前身为Giant，后更名为Braveyoung

The second album, first released in 2009. Also available on both CD and vinyl at Blueneck.com.
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credits
released November 1, 2009
Written and performed by Blueneck. Additional cello parts by Sandy Bartai. Engineered and produced by Corin Dingley (Don't Touch Recordings). Music and recordings owned by Blueneck. Copyright Blueneck 2009.

Limited 2cd // Bonus Disc Incl. 4 Unr.Tracks + Video Cd1: Album Cd2: 4 Previously Unreleased B-Sides (Neatly Folded / Children They Feed / Killing All Movement / Day That You Go) + Enhanced Bullets Video.

对不起…… The Album Leaf真不是冰岛的……

Standing in Silence is Rhian's first album in almost 4 years and will be released through LOOP Recordings on the 23rd February 2009. The Album features some fantastic musicians and collaborations with Jeff Boyle (Jakob), Andy Hummel and Jeremiah Ross (Module), as well as some stunning photography from Andrei Jewell.
It's essentially a collection of cinematic lullaby soundscape textures interwoven into the subtle melodious sonic of experimental electronica, musicbox's, glockenspiels, lush electric guitar washes, plucked and bowed pianos, wine glasses, string sections and murmuring crowds.

Mathieu Artu's solo project, RQTN is the reflection of the artistic aspirations of its creator. He released his first writings as a composer on early 2008, on a CD EP "We Were...We Are", on Swarm Of Nails Recordings. As reviewers acclaimed this first effort, RQTN started to make itself known, dropping its name out on the musical landscape. One year later, no more copies were left.
Time passes by, and new songs are written to be played with french hardcore band EINNA's singer. Though the project fails, Mathieu Artu reckons it should be shared. So, a second EP, self-titled, is released on the internet. Fully downloadable for free, it reaches more and more people every single day. In the meanwhile, it's time for self-questionning, as the Myspace page says, "RQTN is dead".Yet it is not the end of the story.
Several weeks later, RQTN comes out of nowhere, writing a brand new page of his story, leaving the ethereal post-rock spheres for a crossover between several sounds. Through classical, alternative and modern minimalism, Mathieu Artu borrows from Olafur Arnalds, Max Richter, Philip Glass, Clint Mansell or The Album Leaf. 9 tracks are written, the first long-play album from RQTN is born. Its name : "Monolithes En Mouvement"... (Monoliths in motion)

2011 album from the Canadian Electronic musician and sound artist. Recorded in a church in Reykjavik, Iceland and using a pipe organ as the primary sound source, this piece is essentially a live recording. In reality, it exists in a nether world between captured live performance and meticulous studio work, melding the two approaches to sonic artifice as a unity. It is in parts a document of air circulating within a wooden room, and also a pagan work of physical resonance within a space once reserved for the hallowed breath of the divine.

融合樂器、電子、實驗性、大自然、藝術三者為一，以從日常空間作為音樂創作來源的No.9(Takayuki Joe)，再次領軍樂團No.9 Orchestra，在上一張大好評的專輯'' Good Morning ''確立了他平靜而有力的電子旋律聲響，相隔一年後，No.9再次發表最新作品'' Usual Revolution And Nine ''，透過古典吉他與現代電子的融合，再度獻上一首首自然流暢的樂章。 對no.9而言，萬事美好，日常生活的細節也可以帶來新鮮靈感，轉化成一首首充滿戲劇性的音樂詩篇。

開場曲'' Introduction ''就由吉他旋律與輕柔的Breakbeat節拍，引導進入No.9全新專輯的音樂當中，上一張專輯中頗受好評的以改編古典名曲Canon的樂曲'' I Hope ''，這次也以新的混音版本呈現；'' Alive ''在背後女Vocal不斷唱哼[Alive]之中，透過宛如水珠般輕盈節拍，是本次作品的主打曲目；除了電子作品外，也有'' Again And Again ''那透過小提琴與鋼琴演奏過純淨無暇的動人詩篇，更不能錯過No.9替過去介紹過的音樂家Akira Kosemura與Haruka Nakamura合力發表過的曲子'' Afterglow ''，所製作的混音版本，把原先那簡單的吉他風格，透過電子節拍顯得更加的活潑；'' Clover Classic ''是No.9首次以古典音樂的形式，譜出優美感性的動人氛圍；而最後一首'' With Millions Of Love-Fine- ''則是重新製作過去第三張專輯'' Micro Films ''當中的同名歌曲重新編曲製作，從中反映著no.9一路走來豐富的音樂歷程，在這第五張專輯'' Usual Revolution And Nine ''重新登場，故在歌名後方加上Fine。

