Japanese exclusive 14-track compilation features all non-LP tracks (B-sides & remixes from his singles, 'Six Days' & 'Mashin' On The Motorway' & enhanced video clips to 'Walkie Talkie' & 'Six Days'). Packaged in Digipak format for the initial pressing only. Universal. 2003.

‘The Outsider’ is a record that will confound those who believed they had DJ Shadow pigeonholed. Working with several vocalists in styles spanning everything from hyphy – the Bay Area's newest hip-hop hybrid – to folk, from aggressive hardcore rock to left-field alternative dance, the album promises to be a wide-ranging affair.

“There's been a lot of speculation as to the vibe of the new album,” says Shadow. “It’s very diverse, and reflects the fact that I don't fit comfortably in any one genre. My critics see that as a problem, but I don't. I've never really fit into any one clique. That's why the album is called ‘The Outsider’.”

Long-term fans will see Shadow’s fingerprints all over the album with his trademark collage samples, voices and fragments of long-forgotten recorded dialogue front and centre. But there’s also something new in the mix.

“In some ways it's a risky record,” says Shadow. “It's going to turn some people off. And I think I'll lose some fans. On the other hand, I know I'll gain some new ones. That's a fair trade in my mind. Besides I can't see playing it safe at this point in my life".

‘The Outsider’ was put together over nearly three years and features collaborations with Q-Tip, Keak Da Sneak, Turf Talk, Kasabian, Chris James from Stateless, and David Banner. Expect many of these folk to accompany Shadow on his world tour, which has already passed through Asia and is now heading towards Europe and North America.

And it promises to be a real feast for the eyes as well as the ears. The RA review of his Melbourne date last month says the show boasts “some of the most amazing visuals ever seen at a gig in this country”.

首先，让我们先了解一个概念——Big Beat：大概是1995年才开始流行起来的一种音乐风格，这种音乐不仅具有摇滚乐的爆发力和侵略性、还包含了电子乐强劲而又机械式的节拍，然后让两者的结合体以舞曲的形式表现出来。如果你看过《Run Lola Run》的话，那么你就可以把Big Beat理解成Lola奔跑的感觉。
其实早在1990年The Prodigy便已经有将摇滚和电子结合的概念，但这种概念不尽清晰还未被世人所认同。直到1995年The Chemical Brothers的专辑《Exit Planet Dust》推出，引起了乐坛的关注，乐评人们为他们的音乐起了个新名字叫Brit-Hop。就好像Birt-Pop一样，Brit-Hop的意思是（British Hip-Hop），但显然这种定义是不准确的。1997年，作为Big Beat史上最重要的两张唱片——The Prodigy的《The Fat Of The Land》和The Chemical Brothers的《Dig Your Own Hole》推出，如平地一声雷在欧美的乐坛掀起了一阵风暴。于是Big Beat这种融合了工业摇滚、朋克、电子舞曲的音乐形式才真正趋于成熟。

其次，让我们认识一个城市——英格兰的曼彻斯特：我想很多人的第一个反映是曼联（谁不想中500万呢，自从有了足彩之后很多不原来关心足球的人也能随口说出几十支欧洲俱乐部的名字了）；但在这里我要说的是曼彻斯特是英国乃至全世界电子舞曲重镇，盘踞了众多的顶极电子乐团和著名DJ，最著名的莫过于The Chemical Brother和被称为Trip-Hop铁三角的Massive Attack、Tricky、Portishead。
1989年，曼彻斯特大学里，两位年青人Tom Rowlands和Ed Simons在同时攻读的历史课上相遇，他们首先谈起了New Order的专辑《Technique》、然后是少年时看的Lloyd Cole And The Commotions的Live演出、最后发现他俩同样喜欢在曼城的Club里寻找快乐。于是两人结成挚友，并开始在一起搞一些混音的舞曲。正如说Big Beat不可能不提到The Chemical Brothers一样，重新混音(Remix)是The Chemical Brothers起家立业的本领。TCB的两位成员就是以重新混音(Remix)一些知名乐团的曲子而出名的，他们的作品包括像Primal Scream,Mainc Street Preachers等等著名大牌摇滚和电子乐队的作品。后来两人录制了一首名为《Song to the Siren》的单曲，并且把这首作品印制成一千张白板十二寸黑胶拿到唱片店寄卖。对于当时寂寂无名的他们，平淡反应固然可以想象，但就是由于其中一张《Song To The Siren》落在一个人的手上而变得举足轻重；这个人就是Andrew Weatherall——独立唱片公司Junior Boy`s Own的总监。随即，The Chemical Brothers正式走向Big Beat引领者和电子乐明星的道路。

