Brian Eno、Grizzly Bear和Nicolas Jaar联手为Record Store Day 发行的单曲，Nicolas Jaar重新混音Brian Eno的著名单曲“LUX”，重新混音改编Grizzly Bear新专辑《Shields》中的“Sleeping Ute”。

Techno, Ambient, Breakbeat
Skee Mask’s endless search and fascination for fresh music, weed and burgers channeled into his own vision of sound. Enjoy the ride through his second album, a detailed experimental universe of a young dedicated hustler.

Nicolás Jaar is a Chilean-American composer and recording artist based in New York. Among his notable works are the albums Space Is Only Noise, Pomegranates and Sirens.

Nicolás Jaar is a Chilean-American composer and recording artist based in New York. Among his notable works are the albums Space Is Only Noise, Pomegranates and Sirens.

Nicolás Jaar is a Chilean-American composer and recording artist based in New York. Among his notable works are the albums Space Is Only Noise, Pomegranates and Sirens.

Just Friends (Nicolas Jaar and Sasha Spielberg) - Avalanche (Leonard Cohen Cover) 两人合作单曲
翻唱莱昂纳德·科恩（Leonard Cohen），飘泊在现代都市的游吟诗人作品

We’re excited to present ‘Fixion’, the fourth full-length offering from Anders Trentemøller.
With ‘Fixion’, Anders has crafted a logical successor to 2013’s ‘Lost’ - a record that in many ways managed to truly capture the visceral live experience of Trentemøller as a full-band. In much the same manner that ‘Lost’ built on from the somber cinematic classic that was ‘Into The Great Wide Yonder’, ‘Fixion’ has embraced the Danish artist’s trademark melancholy and matured it into something uniquely atmospheric and darkly romantic.
Rather than attempting to completely reinvent himself, Anders has used his latest outing as an opportunity to highlight certain granular aspects of his signature sound and refine them into a much more organic - and at times perhaps more song-driven body of work. It’s a record that on first listen may seem less detailed but, as you’ll know by now, with Trentemøller, one should never be fooled by initial impressions. It’s the kind of record that will over time repeatedly unlock new intricacies and offer the listener an opportunity to understand the work differently upon each listen.
The album is still notably driven by the producer and multi-artist’s passion for experimentation and effortlessly succeeds in transcending a swathe of influences and
unassuming genres - yet all the while holding true to
Trentemøller’s unique, and sometimes challenging
vernacular. From the cascading minimalist synth-scapes to driving electropunk, each and every track on ‘Fixion’ is bound together with a contemplative melodic complexity.
“This time around, I wanted the musical universe to have more space. I wanted it, in a way, to be more minima-listic and to boil it down to its most essential. That said, I didn’t want to lose all of those details that only
actually open up when you really listen closely,” says Trentemøller.
And details there are. ‘Fixion’ is awash with New Romantic strings, downplayed pop sensibilities and percussion so cold that it might have been recorded on a reel-to-reel in a dilapidated jet hanger. With its coldwave synths and hypnotic, driving bass hooks, the record paints a picture of both reflective night drives through ‘Blade Runner’-esque metropolises and introspective, isolated Scandinavian evenings spent pondering life itself - which makes a lot of sense, given Anders crafted the record in Copenhagen and New York, after a year spent relentless gigging in the US and Europe.
Whilst Trentemøller may have evolved into a complete band for touring purposes, the entirety of the music is still composed and produced by Anders. It’s only actually after the album is written and recorded that his sonic vision is reimagined and then collaboratively transformed, together with a host of musical accomplices, to create what has now become his renowned concert experience.
However, with ‘Fixion’, Anders has purposefully limited the on-record musical accomplices.
“‘Lost’ had so many vocalists, so this time around I
consciously decided to work with fewer. I guess, it was an attempt to sort of “anchor” the record’s ocean of vibes and atmospheres. To build a more singular voice that would ”guide” the listener through the album,” Trentemøller explains.
This time around Anders chose fellow Dane Marie Fisker, Giana Factory’s Lisbet Fritze and Savages’ Jehnny Beth - a natural call given he spent part of 2015 mixing the British post-punk quartet’s latest opus, ‘Adore Life’.
“I’ve been a huge Savages fan since their debut record. I met their producer Johnny Hostile at a festival in Paris and ended up inviting him out to support us on our tour. Jehnny actually tagged along for some of the dates.
Afterwards, he dropped me a line and asked me to mix the next Savages record. Myself, Johnny and Jehnny built a real friendship in the process so it felt right to ask her to sing on a few of the songs. She has this really intense and unique voice and it ended up being really challenging, and fun, to take that voice out of the
Savages’ universe and into mine.”
Marie Fisker, a mainstay of the Trentemøller live constellation, has also been a long-time studio collaborator of Anders’ and her four songs on ‘Fixion’ mark their third musical partnership.
“Marie has such a powerful and unique voice that fits my music quite naturally. I had her in mind as soon as I started writing. She ended up singing on four of the songs so she’s definitely the voice that kind of leads you through the album. Having toured so extensively with Marie, we’ve come to understand each other’s capacities and that really pushes us to challenge and inspire each other. I reckon that’s the driving force behind our songwriting.”
Lisbet Fritze is no stranger to collaborating with Anders either. Having previously been the touring guitarist of the Trentemøller live act, Anders ended up producing her, now defunct, Copenhagen-based band Giana Factory’s swan-song ‘Lemon Moon’.
But, why ‘Fixion’?
“I simply love the idea that you can build up this imaginary world with music. To me music is fiction. It’s not only something that exists separately from reality. Fiction is the unreal reality. Both belong together and are one.
I think fiction and music can be used to both confront and criticise reality, but also to escape that very same reality. And that’s the beauty of it.”
credits
released September 16, 2016
Written, arranged, produced and mixed by Anders Trentemøller. Lyrics written and performed by: Marie Fisker on ’One Eye Open’, ’Redefine’, ’My Convicition’, ’Spinning’.
Jehnny Beth on ’River In Me’ and ’Complicated’. Lisbet Fritze on ’When The Shadows Fall’. Johnny Beth appears courtesy of Matador Records / Pop Noire.
All instruments played by Anders Trentemøller.
Additional bass played by Lisbet Fritze on ’One Eye Open’ and ’Redefine’, by Jeppe Brix on ’River In Me’. Additional guitar played by Jeppe Brix on ’Never Fade’, ’Circuits’ and ’When The Shadows Fall’. Additional drums played by Jakob Høyer on ’River In Me’. Additional toms played by Jakob Høyer on ’One Eye Open’. Mastered by Emily Lazar at The Lodge, assisted by Chris Allgood. Creative direction and photography by Andreas Emenius Studio. Junior Art Director Alexandra Stroemich.

