In full effect & in 90s school Techno explorer mode

LCD Soundsystem is an American rock band from Brooklyn, New York, formed in 2002 by James Murphy, co-founder of DFA Records. The band comprises Murphy (vocals, various instruments), Nancy Whang (synthesizer, keyboards, vocals), Pat Mahoney (drums), Rayna Russom (synthesizer), Tyler Pope (bass, guitar, synthesizer), Al Doyle (guitar, synthesizer, percussion), Matt Thornley (guitar, synthesizer, percussion), and Korey Richey (synthesizer, piano, percussion). They are currently signed to both DFA and Columbia Records.

LCD Soundsystem is the debut studio album by American rock band LCD Soundsystem, released in January 2005 by DFA Records. Some editions contained two discs: the LP itself with new songs and a second disc featuring singles released since 2002. The album was nominated for the 2006 Grammy Award for Best Electronic/Dance Album.

LCD Soundsystem is the debut studio album by American rock band LCD Soundsystem, released in January 2005 by DFA Records. Some editions contained two discs: the LP itself with new songs and a second disc featuring singles released since 2002. The album was nominated for the 2006 Grammy Award for Best Electronic/Dance Album.

This Is Happening is the third studio album by American rock band LCD Soundsystem. It was released in the United Kingdom on May 17, 2010 and in the US on May 18, 2010 on DFA Records. It was recorded over the course of 2009 and early 2010 in the Mansion recording studio in Los Angeles. The first single, "Drunk Girls", was released in April 2010, with a music video directed by Spike Jonze.
The album is dedicated to Jerry Fuchs (1974–2009), who performed drums live with the band on occasion, as well as having a big part in associated DFA acts.

Young Turks continue their assault on releasing good music, paying no heed to genre politics in securing some all too rarely seen original material from Barcelona resident John Talabot. The tracks on Families really provide further evidence of the somewhat mysterious producer's endless progression into a musician of real talent, perhaps most notably on the title track collaboration with Glasser's Cameron Mesirow. "Families" is in a word sublime, a perfect melding of pop sensibility and glorious electronic production. It's obviously going to add to the reputation Talabot has amongst the music press glitterati, but crucially could see him gain wider appreciation. This is not a one track EP though, with Talabot indulging in some crazed digi horrorcore boombap business on "Lamento", all jagged vocal edits stretched over a sea of white noise and click clacking percussion. "Lovers Tradition" occupies similar territory, aping the hip-hop trend for chipmunk vocals and sinking them deep beneath twisting Eastern melodies that worm their way into your cerebral cortex with far too much ease. The final track sees Lonely Club rework "Families" - adding more club meat to the beat and laying down some hypnotic melodic qualities before slowly bringing in the vocal refrain. It's a perfect end to an excellent release.

carsten nicolai artproject catalogue,
104 p. german/english
+ audio cd, noto. polyfoto
sounds from 1997 / 98.
limited edition, 1000 + 400 copies.

Aleph-1应该是代数的里的一个名词...恩...ISBN来自CLoudDead的日版...
Always cause for no small amount of excitement, a new release from Carsten Nicolai tends to be a pretty significant event for the electronic music community. As suggested by the new moniker, the Aleph-1 project marks a departure from some of the more familiar Alva Noto approaches to composition, although these recordings do tie in to some extent with the rhythmic minimalism plotted out by Nicolai's older work, marking a step back from the more harmonic Xerrox material from last year. The most immediately striking aspect of this music is the presence of a pronounced melodic element, something that's previously barely featured in Nicolai's solo recordings. This manifests itself by replacing the abrupt prickling static soundset of the Transrapid/Transspray/Transvision triptych with more resonant, rounded tones, with simple, sustaining waves evolving gradually over the course of each piece within a network of looping, modulating phrases. This being Carsten Nicolai, the use of melody never makes itself too explicit, instead relying on a mesmeric, cumulative effect for its power. There's a subtlety and precision at work throughout Aleph-1, and after spending some time with these pieces you'll find yourself thoroughly absorbed by their awkward, immense beauty.