试听：
「Shii」是现居武汉的音乐人诗怡开启的个人电子项目，于2019年签约美丽唱片，在两首先行单曲《Blurred》和《Bubble》发布之后，以新鲜面孔亮相独立乐坛的Shii 已用她极具辨识度的创作和天马行空的想象力，抓住了许多漂浮着的伤感之心。
Shii 的首张专辑《 浮动能指》（Floating Signifiers）今日在美丽唱片旗下正式发行上线。
而今，越来越多的乐队正在试水电子元素，或干脆转型为电子项目，被电子乐的无限可能所吸引，几年前，Shii也以宅录的方式开启了自己的电子乐创作。《浮动能指》中收录的歌曲就是基于她在大学期间的一系列尝试，而经过几年的探索与打磨之后，它们如今已经展露出大不相同的面貌。
与今天的时代气质相合拍，冰冷的电子线条和电气氛围包裹了整张专辑。无论是《Vertigo》、《Memory Pops》中 Aphex Twin 式变幻莫测、时而又细腻动人的碎片化旋律，还是《Blurred》、《New Born》流畅的电子律动，都展露出 Shii 对音乐意境的想象力和掌控力，而此番由 P.K.14 乐队吉他手、美丽唱片的老板许波担纲作，台湾 112F Studio 的 ZEN 负责录音、混音和母带制作。
“能指”源于语言学和符号学，与“所指”构成一组相对概念，是说能够引发人们特定联想的表意符号，比如文字。
如今“能指”与“所指”之间的稳定联系已经岌岌可危，信息时代的飞速流转，空洞符号裂变式的增殖，已经让作为交流介质的语言变得可疑，Shii 援引这个概念来暗示我们时常要面对的困境：一切曾经坚固不变的东西都将可能烟消云散。
而回到音乐本身，Shii也将这个概念反射到了作品创作中：
“电子只是一种载体，可以很轻音乐，可以很民谣，也可以很摇滚，表达的东西也可以很多元，希望有一天，大家不再把电脑和硬件设备当做一个机器，而是一件乐器。” 对她来说，电子乐是途径，如何表达、表达什么，才是更有意义的讨论。在《浮动能指》里，她就将这件乐器指向了创造出它的信息时代。
跳脱于大众对电子乐和未来感“冰冷”的固有认知，Shii的创作中呈现出少有的来自女性身份的温度和敏锐触角：这张专辑既是当下碎片式生活的情绪集合，她的嗓音又成为传递这些信息的介质，以其温暖、抒情的特质而成为一种安慰。
Shii 总是从生活、梦境、电影以及突如其来的幻想中汲取灵感，《浮动能指》就是她对过往自我的回顾和对潜在内心的唤醒。在冥想中，在追问下，Shii 把电子乐做得有趣又富于感情，也让《浮动能指》成了电子与悦耳旋律的一次温情交汇。
作为由美丽唱片推出的新生代女音乐人，Shii 将与《浮动能指》一起，带着多元化的审美和明晰的个体意识走向国内独立音乐场景的前沿。
Shii 「浮动能指 Floating Signifiers」
作词/作曲: Shii
制作人: 许波
编曲：Shii, 廖逸鸣（Track 2, 4）
演唱/和声: Shii
合成器: Shii
电吉他: David Carey（Track 2, 6）, 胡希可（Track 3）, 杨雨航（Track 4）
录音: 钱炜安@Tweak Tone Labs（北京）
混音: 钱炜安@112F Studio（台北）, Tweak Tone Labs（北京）
母带: 钱炜安@112F Studio（台北）

Oli XL — Rogue Intruder, Soul Enhancer
Bloom 01
Release Date: July 22nd, 2019
Format: CD / Digital
Drawing by Roberto Ronzani
Bloom is a new label concept by Oli XL — Following the steps of his previous teenage label project W - I (but with a much wider scope), it will serve as the home for his debut album “Rogue Intruder, Soul Enhancer”.

Blanck Mass is the solo project of Benjamin John Power. The Fuck Buttons musician has been making music under the moniker since 2010. His self-titled debut was released on Mogwai’s Rock Action in 2011. Described by Fact Magazine as “simultaneously soothing and sweepingly grandiose, esoteric and surprisingly accessible”, the album was an elegant, introspective departure from the stadium electronica he had become known for. In 2012, ‘Sundowner’ – the second track from the album – soundtracked the London Olympics Opening Ceremony. The song was chosen by Underworld’s Rick Smith and performed by London’s Symphony Orchestra to 900 million people worldwide.

