2001年成军于英国曼菲斯德后摇乐队Motionless的第一张专辑。
Post rock

"Were stoked for Moonlit Sailors new full-length to be our first release of 2014, which marks our 19 year anniversary as an independent record label. Already having received well-deserved critical acclaim for pioneering an entirely new dimension to the post-rock genre, these four Swedes have done it yet again with a truly amazing album. Firmly entrenched in their quasi-pop / post-rock roots, the Sailors continue to expand the blueprint for the future of post-rock. From the sounds youve never heard before, to the arpeggios that swallow you whole, to the powerful crescendos that devastate your senses, their music is a prime example of just how effective instrumental music can be. Devoid of all lyrics, the music alone speaks for itself...and it speaks volumes,” says label founder John Szuch.
"This album is the next step for Moonlit Sailor as a band. Although we are still a young band, we felt like we needed to navigate into new, and for us unknown, waters, without straying too far from our roots. We have always been trying to write music that gives the listener hope and light. Because of that, hope and light is what we brought into the new waters. We knew that we wanted to do something new and fresh this time, but didnt know exactly how to do it. That was kind of scary,” says bass guitarist Markus Rundlof. Rundlof continues "Some of the songs are metaphors for how we felt back then, with elements of vulnerability, uncertainty and mystery...but at the same time they give you a feeling of hope and light. When listening to the album, we want people to have a vision of the sailor featured on the cover art, navigating into new waters and eventually finding a new home. Other songs are metaphors for pushing your limits and trying new things. What we discovered in the songwriting process is that when you decide to release control and finally jump, you see the world from a new perspective and its liberating." "That approach gave us a lot of creativity. Weve never experienced such creative atmosphere in the band before and it never felt better. We knew we were onto something special. Suddenly we had hundreds of different ideas to pick from. It was exciting to select which ideas and songs would work together to best convey our belief that we come from exploding stars,” adds pianist Joakim Wiik.
Moonlit Sailor is Adam Tornblad (drums, piano, guitars, synthesizers, programming), Markus Rundlof (bass guitar, piano, programming), Oscar Gulbrandsen (guitar, piano, synthesizers, programming) and Joakim Wiik (piano, programming). "We Come From Exploding Stars" was recorded at Nacksving Studio (Dorena, Immanu El, Neneh Cherry, The Spotnicks) in Gothenburg, Sweden from September to December 2013. The album was recorded, produced and mixed by Anders Lagerfors (also of the band Obliq) and mastered by Martin at Cutting Room (In Flames, Red One, Dungen, Mando Diao) in Stockholm. A video for the song "Skydiver" is currently in the works with plans for release as the band begins touring in support of the album in May. The bands music has appeared in scores of television shows, commercials and films, most recently in the trailer for the romantic comedy "Love Is In The Air" by director Alexandre Castagnetti (Focus World). Previous albums include "Colors In Stereo" (2011), "So Close To Life" (2009) and "A Footprint Of Feelings" (2008) which have all been released on Deep Elm Records. Adam Tornblad and Oscar Gulbrandsen are also members of cinematic post-rock duo U137. The band resides in Boras, Sweden where they often experience weeks without sunlight.
"One of the post-rock bands that stands out from the crowd. Damn near flawless..." - StereoKiller
"Saturated with hope, the music stands on its own…theres no need for words. Simply epic." - Alternativ News
"Theyve mastered the overlap of indie and post-rock...and beautifully so. Moonlit Sailor has no peers." - RockFreaks
For Fans of: U137, Lights & Motion, Dorena, Explosions In The Sky, M83

This is Explosion In The Sky's 2nd album, and one of the most critically acclaimed records of 2004 and a massive word-of-mouth success story, going on to sell 20,000 copies in the UK alone. Features 5 tracks. Bella Union. 2005.