最后，让我们来到舞厅和Disco、来到这个听着节奏摇头晃脑的地方；也许有时候我们也可以加上乌烟瘴气、蛇龙混杂等等贬义词。

1992年，Tom和Ed组成了一支名为the Dust Brothers（后更名为The Chemical Brother）的乐队开始在一家叫Naked Under Leather的俱乐部里任驻场DJ。从此，这两个哥们就在悄悄地改变着电子跳舞音乐的模式，将那种结集着Hip Hop、Funk、Acid House、Techno、Rock的舞曲发扬光大。这种独特的音乐形式也令他们的声名在圈中不胫而走、备受瞩目。
从1994年起，The Chemical Brothers开始在Heavenly Social俱乐部里担任驻场DJ，每星期一次的现场表演上他们不仅要面对场下疯狂的乐迷，还有许多独立唱片公司的监制和英国著名的乐手，打开他们的名单包括：化名为Fatboy Slim的Norman Cook、Prodigy的Liam Howlett、Oasis的主音Noel等等。当他们听到TCB的演出，都纷纷发出赞叹并邀请他们参与他们的音乐制作。这对于当时的Tom和Ed来说真的好像有点天方夜谭，但他们做到了，也许这里印证了一句老话：“是金子总会发光”。

"Windowlicker" is a track by the British electronic music artist and producer Aphex Twin. It was released on 22 March 1999 through Warp Records. The artwork for the single was created by Chris Cunningham, with additional work by The Designers Republic. Cunningham also directed the song's music video, which was nominated for the Brit Award for Best British Video.

★ 惊爆英国乐坛之伦敦混种折衷派五人新乐队Hot Chip、以宛如英国版LCD Soundsystem之姿，得到DFA幕後加持顺利转进EMI、所推出之Time Out (London) ★★★★★ 五星、BBC Collective、Uncut、Observer ★★★★ 四星、NME 8 分推荐全新大碟《The Warning》
★ Hitoradio.com︰「清楚可见那企图跨越黑人跳跃放客与低调破碎之IDM的有趣实验…如此黑白两跨，听来却毫不张狂！」★★★★
★ 强力推荐NME读者评选8分推荐首支单曲＜Over And Over＞与DJ杂志 ★★★★☆ 四星半推荐第二支主打单曲＜And I Was A Boy From School＞。
江山代有才人出，随之同时制造新名词。後者被发明创造的速度显然已经快过乐谈改朝换代的节奏，以致每一辈新进场的乐迷总要困惑於那些乍看不知所以然的分类标签。关於Hot Chip，这2004年方获BBC Collective选为年度新秀(New Talent)的伦敦混种折衷派新乐队，目前已有多事的传媒将他们划归Poptronica。从字面上不难明白它乃是Pop与Electronica的复合体，但对进一步了解以创作核心Joe Goddard及Alexis Taylor为首这帮人的音乐格局似乎无济於事，毕竟流行混电音实在不是什麽新鲜玩意，若把Hot Chip当作Pet Shop Boys那可真是误会大了。若要更精准描述，得先明白他们心中的创作目标其实是放客。
两年前Hot Chip以宛如英国版LCD Soundsystem之姿发表首张专辑《Coming On Strong》，广获好评之余，果然立刻得到DFA幕後加持顺利转进主流厂牌。2006年推出第二张全新专辑《The Warning》，电子乐仍是他们外显的色彩，并且深谙流行与低传真之美，将之充分揉进融合发酵，首波暖身单曲〈Over And Over〉以电子合成乐器与电吉他引领着旋律简明易记的副歌，让Hot Chip之名正式於全英Top 40登场。早期曾有人形容他们宛若The Beta Band挑战Prince的比喻至今仍然适用，因为《The Warning》无处不清楚可见那企图跨越黑人跳跃放客(乃至是当代变形版的2 Step，如〈Tchaparian〉)与低调破碎之IDM的有趣实验(如标题同名曲或颇有Air气味的〈So Glad To See You〉等)。甚至听似民谣低吟的〈Look After Me〉根本就是一首未出柜的节奏蓝调。
如此黑白两跨，听来却毫不张狂，轻松地令他们赢得Time Out (London) ★★★★★、BBC Collective、Uncut 、Observer ★★★★ 等赞赏，同时荣登XLR8R封面人物。NME如此下注︰「might be the UK‘s best new electronic band coming of age」给予8分高评价，可说是稳赚不赔的投资