這一次的作品比起上張'' Good Morning ''那處處感受到自然之美的聽覺比較起來，少了一點花草樹木的味道，取而代之的，是No.9所全新創造出的音樂小宇宙，充滿各式各樣的想像。全14曲73分鐘。Cover design : Shinji Oota (RaNa extractive, inc. )
強力推薦
前作『Good morning』の大ヒットが記憶に新しいno.9の最新アルバムが完成！さらに進化したno.9の世界。穏やかに、力強く、そして美しく。クラシックギターとピアノが織りなすメロディーに、感情的な電子音が絡み合う。『日常と革命とナンバーナイン』そう、普通の事が素晴らしく、当たり前の事が新鮮になるように、ドラマチックな毎日を創りだす。ライブですでに大好評のTrack2. I hopeは名曲Canonのno.9 remix、Track11 今話題のアーティストHaruka Nakamura & Akira Kosemuraのスプリットアルバムよりno.9 remix。ジャンルも由来する音楽も幅広く、それでいて統一されたひとつのシナリオのようにドラマは起こっていく。

Hailing from Iceland FaMR comprises of four 20-year-olds from Reykjavík, Iceland – Kjartan Holm (guitar), Guefinnur Sveinsson (guitar and piano), Elvar Jón Guemundsson (bass) and Andri Freyr Torgeirsson (percussion). Their music is best described as energetic, melodious post-rock, though being the natural creative visionaries they are, the band expand and even subvert their style with almost every song. Starting life as a hard rock duo in a tiny garage in Reykjavík, Iceland, For a Minor Reflection (FaMR) morphed into an indie rock trio (for a week or so) and a blues quartet (for a little longer) before finally arriving at their current incarnation: instrumental post-rockers du jour. Back in 2007, the quartet struck up a fan base with their self-produced debut album Reistu tig vie, sólin er komin á loft… (Rise, the sun’s up…), a mesmerizing, hour-long tapestry featuring six songs and recorded over a weekend in their friend’s studio. This record, as well as their energetic live shows, earned them a slew of accolades, including favourable comparisons to Explosions in the Sky, Caspain and Godspeed You! Black Emperor. Their fellow Icelanders Sigur Rós even described them as “a band with the potential to out Mogwai”.
Following a scintillating live performance at 2007’s Iceland Airwaves, FaMR were invited to undertake a two-week 2008 tour in the USA and Canada. Later in the same year the band were invited to do 15 dates with Sigur Rós on a European tour and used the opportunity to release their album on iTunes, as well as selling it on the tour. The band sold out on the 2000 albums they manufactured bringing the total sales figures of this modest demo recorded in a home studio to 5000 copies. Needless to say the tour with Sigur Rós attracted the attention of a lot of promoters which landed them a showcase slot at Eurosonic at the start of 2009 and a months headline tour in Europe early summer last year Spending the rest of the summer writing a new album FaMR chose the Sigur Ros studio in Iceland to record 10 new songs with LA producer Scott Hackwith. The album is due to be released in the spring.

