专辑封面：
无，仅仅一张白纸。
这张专辑与其说有封面不如说没有，因为他们都奉行简约主意，封面就是一张白纸，里面也没有任何图片可看，甚至连背面也没有歌曲的名称，整张唱片做得很简单，碟面也没有任何修饰····
专辑曲目：
无，唱片根本没有，
这一英国最著名的实验乐队是电子音乐大家庭的一员。他们的音乐非常电子化，并不刺耳，显示出Kraftwerk和早期电子乐的痕迹。除发表了一些实验形式和扭曲音响的作品外，他们还在舞曲爱好者和独立摇滚乐迷中发掘了大批狂热的追随者。初听他们的音乐会觉得随意或杂乱，听多了就会发现那些都是经过精心构思的。
他们也作为神秘的Gescom的一部分发过唱片，同时也曾为Skinny Puppy, Tortoise, Stereolab, DJ Food, 和 Scor等乐队做过混音。

1 It Was Digital, And It Was Beautiful
2 You Don't Have To Tell Me About Hell
3 Renaissance
4 Hours And Days
5 Grey
6 Streets
7 In My Muscles
8 The Age Of Wire And String

植根于德国实验摇滚，具有艺术摇滚以及Lo-Fi的审美观，融合一些相对于传统摇滚乐较为边缘的风格诸如 bossa nova和lounge-pop，甜蜜的60年代流行调子，左倾马克思主义的虔诚拥护者，近一半时间用人们难以理解的法语演唱，拥有两位声音超凡的女歌手，使用简单传统甚至过时的乐器却制造出最未来派的声音，永不停歇的实验姿态。”提起Stereolab, 熟知的人们总是愿意拿这些词句来向别人讲述。然而音乐不是文字，连同上述这些放在同一支乐队身上甚至显得矛盾的描述一起，即使再添加若干或通俗或玄奥的形容词，你还是难以对Stereolab有完整的概念。别无它法，想知道Stereolab的音乐到底是什么样子，只能去亲自聆听。
也许你会质疑，“用文字来描述都这般复杂，真正听起来会不会很晦涩不好消化？”我的答案是：“NO”。很显然，那正是它的魅力所在！
举目回望，来自英国伦敦的Stereolab已经跨越了自己独立音乐生涯的十年，经过多年的发展和坚持不懈的实验探索，Stereolab颠覆了流行音乐的概念并成为90年代以来最具亲合力和商业价值的另类团体，影响了大批号称Post-Rock的后起之秀，和芝加哥实验团体Tortoise以及The Sea and Cake等构成了后摇滚王国里一道最绚丽的风景。
然而，这一切傲人的成绩都因为2002年末一条来自Stereolab官方网站的消息而显得黯然失色。"It is with great regret and deep sadness that we announce the death of Mary Hansen"（怀着极大的遗憾和深切的悲痛，我们宣布并哀悼玛丽·韩森的死）。这条新闻震惊了所有关注他们的乐迷，就连乐队成员自己一时间也难以接受这样一个突如其来的残酷事实——12月9日，骑着脚踏车的Mary在伦敦街头发生交通事故，被一辆卡车夺去了年仅36岁的生命。
Mary Hansen是个可爱的澳大利亚女孩，1966年1月11日出生在Queensland（ 昆士兰州）一个叫 Maryborough的小镇上。80年代后期来到了伦敦，通过艾塞克斯郡一支死硬的激进主义乐队Wolfhounds，Mary结识了同样具有“左翼政治思想”(Left-wing)，当时和Wolfhounds一起发展，相互扶持的McCarthy乐队。而McCarthy算得上是Stereolab的半个前身，后来的Tim Gane（Guitar/moog）和Laetitia Sadier（Vocal）当时都在那个乐队里任职。在McCarthy解散之后，这对情侣于1991年着手组建了Stereolab。
经过和Gane及Sadier的几次接触后，Mary于1992年正式加入乐队。作为Stereolab的第二歌手和吉他手，从单曲Lo Fi开始，她参与录制了包括倍受评论界青睐的Mars Audiac Quintet（1994）， Emperor Tomato Ketchup（1996）以及2001年的回归之作Sound-Dust等日后发行的所有唱片，和Sadier, Gane, 以及鼓手Andy Ramsay一起成为乐队的核心成员。另外，High Llamas'乐队的Sean O'Hagan（Guitar/keyboard）也时常的出现在Stereolab的录音和演出当中，他和The Beach Boy相像的编曲思路，无不使本来就对60年代流行歌情有独衷的Stereolab散发出更多醇熟华丽的复古气质。虽然不是正式成员，但Hagan对Stereolab的贡献举足轻重。今日阵线的其他队友还包括 Richard Harrison（Bass）和Morgane Lhote（Farfisa）。