Twentyears is a compilation album by Air. It was released on June 10, 2016 as a double album and a 3CD/2LP limited edition, with an additional disc of Air's remixes of different artists' songs.

French DJ, producer and label boss Folamour is to release second studio album Ordinary Drugs on February 1st 2019. The mellifluous 11-track affair is another comprehensive showcase of his ability to tell real stories that draw on his unique fusion of sunny house, soulful disco and space jazz.
Folamour’s musical background is diverse and accomplished. Formally trained on drums, bass, guitar and percussion, he has worked with Lyon’s National Orchestra and been involved with projects that range from pop to jazz. As a result, his music is always infused with a rich musicianship that makes his output romantic, poetic and emotionally lasting. His masterfully orchestrated tracks work in many different situations, and have come on a fine array of labels from All City to Classic and Church to Glitterbox, as well as his own hotly-tipped FHUO Records.
An artist who draws on the core values of classic house and disco artists while adding his own distinctive flair, Folamour has made standout appearances at Dimensions Festival, Lost Village, Nuits Sonores, Peacock Society, Dour and Defected Croatia, and played key clubs in Asia, Australia, the US and all over Europe. This new album follows Umami in 2017, and is another impossibly blissed-out affair for the soul that comes with a backstory from the artist himself.
“I remember these long sleepless nights, all these thoughts whispering and screaming in my head, all of these memories, fading, day after day. And I remember your face. Or... do I? Some days, it was harder than usual, not remembering your smell, your hands, all these smiles falling in the movies inside my thoughts, and it was pain to find out my life was swallowed by the clouds.
But every bit of these memories are stronger than any drug to me. Like walking in the streets, early in the morning, feeling the chaos waking up, the noises and people madness. Coming out of my place, blinded by the sun light, smoking a cigarette, slowly, and then, another one. Looking at the trains waltz from my balcony, the wind bringing all the city words to my ears. Witnessing the exhaustion of suits going back home to their closet, the first seconds of roses rising through the concrete, and the breathlessness.
This album is dedicated to all these little things that bring me back to life every day, which help me get through the restless nights, through the big waves crushing on my shore. I have learned to find small pieces of happiness in everything I can and I wish for you to master that craft a little more every day, all your life, like I hope I will.”
Right from the off, this is a lavish, heart-warming record that fuses glowing jazz keys and lingering trumpet motifs with low slung beats, dreamy top lines and catchy basslines. Guests like Wayne Snow add vocal pain to the forlorn and abstract ambiance of ‘Underwater Memories,’ tracks like ‘Don't Make Me Leave You Again, Girl’ are rousing and live sounding house tracks to lift your spirits, ‘These Are Just Places To Me Now’ features exquisitely filtered vocal samples that make your heart ache and ‘I Only Remember You When I Sleep’ feat Mark Borgazzi is a beautiful downtempo number that is impossibly intimate and honest. They all add up to an enchanting listen that will make you feel the sun on your face even in deepest winter.

Epoch is the fifth studio album by American musician Tycho, released in September 2016 by Ghostly International.