冰岛新的年轻天才，很有涵养的Olafur Arnalds 能把古典元素融合在氛围和微电子节拍里，有Sigur Ros的味道，也有Mum的感觉。
Olafur Arnalds原来在家乡Mosfellsbaer离雷克雅维克偏壤的一个小镇上，他同时身兼多支Hardcore乐队的鼓手职务，先是替友人的乐团My Summer as a Salvation Soldier担任多项乐器伴奏，还获邀为美国Indie-Rock乐团Cursive担任德国巡回演出的伴奏乐手。Olafur Arnalds的个人音乐作品以钢琴和弦乐为主， 与其说是post-rock， 不如干脆说是modern classical。

The Nashville duo Hammock — celebrated by Pitchfork, NPR, the BBC, The Atlantic, and Ricky Gervais — returns on August 25 with Mysterium, the band’s eighth album since its founding in 2003. Composed as a memorial to Clark Kern, a son-like figure to Hammock co-founder Marc Byrd who died in 2016 from the tumor strain NF2, Mysterium merges modern classical, ambient, and choral music, and it’s of a piece with recent records by Max Richter and Jóhann Jóhannsson. The gorgeous, hour-long collection features contributions from the Berlin mix engineer Francesco Donadello (Winged Victory for the Sullen, Ólafur Arnalds), Peter Katis (The National, Jónsi, Interpol), and the Hamburg orchestrator Roman Vinuesa (“Iris,” “Umrika”), who transcribed scores for the Budapest Art Choir.
credits
releases August 25, 2017
In loving memory of Clark Kern (June 29, 1995 - April 3, 2016) :

this, this long-playing record, a thing we made in the midst of communal mess, raising dogs and children. eyes up and filled with dreadful joy – we aimed for wrong notes that explode, a quiet muttering amplified heavenward. we recorded it all in a burning motorboat.
(context as follows:)
1. UNDOING A LUCIFERIAN TOWERS – look at that fucking skyline! big lazy money writ in dull marble obelisks! imagine all those buildings much later on, hollowed out and stripped bare of wires and glass, listen- the wind is whistling through all 3,000 of its burning window-holes!
2. BOSSES HANG – labor, alienated from the wealth it creates, so that holy cow, most of us live precariously! kicking at it, but barely hanging on! also – the proud illuminations of our shortened lives! also – more of us than them! also – what we need now is shovels, wells, and barricades!
3. FAM / FAMINE – how they kill us = absentee landlord, burning high-rise. the loud panics of child-policemen and their exploding trigger-hands. with the dull edge of an arbitrary meritocracy. neglect, cancer maps, drone strike, famine. the forest is burning and... more
releases September 22, 2017
PERSONNEL
Aidan Girt: Drums
David Bryant: Electric guitar, MG-One
Efrim Manuel Menuck: Electric guitar, organ, OP-1
Karl Lemieux: 16mm film projections
Mauro Pezzente: Electric bass
Michael Moya: Electric guitar
Sophie Trudeau: Violins, organ
Thierry Amar: Contrebasse, electric bass
Timothy Herzog: Drums
GUESTS ON TRACK ONE
Bonnie Kane (saxophone, flute, electronics)
Craig Pederson (trumpet)
Recorded by Greg Norman at Hotel 2 Tango and The Pines.
Mixed by Greg Norman and GYBE at Hotel 2 Tango.
Masted by Harris Newman at Greymarket.

Every Country's Sun takes two decades of Mogwai's signature, contrasting sounds – towering intensity, pastoral introspection, synth-rock minimalism, DNA-detonating volume – and distills it, beautifully, into 56 concise minutes of gracious elegance, hymnal trance-rock, and transcendental euphoria. Produced by psych-rock luminary Dave Fridmann, it's a structural soundscape built from stark foundations up; from a gentle, twinkling, synth-rock spectre to a solid, blown-out, skyward-thrusting obelisk. There's percussive, dream-state electronics (“Coolverine”), church organs as chariots of existential fire (“Brain Sweeties”), tremulous, foreboding bleeping – possibly from a dying android (“aka 47”). Their most transportive album yet, it also hosts their most fully realized art-pop sing-along of their storied history, “Party In The Dark,” a head-spinning disco-dream double-helix echoing New Order and The Flaming Lips, featuring Braithwaite's seldom-heard melodic vocals declaring he's “directionless and innocent, searching for another piece of mind”. This is music as a keep-out chrysalis, protective audio armor through exalting organs and portentous, dissonant guitar fuzz warping at the edges, bending the world inside-out into a reality in which you'd much rather live. The last three songs ascend into explosive exorcism, closing with the colossal “Every Country's Sun,” its searching intensity whooshing towards infinity in a dazzling cosmic crescendo.