过去的十年间，Stereolab共出版过八张专辑和数量繁多的EP，而发行于各个厂牌之下限量版本的单曲更是数不胜数。这一切都源于Tim Gane惊人的创造力——他负责乐队所有旋律部分的创作。“当连我们也自己搞不清到底都写过哪些歌的时候”，Mary开玩笑地说，“我们不得不劝Gane稍微节制一下自己的才华”(备注：乐迷们正巴不得Gane的才华越来越横溢呢)。
聆听Stereolab的音乐，似乎是在收听信号传输自‘未来’的AM无线电广播，那种混合在一起的声音当然很酷，可当你试图归纳自己获得的感觉时，却常常只能坐在那里抓耳挠腮理不清头绪，神秘感油然而生，却更加令你着迷，大多时候你愿意保持这种感觉，可偶尔地，在你感到惊讶的同时也会好奇他们究竟是如何制造这些声音的？
“偶然性占很大比例”，谈到作品的‘加工过程’，Mary较为详细地介绍了他们在录音室里的工作细节，“Tim不时地带来一些录音带，里面录着他创作的‘动机’，比如Metronomic Underground这首歌，最初仅有20几秒钟长。我们坐下来，开始工作，其中包括我去领会歌词的意思以及学习如何用法语来发音，声响方面则是顺其自然地让它自行发展，我们仅仅是把声音一曾曾地堆积上去。除非 Tim突然有了绝妙的主意，其他时候他宁愿弄乱一切。人声及电子合成器都是最后才加进去，而在芝加哥的时候，John McEntire（Tortoise乐队的领军人物，Stereolab的制作人）还会在音乐中加入包括鼓机在内的所有其他音效。虽然我们喜欢老旧的录音方法，但对歌曲的编和写我们不会遵照传统的方式”。
一直以来，乐队的歌词都是由Laetita Sadier撰写。由于Sadier是土生土长的法国人，所以很多歌曲都是用法语演唱，对于这种和其他大多数人一样并不了解的语言，Mary能投入地用它来演唱吗？
“是的，毫无疑问”，Mary果断的回答。“用法语来演唱有很大的不同，我的意思是，某一类东西用英语是无法表达的。对于我来说，演唱法语歌曲趣味横生，你可以唱你想唱的东西，这主要取决于你的情绪好坏，有时你也可以什么都不唱。很多法语歌曲非常抽象因为法国是一个很哲学的民族，所有的时间里，他们都在以哲学的方式生活和思考！”
除了生动丰富的编曲及Gane一手流利的刷弦吉他，Stereolab之声中最耐人寻味的部分当属Sadier和Mary二人用柔和细致的嗓音共同营造的虚幻之境了。Sadier那沉着暖味的女中音演唱在音乐中居主导地位自是无可质疑，然而若是少了Mary那轻快回环，永远不离其左右的"la la la or ba ba ba"和声，我相信Stereolab的声音品质肯定是要打折扣的。这就好比爵士乐领域的天才搭档——Charlie Parker和Dizzy Gillespie的萨克斯与小号的合奏，美感总是从两者相互启发又针锋相对的化学作用中才得以流露。Mary相对于Stereolab的重要作用，曾有乐评人作过很中肯的评价："Laetita Sadier's voice will never sound as good as it does with Mary's voice with it"（有玛丽一起时的萨迪亚总是比她单独出现的声音出色）。当人们为Mary的灵魂哀悼的时候，也何尝不为那消失的完美唏嘘不已。
这一个月以来，无数的乐迷在Stereolab的官方网页上向Mary和她的家人表示敬意。经过家人的商量，Mary被埋葬在她的故乡Maryborough。圣诞节的第二天，乐队成员邀请一些亲友和歌迷参加了在底特律召开的鸡尾酒晚会，出席者将漫谈并发出一些声响，互相敬酒同时大声地传达一些爱，Mary将听到这一切并让她知道人们永远都会怀念她。

中国原创前卫舞曲开山之作 引导China Vibe潮流指标作品 年仅20岁的创作奇才孟奇全新作品《山水恋》
灌输Drum n Bass/Beat等多种舞曲元素进入东方哲学的音乐体系 体现了中国音乐文化元素在舞曲形态下的完美诠释
《秋》的大气磅礴 《山水恋》的荡气回肠 《China Vibe》的瞬息万变 《山中》的心定神凝 《Drum n Bass in the Rain》的高深莫测 带你进入前所未有的舞曲音乐感官享受。