Music To Draw To: Satellite, an ambient electronic record featuring vocals by Icelandic singer Emilíana Torrini. An uncharted journey for the legendary scratch DJ, producer, and composer, Kid Koala’s fifth studio album is an emotional work of expansive instrumental soundscapes and chilling vocal ballads.
A record of many firsts for Eric San, the inaugural volume in the Music To Draw To series finds Kid Koala collaborating with a singer, writing lyrics, and producing and performing all instruments. Satellite is the renowned audio-collagist’s first non-sample-based record, using an array of synthesizers, keys, guitars, basses, strings, turntables, noisemakers, and inventive recording techniques to create its celestial atmosphere.
Written during the gelid Montreal winter, Music To Draw To: Satellite tells a heartrending tale of discovery and loss through the lens of lovers separated by a one-way space mission to Mars. The album’s eighteen spacious movements are threaded with eight lyrical songs written by Kid Koala in collaboration with Emilíana Torrini.
Now, Kid Koala’s “work-zone” mass-creativity events and his “quiet-time” compositions combine in gentle yet icy synergy, creating a new intersection for his inventive musical storytelling. An otherworldly departure from the dense sonic patchwork of his earlier releases, Music To Draw To: Satellite is in stark, beautiful comparison an ambient masterpiece: over 72 minutes of stardust settling over Kid Koala’s trove of turntables and sentiment.

Luke Younger returns to PAN with an eight-track album of his most direct work to date. Composed alone at NO studio in the Essex countryside, to start an album with a piece called ‘Capital Crisis (New City Loop)’ seems an intentional misnomer. Long, sustained periods in the rural studio setting see Younger working with an array of fragmented, disassociated sound sources to build upon 2015’s Olympic Mess. It shares a similarly inclined vision of the urban environment, but here Chemical Flowers makes reference to paradoxical notions of authenticity and creative practice by way of questioning the structures around us. Collages are assembled and dismantled, temporal and spatial boundaries fluctuate and movement is an overarching theme.
Surrealist drowned world atmospheres sculpted far enough away from the source of inspiration leave plenty of room for ambiguity. The nocturnal nature of the recording process is self-evident, and pieces like ‘Leave Them All Behind’ tap into a deep psychedelic undercurrent. Confused
narratives, emotions and aleatory hallucinations ebb and flow throughout. ‘I Knew You Would Respond’ evokes murky soundtrack terrain with eerie repetitive strings and ambient respite, disrupted periodically by brief bursts of granular noise. It’s one of the records most unnerving moments, possibly as it’s one of the most recognisably human.
The album navigates dense passages with recurring signifiers. Hollow percussion, modulating delay and curious field recordings come and go, maintaining a perpetual state of flux where nothing stays the same for long. The drowned world theatricals return on the swamp-like ‘Lizard in Fear’ whilst string rhythms creep in on the penultimate track to incite momentary electroacoustic harmony. Floating synthesis slowly washes over and the title track unfolds - five minutes of reverb-laced portamento, visions of decay and Editions EG influenced world-building. Movement is key.

Holly’s third full-length album PROTO isn’t about A.I., but much of it was created in collaboration with her own A.I. ‘baby’, an entity called 'Spawn'.
For the album, she assembled a contemporary ensemble of vocalists, developers and an inhuman intelligence housed in a DIY souped-up gaming PC to create a record that encompasses live vocal processing and timeless folk singing, and places an emphasis on alien song craft and new forms of communion.
'PROTO' makes reference to what Holly refers to as the protocol era, where rapidly surfacing ideological battles over the future of A.I. protocols, centralised and decentralised internet protocols, and personal and political protocols compel us to ask ourselves who are we, what are we, what do we stand for, and what are we heading towards?
‘Eternal follows the 2018 release of Holly and Jlin’s collaborative song ‘Godmother (feat. Spawn)’. The skittering track, which was created by Spawn reimagining the artworks of her ‘godmother’ Jlin in a trained model of her mother’s voice with no editing or sample trickery, was praised everywhere from NPR to The Guardian to New York Times, and elsewhere.
You can hear traces of Spawn throughout the album, developed in partnership with long time collaborator Mathew Dryhurst and ensemble developer Jules LaPlace, and even eavesdrop on the live training ceremonies conducted in Berlin, in which hundreds of people were gathered to teach Spawn how to identify and reinterpret unfamiliar sounds in group call-and-response singing sessions; a contemporary update on the religious gathering Holly was raised amongst in her upbringing in East Tennessee.
“There’s a pervasive narrative of technology as dehumanizing,” says Holly. “We stand in contrast to that. It’s not like we want to run away; we’re very much running towards it, but on our terms. Choosing to work with an ensemble of humans is part of our protocol. I don’t want to live in a world in which humans are automated off stage. I want an A.I. to be raised to appreciate and interact with that beauty ”
Since her arrival in 2012, Holly has successfully mined the edges of electronic and Avant Garde pop and emerged with a dynamic and disruptive canon of her own, all while studying for her soon-to-be-completed PhD at Stanford University, researching machine learning and music. Her LP Platform closed out 2015 by gracing year-end lists from Pitchfork, The Guardian, NME, and The Wire. In the aftermath, Radiohead hand-picked her to open up their European tour.
Just as Platform forewarned of the manipulative personal and political impacts of prying social media platforms long before popular acceptance, PROTO is a euphoric and principled statement setting the shape of things to come.