Modeselektor & Apparat reunite for the sublime and succinctly titled 'II'. With peerless production sheen and the lushest intentions they bridge the gap between classy Teutonic trance, garage-grooved UK soul music and ambient indie-pop on eleven exquisite compositions. Sascha Ring aka Apparat's voice is a key factor, coming off like Thom Yorke's sweeter, blue-eyed soul brother for the most part, while the production is an insoluble combination of their tastes exhibited via the Monkeytown label, and that classic feel for pill-belly melody and intricate, involving arrangement equally adept at enhancing your headphone commute as it is to soundtracking stadiums and heaving clubs. The ghost of Burial looms large throughout, haunting its clipped 2-step rhythms and forlorn melodic figures from the lonely interlude to the depressed voices and snappy punctuation of 'Ilona', keeping each song teetering on the balance of soul wallow and euphoric salvation. The previous single 'Bad Kingdom' is the most obvious highlight, but our favourites moments lie in the brooding ten minute drone techno ascendance of 'Milk', and the wet-eyed trance tingle and woodblock grooves of 'Therapy'. We're sure you'll have your own percy, though, it's just one of those that albums that you can't deny on many levels.

RY30 Trax were made in 1995 while µ-Ziq aka Mike Paradinas was recording Jake Slazenger material for Warp. They were always intended to belong together as an album and now we’re proud to make them available to you twenty years later.

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.

Toronto based producer Victor Tso returns with second EP <ZUO / 左> to Briefnote as WISEFAKE. Still Depressed and Odds. One Bonus Track and Full Cover Arts are included in purchase package.
<ZUO>, the official surname of WISEFAKE, is based on the Clan-consciousness of Tso's real life. From one of the oldest family tree in China, he's the oldest of his generation of the family tree, make him have to take in charge of both his own career and learning to manage the family. Conflict, compromise and "All-to-none" Taoism from traditional asian clan-consciousness are the foundation of this work. The word (pic) on the front artwork is part of his official name seal.
Musically, <ZUO> is less fusion than his previous work <SAKURA BENTO>. Sound in <ZUO> is basically the leftfield/experimental Techno fused with bass music, and has more ambient parts, especially the last two song, <義経 | Yoshitsune> and <蓮の影 | hasu no kage>. <義経 | Yoshitsune> is a reflection of deconstructionism, in the trance of reducing shells of formal bass music, similarly but differently, <蓮の影 | hasu no kage> is in the way of pure funeral music (not metal ones). Moreover, unlike <SAKURA BENTO>, <ZUO> marks the further evolution of WISEFAKE's landmark "playing with sound and space". Using earphone or stereo equipment for this, producer's advice.
No samples exist in this EP except drum machine, if it can be called "sample". Everything you hear is played by hands, with real instruments.
WISEFAKE is solo project of Victor Tso, LAFF awarded soundtrack producer and member of Chinese electronic pioneer Wanderlust (wanderlustsynthpopduo.bandcamp.com) formed in 2009. In 2016, second album of Wanderlust <NEO-TASTE> was released in China, which became a milestone of Chinese electronic music. Genres such as EDM, IDM, Synthpop, Dub, Traditional Asian Music, Classical Music, Jazz and Synth Punk were added in this album, alongside with more than 50 kinds of instruments. Album reached Top200 on Deezer Music.
In late 2016, Tso launched WISEFAKE as his main solo project. WISEFAKE was described as the project which based on dub, IDM and experimental techno. After self-released four dub techno EPs in 2016, WISEFAKE's first release <SAKURA BENTO> is pressed on Briefnote Records, the fresh electronic music label in Toronto in 2017.
Artworks: Qingyu He
© ℗ Briefnote Records 2017
Briefnote Records
briefnote.net
briefnote.bandcamp.com
released October 27, 2017
WISEFAKE is the solo project of Silentcat (OST producer/member of Wanderlust)
ZUO is the second EP of WISEFAKE on Briefnote Records.
试听 /购买：
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WISEFAKE是中国多媒体喜剧二人组Wanderlust（摩登天空/大福唱片）乐队成员、原声工作者Silentcat的个人计划
ZUO（左）是WISEFAKE在加拿大独立厂牌Briefnote出版的第二张EP
No samples exist in this EP except drum machine, if it can be called "sample". Everything you hear is played by hands, with real instruments.
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除鼓机外无采样
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Artworks: Qingyu He
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More details about WISEFAKE:
Toronto / Electronic Producer / OST Composer
Half of Wanderlust (
)
Presents


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更多链接：


Briefnote Records BN-04

"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.

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