大阪を拠点に活動するオルタナバンド、Amsterdamnedの1stフルアルバム!!
こんなにもメロディアスなのにアムス節が効きすぎている、進化という言葉の真の意味を体現した素晴らしいアルバム。妖艶な歌と鋭いサウンドが優しく広がっていく、洗練に洗練を重ねた音楽に浸れます。
1曲目「melodia」静かに歌から入り、耳をじっと傾ける心を作り上げられてからの「巡る！血潮！」でドッと来ます。その"ドッ"が、めちゃくちゃパワフルなまんまに優しくて丁寧なのが最高。強引さが全くない自然な音の波、サビでキーボードと一緒にフワフワ宙に舞っていける名曲。
4曲目「DisUtopia」音と音が切なく丁寧に絡まり合うポップス。レゲエ調に入るキーボードとめちゃくちゃに広がっていくドラムのリバーブ、繰り返される言葉が聴いているという状態の後に頭の中に入ってきて一緒に共鳴しながらリフレインし始めます。中盤とラストでそれぞれ突然来るバグのような爆音、これが"Dis"の部分でしょうか。心がざわざわします。気持ちいいだけじゃないでしょ？というメッセージを勝手に感じました。
9曲目「Carnival」アムスといえば！とアムス好き10人に聞くと6人ぐらいが「Carnival！」と言うと勝手に思ってます。僕はそうです。学校の教科書とかにも載せる曲です。だいぶ前の音源にも入ってたのですが、クオリティが凄すぎになっての再録。音ひとつひとつ、そしてバンドとして、表現力があまりに高すぎる上にその高い表現力が丸まんま音源にも反映された、意外となかなかない完璧なサウンドバランス。長いベースソロからの爆裂トリップ音洪水、まだ終わらないで！と思いながら最後まで聴き続けてしまう超名曲。

more foolin'

Röyksopp, are a Norwegian electronic music duo from Tromsø formed in 1998. The duo consists of Svein Berge and Torbjørn Brundtland. Berge and Brundtland were introduced to each other through a mutual friend in Tromsø, Norway. They enjoyed the same films and music, and shared an interest in electronics.

Glass Animals are an English psychedelic pop band formed in Oxford in 2010. Led by singer, songwriter, and producer Dave Bayley, the group also features his childhood friends Joe Seaward, Ed Irwin-Singer and Drew MacFarlane. Bayley wrote and produced all three Glass Animals albums.

3 songs, 6 min 3 sec

The latest member of our family, 18 year old Scottish producer and composer Sam Gellaitry takes you on a journey through uptempo house, deep bass vibes, hip hop and soul in his first official EP release, 'Short Stories' – redefining the way we traditionally listen to "electronic music."

Pepe Deluxé is a Finnish electronic music oriented band, formed in 1996 by DJ Slow JA-Jazz and James Spectrum in Helsinki, Finland. They started to experiment with sounds of hip hop, big beat, breakbeat and downtempo.

1991年的处女作"Blue Lines"的问世，犹如平地一声雷，其梦幻迷离的鼓点、城市化的歌词内涵、精良的制作让Massive Attack毕露出音乐家素质的锋芒，这张专辑更是Bristol Hip-Hop运动的蓝本作品！人们已经把这三位带有一份神秘色彩的音乐人视为传奇人物了！同时"Blue Lines"在当年还成为音响器材的试音唱片。
Trip-Hop起源于９０年代英国Bristol一地，在欧洲不断面临美国Hip-Hop侵入的冲击之时，英 国的DJ们即开始将Hip-Hop发展成自己的风格，他们将Hip-Hop的速度降慢（较为down tempo），强调沉重缓慢的鼓声及Bass，抽掉Hip-Hop中的Rap，以及Sample些老旧唱片，于是 形成了所谓的Bristol Hip-Hop（Trip-Hop之前身，当时尚未有Trip-Hop这个名词）；而９１年推 出首张唱片《Blue Lines》的Massi00ve Attack则带动了这一波Bristol Hip-Hop运动（人们称之"First Coming Of Bristol Sound"，Bristol Hip-Hop时期的风格并不是那么地刻意要营造黑暗诡谲的气 氛），至于真正Trip-Hop兴盛的关键时期则是在９４、９５年Massive Attack推出第二张唱片《Protection》，以及Portishead和Tricky的掘起；从Portishead女主唱Beith Gibbson颓废、慵懒的唱腔加上６０、７０年代老旧唱片的sample（甚至唱片的杂音），到Tricky喃喃自语般愤世嫉俗的低沉声音，将Bristol sound营造出了一种迷幻抽象、黑暗诡谲的新环境；于是便有杂志将他们这种音乐型态称之为"Trip-Hop"（人们称这段时期为"Second Coming Of Bristol Sound"） P.S.事实上Massive Attack，Portishead，Tricky彼此间有着微妙的关系。Massive Attack的三位成员和Tricky原都是"The Wild Bunch"（1982年由Nelle Hooper主导的团体）的成员，所以Massive Attack歌曲中常有Tricky的参与；而Portishead的成员Geoff Borrow则曾在Massive Attack《Blue Lines》中参与制作。