《Love In The Land Of Robots》是资深电子音乐制作人Soulspeak与现居上海的澳洲小号手／制作人TTechmak合作的首张电子音乐专辑，历时两年制作，两位优秀的乐器演奏家和音乐制作人联手为大家呈现了一幅天马行空，精彩绝伦的另类世界， 深刻探讨了人类与机器复杂又奇妙的联系。
在这个燥热的夏日, 他们驾驶着飞船归来，载着难以入眠的你们进入到这个未曾发觉的另类世界。 机器人，冰激凌，月之暗面，巨龙，电子计算机，日本武士.....将是这段奇异旅程的沿途景色。机器人世界的爱，是他们要找寻并为之战斗的终极目标。燃音乐呈现Soulspeak & TTechmak 全新专辑《Love In The Land Of Robots》，给想逃离闷热压抑都市的你一张通往全新世界的船票。

a spiritual successor to my favorite lp i've ever done, ethelreda malte is everything and more i wish 010429 could've been. i worked years on this record and i hope you love it as much as i do. it isn't the last hfm lp but it sure will be the best.
feel free to check out my understall page for a second run of tapes that should be available soon.
understall.fun/album/ethelreda-malte
love you.
credits
released December 25, 2018
to all my haters. you too shall soon be forgotten like tears in the rain.

richie hawtin DE 9 经典的Remix CD

‘Terminal’ features prominent Egyptian rapper Abyusif, newcomers Abanoub, Mado $am and R-Rhyme, and the mysterious Mecca-based vocalist MSYLMA.
It sees him broaden out his work on previous UIQ EPs 2016’s ‘Bionic Ahmed’ and the 2017 follow up ‘Numbers’ and into something more localized and personal. The project features photography from his local zones in Cairo. Musically with ‘Terminal’ ZULI's focus moves away from the dancefloor and towards more melodic/ambient/listening/vocal territories.
“In a world that feels like it’s regressing into tribalism, many of us who don't fit into any one specific group identity feel sidelined at best. When people talk to me, whether it be the press or peers in the scene I operate in, I am often approached with a preconceived notion of pretty much everything from my influences and taste to my politics and lifestyle, solely based on my nationality. It is a caricature that has proven very marketable, one that makes for a more interesting read/conversation/booking, apparently, than a multi-faceted (hence unique) human personality just like each and every one of us. Ever since this came to my attention I have been making a point to be as vocal as possible about how unfair that is.
This is an album inspired by my own personal experience in the city I live in. I just happen to be an Egyptian musician and the city just happens to be Cairo; my experience in Cairo may very well have more in common with that of an Indian accountant in New Delhi than of another Egyptian musician in Cairo.
Terminal draws from an abstract narrative of increasingly frequent cycles of ego-death and rebirth; its effect on everything from self-image and worldview, to the creative process, its fruits and the various masks/identities assumed in the process. The rap verses that feature are all either autobiographical or come from a place that is unique to each individual rapper; some of whom happen to be Cairean, and some who are not; the point is that it doesn’t really matter that much in the end.” - ZULI

