoin" by the late great RSW represents everything that was right about early 90's electronica. Strictly formulaic & predictable genres hadn't quite taken hold yet, and rampant experimentation was the norm among these newfangled electronic artists. RSW was one of the most difficult to pin down, as they dabbled in big beat, rap, trance, dub and house, often with an underlying punk rock aesthetic. Mute. 2001.

Vienna based top producer Klaus Waldeck strikes again! This time with a haunting rework of a song that couldn't fit better into his ever-changing repertoire: the Giorgio Moroder-pinned David Bowie smash hit "Cat People". This third single from his most recent album "The Night Garden" features new remixes by Jung Collective, BTO Spider & Jeremiah, Chin Chillaz and Mushroom Dive. The 80s Pop craze never sounded better than this!

Composed By [All compositions by], Strings, Vocoder, Recorded By [Multi-Recording], Design, Electric Piano, Electric Organ – Hiroshi Yoshimura
Engineer, Mastered By – Michinori Yamazaki
Producer [Produced by] – Satoshi Ashikawa

70年代中期，德国的 Kraftwerk 乐队勾勒了以后十几年中无数电子音乐家竭力追随着去实现的宏伟蓝图。从英伦 New Wave 运动到 hip-hop 再到 techno，乐队自己形容的“机器人流行乐”（用电子设备表现出的有催眠节奏的音乐）在电子音乐的每个新的发展阶段都产生了巨大的反响，深刻地影响着20世纪末同时代的流行乐。作为电子乐先锋，他们持久深远的影响无论怎样形容都不嫌夸张。
Kraftwerk 是从60年代末的德国实验音乐团体中脱颖而出的，这个团体也孵化了像Can和 Tangerine Dream 这样的着名乐队。乐队核心成员 Florian Schneider 和 Ralf Hutter 首次相遇时还是西德一所古典音乐学院的学生。他俩起初在一个叫 The Organization 的五人乐队里，1970年乐队发行了专辑 《Tone Float》。接着 Schneider 和 Hutter 就解散了 Organisation，重新组建了自己的乐队并命名为 Kraftwerk（德文意思是“发电站”），开始在他们自己的工作室（后来称为“King Klang”）里制作起了音乐，沉浸在他用最低限度要求电子学创作的还不是很成熟的音乐中。他们1971年的首张专辑 《Kraftwerk 1》，提出了他们独特美学观点的早期雏形，并进行了一些创新的尝试，包括其中用到的由 Schneider 自己设计制作的电子设备。专辑中怪异机械的噪音处理和环境电声操作让当时的乐坛大吃一惊。
接下来的是一系列的人员变换，甚至 Hutter 也一度离开了乐队。但是，到发行专辑 《Kraftwerk 2》 时， Hutter 又回来和 Schneider 一起工作了。这张录音没有用鼓，专辑的节奏部分全部由鼓机来提供，创造出了在那时还没有先例（从纯技术概念来看）的具有明显机械感的音乐，彻底地与传统音乐家背道而驰（正如当时的听众）。然后乐队举办了一些颇受欢迎的现场演出，直到他们第三张具有突破性的专辑，1973年的《Ralf and Florian》的发行。专辑把他们的野心和抱负精炼成一些简单但极有革新理念的动机，他们的音乐变得越来越具有启发性——尽管他们这种轮廓鲜明、科学的形象是完全处在那个时代流行音乐的对立面。
Kraftwerk 在美国发行的第一张专辑，1974年的 《Autobahn》 获得了国际上的巨大成功。标题曲 “Autobahn” 长达22分钟半，剪辑后的单曲版在人们的家里和旅途中处处可闻。在美国这支先前不为人知的乐队却冲上了流行音乐专辑排行榜且居高不下。大部分用穆格电子合成器演奏的第一首序曲打破传统流行音乐的结构和旋律的同时，《Autobahn》 确立了独特的 Kraftwerk 之声。从这张专辑开始，Kraftwerk 便从 Krautrock 中蜕变到了纯电子音乐领域，并成功地闯入了流行音乐界，使电子音乐在主流音乐中找到了永久的立足点。
1975年 Kraftwerk 以一张探讨无线电通讯题材的概念专辑 《Radio—Activity》 再次露面，专辑发行了德文和英文两个版本，预示了乐队在世界范围的流行。
火车旅行是1977年的专辑 《Trans—Europe Express》 的主题，标志着音乐向机械化方向发展的运动正在兴起。《Trans—Europe Express》 对早期的 Hip-hop 产生过重大影响，它把一种比较冷酷严厉的节奏和胆怯神秘的高音调散射结合到了一起，这种效果具有催眠作用。Kraftwerk 善于使用重复部分，这种效果就像是节奏中带有弹性效应。曲子 “Metal On Metal” 就像是吹来一股凉爽的微风。
1978年的专辑 《The Man Machine》 走得更远，在这张唱片里已完全失去了人类触觉。唱片封面的构图取自俄国结构主义大师 El Lissitzky 强硬的对角斜纹布局，它棱角分明的线条正符合 Kraftwerk 想表现的机器、动力等意想，乐队成员身着大红色的衬衫和漆黑色的领带，极富挑战性。这时，Kraftwerk 的成员甚至公开地称自己为机器人，开篇曲 “We Are the Robots” 更是巩固了这个形象。一曲旋律优美、典雅浪漫的 “The Model” 让人百听不厌。整张唱片的曲子结构严谨、编曲精细，乐队操纵起各种电子元素已是驾轻就熟，使这张专辑到达了 Kraftwerk 音乐事业的顶峰。