2009 sophomore album from the British Experimental duo, produced by Andrew Weatherall. With Tarot Sport, all the indications are that Fuck Buttons are gonna follow in the footsteps of the likes of Animal Collective and have one massive crossover album on their hands. The album is one of unbound possibility and lucid cohesion; a cerebral pilgrimage that refines, crafts, explores and develops the experimental aesthetic of last year's critically acclaimed debut, Street Horrrsing. Tarot Sport takes things to another level through a combination of their own ambitious aims and the application of Weatherall's clear-sighted, rule-defying precision and attention to sonic detail. The seven tracks on the album reflect a new-found complexity of sound that Fuck Buttons immersed themselves in, strived for and achieved with startling results.

国内顶尖乐手窦唯近年来潜心即兴音乐表演 本专辑作为他与不一定、暮良文王、FM3等乐手推出的纯音乐系列之一 成为中国新音乐向世界推进的成功典范

Forest Swords, aka acclaimed Merseyside-based producer Matthew Barnes, returns with his eagerly anticipated new full-length record.
“Compassion" is the follow-up to 2013's critically lauded debut “Engravings” and released via Ninja Tune. The album will be followed by a set of projects across multiple mediums by Forest Swords’ own Dense Truth, a new experimental studio and record label, including a series of music videos.
“Compassion" engages with an uncertain world we’re experiencing, distilling it into a unique sound territory: Barnes' exploration of the mid-point between ecstasy and frustration, artificial and human feels timely and affecting. The result is an assured, compelling body of work, tying together the ancient and future: weaving swathes of buzzing digital textures, field recordings, clattering beats and distorted jazz sax with fizzing orchestral arrangements.
"Like many, with all that's been going on since I started making the record, I've struggled to see any kind of light at the end of the tunnel," says Barnes, "so I realised there's some sort of power in trying to create our own instead. I'm inspired by the ways we're communicating now, for better or worse, and thinking about new channels we can distribute ideas. The idea of looking for flexible future ways of expression and language, that bends to our needs quicker, really excites me”. Barnes launched the record with a unique experiment in new ways to disseminate music, personally sending album tracks through messaging app WhatsApp to anyone who asked.
The album shifts from 'The Highest Flood's skeletal bounce to 'Panic's claustrophobic paranoia; the rapturous hyperballad 'Arms Out' to the windswept and cinematic ‘Knife Edge’, navigating through the orchestral glitch of 'War It' to decaying jazz thump of ‘Raw Language’. The album is equal parts disorienting and immersive, balancing bold sweeping gestures and crumbling textures; tracks seemingly disintegrating and reassembling at points across the album. Blending both digital and specially recorded brass, strings and vocals, Barnes's processing never truly makes it clear what's new or old, sampled or unique, constantly blurring and toying with the line between digital and acoustic.
There will also be a variety of multidisciplinary projects set to run through his Dense Truth umbrella over the coming year: collaborations across dance, performance, film and music. Previous Forest Swords projects include devising and scoring contemporary dance piece ‘Shrine’, composing for the ‘Assassin’s Creed’ video game, collaborating with Massive Attack on their new music, and scoring the first movie made entirely with drones – 'In The Robot Skies’ – which debuted at the BFI London Film Festival.
Central to this enthralling world is “Compassion", an album that's as weighty as it is vulnerable, sculpting the most striking parts of his previous work into something that feels urgent and necessary, and cementing Barnes as one of the UK's most significant electronic artists and composers.
released May 5, 2017

B. Fleischmann最新的雙CD現場錄音專輯，分別收錄2006年四月在柏林新國家美術館的音樂會，以及2003年六月為廣播電台ORF所做的演出，各為50分鐘左右，長篇但一氣呵成的作品。

Ellen Allien is known as a DJ, fashion designer, and label head, but she is most famous for her production work. Dust is her fifth full-length as a producer. This time around she worked with the similarly busy Tobias Freund, who is also a mainstay in the Berlin electronica world. Dust is being handled by Allien's own Bpitch Control label, and Allien describes it as having a “warm immediacy” compared with her previous efforts.

Originally released in 1995, Wah Wah finds Guru Guru in a particularly innovative, spontaneous and very creative phase and always good for a surprise or two. Wah Wah proved to be the album that documented the different strengths of the band and excelled in the typical variety. Apart from straight rock numbers with humorous song lyrics, the main composers Neumeier and Schaeffer were inclined to psychedelics and again to world music. The definitive version of Wah Wah is remastered and housed digipak format with new liner notes and rare photos and comes with the bonus live track, Space Baby.