Faitiche is delighted to release a short version of the radio play Zwischen (German for ‘between’). Devised and produced by Jan Jelinek for German public broadcaster SWR2, Zwischen brings together twelve sound poetry collages using interview answers by public figures. Each collage consists of the brief moments between the spoken words: silences, pauses for breath and hesitations in which the interviewees utter non-semantic sound particles. These voice collages also control a synthesizer, creating electronic sounds that overlay and merge with the voices to make twelve acoustic structures.
We all know the speaker’s fate: you falter, you mispronounce, there are breaks, silences and false starts. This results in delays, a language noise compared by Roland Barthes to the knocks made by a malfunctioning motor. Such gaps can be disconcerting, standing as they do for a failure of the speaker’s rhetorical skills. But what happens when they become a constitutive, poetic factor?
Zwischen consists of twelve answers to twelve questions. The answers were all recorded in interview situations. From the speech of the interviewees – all eloquent public figures – the pauses are extracted and edited together. The result is a series of sound... more
credits
released May 4, 2018
Written and produced by Jan Jelinek at G. Guillaume Studio, Berlin 2017 Originally produced for Südwestrundfunk as Zwischen – 22 Lautgedichte
Mastering by Raschad Becker Graphic design by Tim Tetzner Many thanks to Frank Halbig.

Faitiche is delighted to present a long-lost vinyl album: for the last 14 years, Jan Jelinek's Loop-Finding-Jazz-Records, originally released in 2001 on ~scape, existed only as a download. Now the album is available again on vinyl, as a double LP with two bonus tracks (B-sides from the Tendency EP, 2000).
What the press said about Loop-Finding-Jazz-Records:
“Don’t be misled by the title, though for there isn’t a finger-snapping rhythm c bebop lead anywhere on the album. Instead, Jelinek chooses to explore the visual effect moiré - two shifting patterns creating an implied third dimension - in the audio realm.” (Alternative Press)
“The title acts as explanation for the studio technique that provided the basis for this album, snippets of other people’s arrangements deconstructed through a sampler into loops and then splashed onto an audio canvas.” (ATM)
“Jelinek’s sound evolved out of his dislike for (and inability to play) keyboards.”
(RPM)
“Jelinek has abstracted his sources beyond recognition, looping his millisecond samples into flickering patterns of sonic moiré... more
credits
released April 28, 2017
Written by Jan Jelinek, produced by Jan Jelinek, recorded in 2000, Berlin. Mastering by Stefan Betke and Rashad Becker. Graphic design by Jens Reitemeyer

Building on the success and popularity of his first 2 albums "Mishaps Happening" sees Will Holland aka Quantic take it to the next level with the aid of guests like U.S. funk legend Spanky Wilson and Quantic right-hand woman Alice Russell. From the explosive Brazil tinged title track to the enchanting soul of "Sound of Everything" and the Afrobeat flavored "Furthest Moment" album #3 continues to join the musical dots, Quantic style. Jazz, funk and Afrobeat blend with tight breaks and distinctive production that happily nods to the past but sounds like the future.

Due to popular demand, we've pressed Sasha's re-Fracted live onto 1000 numbered, 4xLP crystal clear vinyl.
——

The first EP from Shao was released on Berlin’s legendary Tresor Records, available for vinyl and download from shop.tresorberlin.com/index.php/tresor280.html .
Also available on vinyl from Hardwax, Boomkat, Bleep, Juno etc.
“Tresor welcomes Chinese producer Shao Yanpeng to their roster. Sensi wastes no time taking us straight into a world of spirited synth work and slow, brooding builds. The theatrical, bubbling techno continues with the Reflection two-parter as SHAO’s textured atmospherics swoop in and out of earshot behind a swell of airy hi-hats and sustained snares. While short, this release is a concise and effective introduction to SHAO’s sound. An exciting addition to the Tresor lineup.” ——Bleep
released October 23, 2015
Written & Produced by Shao Yanpeng. Published by Mikrofisch. Released by Tresor Records GmbH.