紧接着乐队便从人们的视野中消失了，经过长期的缺席后发行了他们1981年的专辑 《Computer World》，却没有回到先前的动机，而是针对计算机这一将在全球范围占据统治地位的新技术的沉思——他们的音乐很早就对人类的将来提出了预示。专辑中的单曲 “Computer Love” 冲上了英国流行音乐排行榜榜首，之后他们便又消失了。
沉寂了五年之久，1986年 Kraftwerk 推出了专辑《Electric Cafe》。这时，使用电子合成器和鼓机的流行音乐已经成了主流，乐队卓越的成就也使他们名垂青史。
1991年，Kraftwerk 发行了一张名为 《The Mix》 的重新混音精选辑。以后的几年乐队一直保持沉默，直到1999年末才发表了单曲“Expo 2000”。
回顾 Kraftwerk 的音乐历程，虽然到了后期乐队几乎没有发表什么新作品，但他们在现代流行音乐中的地位绝对是不可动摇的。从另一个角度来看，正是乐队这种寻求突破、不断创新的态度使其后来的音乐受到了限制，他们的完美主义精神为日后的创作设立了一个几乎不可能超越的标准。
Kraftwerk 在70年代中期的三张专辑 《Autobahn》、《Trans—Europe Express》、《The Man Machine》 无疑是乐队最成熟完美的作品。Kraftwerk 的电子音乐摆脱了冗长繁复的结构，采用了小巧、循环的节奏编排，听来极为流畅悦耳。这三张专辑在当时的传统音乐家看来是离经叛道，却震撼了无数有革新理念的实验音乐家，使他们从此改变了自己的音乐道路。New Wave、New Romantic、Ambient、Hip—hop、Techno 甚至工业噪音等音乐都从中得到了启发，音乐家们在 Kraftwerk 音乐思想的指引下层层突破，使得今天的电子音乐极为繁盛。也许不少人还没有听过这三张唱片，但现在人们听到的流行音乐却都渗透着 Kraftwerk 的艺术理念。
Amazon.com essential recording
This is the album pundits like to point to when they accuse Kraftwerk of being digital-age visionaries; an all-too-easy assessment to make in the face of tracks such as "Home Computer" and "Computer Love" (not an ode to one-hand typing!). But to saddle the band with the reputation of sages is to completely miss the low-key wit and all-too-human playfulness of this album. "Pocket Calculator" and "Numbers" (the lyrics: numbers one to eight--period) could be read as tongue-in-cheek ripostes to too much bad "educational" programming, but that would smack of creeping punditry. Computer World is Kraftwerk's most lovable bundle of contradictions: at once its most technologically obsessed album and its most human. --Jerry McCulley
Product Description
1997 Japanese reissue of the German electronic/ techno icon's landmark 1981 album with 'Dentaku' added as a bonus track. Eight tracks total. EMI release. --This text refers to the Audio CD edition.

Trans Europa Express/Trans-Europe Express was the first Kraftwerk album to be mixed in two entirely separate versions, one in German, the other in English. In addition, a French language version of 'Showroom Dummies' entitled 'Les Mannequins' was included on French pressings of the album (which otherwise features the English mix).
Most German pressings (as well as the 2009 remastered reissues) list 'Metall Auf Metall' as two separate tracks, the second part entitled 'Abzug'. Most other versions only list 'Metal On Metal', but include both tracks.
The original German pressing (and many of the other editions) features a monochrome portrait by New York photographer Maurice Seymour, with the group dressed in suits to resemble mannequins. A highly retouched colour photo montage of the group by J. Stara is used for the British, American and other editions. A color collage of the group sitting at a small cafe table designed by Emil Schult was used for the inner sleeve. Most of the 2009 reissues feature a simplified monochrome 'TEE' design.
The original German release includes a colour poster of the Emil Schult image.

