After the enormous success of My Favorite Letters, Alice Russell returns with a second collection of collaborations, remixes and alternate takes. Already established as a gifted vocalist and songwriter in her own right, the 13 tracks chosen for `Under The Munka Moon II' serve as a testament, not only to the breadth of Alice's appeal, but also to her versatility as an artist. Alice switches genres with natural grace and style, aided and abetted by her musical co-conspirators. Highlights include a certified future classic from the hugely popular Bugz In The Attic, who transform `Could Heaven Ever Be Like This' by Japanese electronica don Susumu Yokota into a funky broken beat number, perfect for those long summer nights. The Boub remix of `Hurry On Now' twists the original into a head-nodding, hip-swinging 80s inspired reggae number. Nu:Tone deliver an infectious, jazzy drum & bass roller while Bonobo and Wyndham Earl provide laid back, soulful gems. DJ Vadim's acclaimed hip hop re-rub of `A Fly In The Hand' makes a welcome appearance as does the incendiary Nostalgia 77 cover of `Seven Nation Army' by The White Stripes. Other collaborators include Unforscene, Natural Self and TM Juke. The album is also peppered with exclusive stripped-down live tracks, which breathe new life into Alice's own back catalogue. In particular, an acoustic cut of `Mean To Me' forgoes the horns and electronic glitz of the studio version for a seductive vaudevillian folk feel, perfectly tailored for the intimacy of smoky music-hall backrooms or twilight gypsy campfires. Tru T. 2007.

The debut album by Peter Kruder (Kruder & Dorfmeister), Peace Orchestra is a blissfully crafted disc of downtempo grooves. Kruder's musical sense comes from a variety of musical capitals, including Rio de Janeiro (the fine, delicate swing), New York (the jazz chords and shadings), East L.A. (Latin percussion), and London (acid house ). From G-Stoned/Studio K7 Distribution.

超级市场第八张专辑正式发行 《德先生与赛先生》输赢未卜
1997年，超级市场乐队成立，成为中国第一支电子乐队，用情绪包裹数字冰冷的外壳，创造出物质与人性交战的世纪之声。二十年后，“超市体系”再次启动，以乐队的第八张专辑《德先生与赛先生》向时代发出新的追问。
二十年，超级市场如同一个清醒的旁观者，以极其低调的姿态保持与时代同轨。每一张专辑，都如同一面镜子，跟随时代起伏，映照稍纵即逝的情绪。如果说2014年后发行的两张专辑——《Blackeclipse墨蚀》和《有限无限》为我们呈现出超市电流的新流向，成为“超市体系”进入更纯粹的电音世界的标志，那么《德先生与赛先生》则是超级市场以高维度音乐向科技时代遁入的空虚感投射出的一次深刻审视。
不同于过去所有专辑，《德先生与赛先生》中，对人类情感的描绘不再为专辑主线，取而代之的是科技与氛围营造出的灰色精神空洞。《Siri》与《贝尔特》中，Techno如同一块灰色的阴影，笼罩于世界上空。冷峻循环的律动层层递进，现代科技如同病毒一般，源源不断传送至人的体内。“很抱歉，项目建议我最好不要谈论自己的存在形式。”，采样中Siri毫无感情的回答让听者不寒而栗。由感染走向病入膏肓的过程，在《病》与《激变》中化作Glitch的漩涡，田鹏痛苦模糊的人声在其间转动。《疾怨》黑色的节奏充满机械感，Trip－hop将人类情感抽空，留下沉重的肉体躯壳在痛苦里徒劳挣扎。而站在世界彼端的《旁观者》则低垂下眼眸，用钢琴为垂死之人演奏起深沉的哀悼曲。扭曲的数码音效在《三月》中堆叠，与《十月》开阔的吉他形成一个完整而充满生机的光环。直至《无语》和《自始至终》揭开虚幻光明下的真相，氛围仿佛宿命一般走回寒冷与黑暗。冰冷的节奏下，极具先锋实验性的电子噪音泛起无规则波浪，低频涌至耳畔，又渐渐消退，迷失在Minimal射频苍白的噪音里。
这是一张令人惊叹的专辑。超级市场用层次与结构将画面感与精神内核植入冷漠循环的数码音效，充满戏剧张力地揭开《德先生与赛先生》背后的深意，抛出意味深长的问号——科技如洪水猛兽般吞噬情感的时代，人类终将何去何从？

1 My Home Ghost 3:06
2 Diamonds In The Sky 4:48
3 Nightless Night 7:12
4 Blueberry Tree Part I 2:36
5 Blueberry Tree Part II 2:47
6 Blueberry Tree Part III 5:06
7 Hurricane (Don't Come Knocking) 4:44
8 Silent Woods 2:25
9 Shadow Run 4:29
10 Caravan 5:17