好听得骨头都酥了的《Music to Make Love to Your Old Lady By》整张专集充斥着浓浓的爱和性，你甚至能听到男女做爱的时呻吟.这张专集发行于2001年11月6号，发行了两种种版本（Instrumental版和Explicit Lyrics版），大量的hiphop和triphop节奏和采样，歌词露骨大胆。让这张倍感神秘而又性感。
以Hip-Hop怪才Automator组建的Lovage乐队名义发表，Mike Patton和“乐土”(Elysian Fields)乐队的女主唱挑大梁，Damon Albarn、Kid Koala、Prince Paul随喜——根本没法相信“地下”和“好听”之间还有什么界限。 --转自颜峻《Mike Patton——他自己的世界》

On this release he teams up with Black Thought & ?uestlove, from The Roots. Additional artists include Zap Mama and N'Dea Davenport. 13 tracks including, 'Danger Of Love', 'Duck Chase', 'Vision Of Art', 'With Grace' and the bonus track 'Final Home' (Remix By Mista Sinista). 2001 Red Ink release.

Like all DJ Koze records, Knock Knock exists outside of trend and influence. In fact, it's a step further beyond: absolutely every single thing here, from grooves to voices to handclaps, is otherworldly and unique. Which is not to say it is utterly alien abstraction, mind. There is still disco, there is still soul, there is still techno, there is still hip hop, there is still psychedelia – there are even wafts of easy listening, lost crackly thriftstore record memories and... sort of... indie rock – but though it may sound familiar, it never does what your brain thinks it's going to do. Likewise with the voices. More than ever before on Koze's records, there are fascinating, individualist – and well-known – voices through out Knock Knock but again, each of them is rendered strange, drawn into a different reality Bon Iver's ghostly hymnals on Bonfire are very recognisably Bon Iver, but the way they twist and merge with synthetic sounds until choir and computer are writhing around one another in bliss are something else. The ever-unique Róisín Murphy, on two stunning tracks, becomes a cyborg funk diva. Speech from Arrested Development delivers luscious and lazy R&B-funk on Colors of Autumn, but Koze's warping bass, dubwise echo and alien nature sounds take it to an alternate dimension tropical landscape. Kurt Wagner of Lambchop is a vocoder bohemian, Sophia Kennedy is a sci-fi Weimar cabaret star, José Gonzalez a holographic projection from an old film of South Sea Islands... on it goes, nothing is real, everyone is an inhabitant of Koze-world. And that's what is crucial here. Koze is a world-maker. You don't get to chose how you hear his music – you enter his world or you don't, that's it. And that's why individual influences, whether it's the trippy German techno that's always rippled through is albums or the beat-scene abstract hip hop that he incorporated into his DJ-Kicks mix in 2015, are all but irrelevant. Though he'd never compare himself to anyone else, Koze only makes sense in the way that other world-builders do, from Bowie to Sun Ra, Outkast to Kate Bush. And Knock Knock is far and away his greatest statement of that. It's an album that came together slowly and steadily, his working processes arcane and mysterious in their steady accumulation of sound and inspiration. It's so complete and bursting with detail and consistency from every micro-second that you'd swear it was meticulously planned – but there was no masterplan, do desire to create a definitive artefact: the record itself decided when it was ready. And now it is ready, the most perfectly constructed portal into that other world, you had better be ready too!

Following the creation of his own False Idols imprint and last year’s album of the same name, Tricky returns in the fall of 2014 with a new studio project that shares the name he was given at birth: Adrian Thaws. “Calling it Adrian Thaws is saying you don’t really know me,” says Tricky of his 11th album. “So many times people have tried to put a finger on me and every album I go to a different place.”
Recorded in Tricky’s home studio in London, Adrian Thaws is a musically adventurous project and collaborators on the album include Francesca Belmonte, Nneka, Mykki Blanco, Bella Gotti, Tirzah, Blue Daisy and Oh Land.