Róisín Marie Murphy is an Irish singer-songwriter and record producer. She first became known in the 1990s as one-half of the UK-Irish trip hop duo Moloko

「 疫情期间，一份安慰。」

Like a memory you can’t remember having, surely lost to the past but resurfacing at the hit of the first steady note. So sudden and unexpected it curiously scratches the shell of your inner self. As he himself states: Kerala Dust makes music for a desert he’s never been to.
Once again, we have a new addition to the family, once again, like finding the piece of a puzzle you didn’t know was missing - three pieces to be more precise. Carefully crafted music from the head and hands of this one plus two project, completed by a mesmerizing remix from the walking understatement DWIG.

超级市场第9张专辑《9》终于作为2019年度收官之作正式发行！从1998年第一张专辑《模样》发行至今，超级市场用9张专辑完整的记录了他们23年以来走过的音乐之路，某种意义上也代表了电子音乐在中国走过的这段辛苦但又极赋意义的道路。“9”这个数字对于乐队主脑田鹏而言，代表了“一切顺利”的意义。专辑一共9首全新作品，大量人声片段的采样使用，以及清爽的弹奏小调，让人感觉这些音乐更贴近自己的生活，在专辑的结构上完全呈现出传统的独立电子摇滚的理念，使用模块打造的更根源化的电子之音，与乐器的搭配产生的化学效果，更加沁入人心的舒适。

David Wright（大卫·赖特），来自英国的键盘手和作曲家，在1989年创办了一家电子音乐唱片公司AD Music。同时他还是氛围/电子摇滚组合Code Indigo（靛蓝代码）和二人电子组合Callisto的创始人之一。虽然David Wright（大卫·赖特）出生在英国，但他早年却一直生活在远东。他自己非常的喜欢progressive rock（前卫摇滚），音乐受Pink Floyd（平克·弗洛伊德），Mike Oldfield（麦克·欧菲尔德）和古典音乐的影响。自1989年，大卫·赖特已经推出了许多个人专辑，举办现场音乐演奏，与Jonn Serrie 和 Klaus Schulze等电子音乐大师同台演出，在欧洲和美国电子音乐界享有极高的声誉。他的音乐和Vangelis，Tangerine Dream，Jean Michel Jarre，Mike Oldfield等著名电子音乐家一样，深受电子音乐爱好者的喜爱和推崇。 via虾米音乐
Sines of Life, Vol. 2 is a collection of songs from various projects and live performances that originally were to be a ‘download only’ collection. However, because fans wanted a physical copy, we decided to make the music available on a limited run of duplicated CDs.
The music didn’t make it to CD originally because either it simply didn’t make the final album cut because of time constraints, didn’t fit the feel of the album in question, or because it was used on a compilation elsewhere, like ‘Depth from Motion’, requested for a German Schallwelle compilation CD. The track ‘Passing Through’ was a commission piece, while ‘First Call’ was a track not used on the 1997 CD ‘ThreeSixZero’ that found its way onto the 1999 Code Indigo album ‘Uforia’, substantially reworked and retitled ‘The Call’. The remainder are previously unreleased live tracks. Tracks like ‘China’ may well resurface, reworked, one day. (via admusicshop.com)

张蔷：“这张专辑节奏感非常明确且强烈，但是并不赤燥！这是它最高级的表现！我把自己的歌声融入音乐之中，千万不能让歌声打破音乐的美感，在这张专辑里尽量让我的人声随着音乐游走。
先有了调肆钓貳的音乐，顺着每一首曲子音乐的方向和规律，心里沉淀了很久的情感和旋律一并而出，每首歌平均创作时间最长四十分钟，最短十五分钟！音乐巧妙的转换之处让我像是连续进入了一个又一个真实和幻想中的场景！
每首歌都有一个跟生活紧密相连的故事；主打歌my name is rose原曲叫做花园路号探测器，它让我想起小时候生活过的地方花园路14号……花园路上没有一朵花儿，只有我的名字像一种花，我叫蔷薇，渴望能被人所爱着！当时的创作灵感画面来自八十年代看到的美国电影汤姆叔叔的小屋……
这张专辑是我的第一张英语专辑，也是我的第一张全创作专辑，my name is rose是我想传达的那种艺术与流行结合的音乐风格，但它还应该算是一张电子音乐专辑。”