James Kirby's work as The Caretaker has always dealt with the suggestion of haunted memory and the obscuring of temporal motion, and this latest album makes that more explicit than ever, with titles that reference amnesia, Alzheimer's, past life regression and other such memory misfires and short circuits. Musically, this album might be compared to Philip Jeck's manipulated vinyl tracts, featuring similarly oceanic swells of crackle and dust, with faded pianos or big band sounds wafting wraith-like across the mix. After conjuring the sinister atmospherics of The Shining with his debut album Selected Memories From The Haunted Ballroom, The Caretaker has been chasing this idea of sound leaving its indelible mark on a space and time, so consequently these creepy, semi-dissolved musical passages sound no more tangible than shadows, and the album for the most part comes across as some sort of séance held via wax cylinder. Arguably the most accomplished and rewarding Caretaker album to date, Persistent Repetition Of Phrases is an album you'll want to snap up fast - there's only 500 of these in circulation...

印度是个神秘的国度，其音乐更是满着一种宗教、冥想、迷幻的色彩，独具韵味。说到印度音乐不能不提及“宝莱坞”的电影， 而其中的音乐歌曲更是感染了无数人的情思，而现在向大家推荐的这张名为《The Lonely road》（路影翩然）专辑就是扎根印度音乐沃土而创作出来的。反复聆听了几遍，倒是觉得印度音乐的韵律甚是稀罕，只有Surrender这首单曲感觉印度的风味稍浓，反而品出了一些deep Forest乐队的音乐风格。不管其中震撼的音律，高远深邃的音魂，还是录音、配器堪称一绝。其余18首歌均在浓厚的宗教弥幻音乐中一一展现，犹如一幅幅浓墨重彩的佛教寺院壁画，听者身陷其中，先是惊奇世上天籁般的声音，接着心灵受到巨大的感动，直到震撼，在一波紧跟一波的震撼之后，最终晕眩。如果您是一位音响发烧友，这张大碟足以再一次冲击您执爱的设备，管保让您发烧到底。
闭上眼睛，倾听那如怨如诉，绵延不断的旋律，波浪形，曲线形，甚至螺旋式的音乐进行，余音缭绕，婉转曲折，仿佛川流千年的恒河在清晨被橘黄的太阳笼罩成温暖的金色，那些贴满金箔的黄金寺院，在阳光下闪烁着神圣的光芒，教徒们从四面八方涌来，住瓦拉纳西、结交圣人、饮恒河水、敬湿婆神。释迦牟尼在鹿野苑初传法轮，佛陀在居师那迦圆寂。史诗《罗摩衍那》、《罗摩衍那》久唱不衰。日出之前，教徒们聚集在河溏周边，等待东方第一道曙光划过湖面时，双手合掌、口中念念有词，慢慢地走入恒河里沐浴净身、洗涤罪恶。水色沧浪，波涛浩瀚的恒河不语，真理代代流传。一些严格苦修的圣徒在这里冥想数月甚至数年，以期感悟到生命的真谛。从这张专辑中，听者会不知不觉地悟出，解脱无明束缚的境界——涅磐，其实就像是渡河、行船，或者，抵达彼岸。

Limited Edition Japanese "Mini Vinyl" CD, faithfully reproduced using original LP artwork including the inner sleeve. Features most recently mastered audio including bonus tracks where applicable.

Jamiroquai are an English funk and acid jazz band from London. Formed in 1992, they are fronted by vocalist Jay Kay, and were prominent in the London-based funk/jazz movement of the 1990s.

这张《Human After All》是他们的第3张录音室专辑。这张专辑的实验性质很浓，Daft Punk运用简约主义的理念和摇滚元素来展现他们眼中的House乐。这也使得某些人听不了几首就开始耐烦，讽刺这张专辑说简直就像是一首歌，固执的交替，变更再变更，交替，乏善可陈。要我说，光凭一首Make Love就够本了。恍恍惚惚的节奏中，一个男声似有似无的反复吟唱Make Love，很灵很销魂。

Discovery is the second studio album by French house duo Daft Punk, released on 26 February 2001 by Virgin Records. It marks a shift in the sound from Chicago house, which they were previously known for, to disco, post-disco, garage house, and synthpop-inspired house. The album later became the soundtrack of the anime film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem, which was a collaboration between Daft Punk, Leiji Matsumoto, and Toei Animation. All of the music videos for the tracks on the album are segments of the film, which follows a story of a kidnapped extraterrestrial band.
Discovery is recognized as a concept album in reviews by New Musical Express and Spin magazines. Early versions of the album included a "Daft Club" membership card. The card included a code which granted access to an online music service, which featured tracks later released on the album of the same name and Alive 1997.