world's end girlfriend が新作「Girls/Boys Song」を
12インチ・レコード＋ダウンロードコード形式のみで12月25日発売決定。
Virgin Babylon Records公式webストアからのみの限定販売となり
現在、先行予約受付中。
「Girls/Boys Song」は流麗なストリングス、緻密な打ち込み、バーストするギター
といった、まさにwegといえる楽曲「Boys」と「Girls」を中心に全４曲を収録。
今作のテーマは「青春」。
それは暴走できる夢と現実、希望と恐怖、喜びと孤独、そして多くの暴力や間違いをも含む
現実に足をつけながら現れるファンタジーとしての「青春」である。
昨年末の「ゆでちゃん」に続いてwegが3.11以降の音楽として作り上げた第二作目である。
ジャケットは高校生を撮り続ける写真家 小野啓の写真集「NEW TEXT」(赤々舎)より。

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Pg.lost是一支来自瑞典Norrköping的4人后摇乐团，成立于2004年。乐队之前曾使用 "Before You Give In" 这个名字，后来因为阵容变化而改用现在的名称。现在的乐队成员包括Gustav Almberg (guitar/keys), Mattias Bhatt (guitar), Kristian Karlsson (bass/vocals), and Martin Hjertstedt (drums).
乐队于05年发行首张同名EP。去年发行第二张EP《Yes I Am》，这张包含了5个作品的小专辑已为Pg Lost的音乐定下了基调~~~没有人声的横加干涉（其实仔细听还是有人声的），没有其他元素的喧宾夺主，只有后摇滚哀愁的描述与盎然的爆发。在后摇井喷的2007年，Pg.lost仅凭借这一张EP就成为了TSB年度50佳后摇唱片之一。
时隔一年之后，Pg.lost终于带来了乐队首张全长专辑《It’s Not Me It’s You》，与EP一样，这张专辑最突出的音乐方向还是传统的后摇滚美学，跌宕起伏，仅仅通过器乐的堆积而达到古典音乐式的宏大与壮阔。
有人说他们的音乐很暴力，我不觉得，我认为Pg.Lost 把后摇的细腻柔美和力量大器结合的非常完美，Pg.Lost 很善于优雅中爆发，但在那一串串听似山洪暴发般的吉他噪音中，Pg.lost的旋律却永远不失柔美，衔接巧妙。对于之前听多了柔美旋律的后摇入门学生而言，当我听到第一首 Pascal's law 时, 很难描述是怎样的一种震撼！之前没听是因为没有好的版本~~~呵呵
专辑中每首曲子都值得很多次的细细品味~~~

经过两年时间的精心准备，惘闻将于2012年6月推出他们成军13年以来的第7张正式唱片《0.7》。此次也是惘闻首次同倦鸟唱片合作，新唱片将以黑胶和CD两种形式发售。唱片录制于今年2月，也是惘闻第一次采用同期录音的方式，以期最大限度的还原现场的质感。 虽然前期录音只用了不到一周的时间，但后期弦乐组的录制以及唱片的缩混让录音师以及乐队成员在之后的一个月不停的奔波往返于大连-北京-宁波。最终，当母带从加拿大的Grey Market Mastering发回来的时候已经是4月了。
新专辑是从2月这次录音的10首作品中最终选出的7首，这依然是一张纯器乐的惘闻风格唱片，但较之以往的作品，惘闻新作愈发成熟自然，情绪表现的更加自如，各种不同的音乐元素均为其所用，它像催眠术般将听者与不同的记忆体验紧紧缠绕在了一起，就这样惘闻又一次引领大家进入自我内心深处，做一次伤心与喜悦皆有的旅行。

When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes.
The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here.
The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too.
Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.
1999 年成队之初，MONO 带着一个简单的使命便踏上了旅程：抱持轻柔亦抱持轻狂，品味极乐亦品味极妄，无论前路何其艰长。他们的首张专辑《Under the Pipal Tree》为这则使命赋予了更多扭曲而迷幻的激怒面容。之后的几张续作中，MONO 韬光养晦地打磨着匠艺。为了更辉煌的梦想，他们最终抛弃了初始之路。之后的 MONO 游走于越来越宏大的交响乐团间，足迹远至纽约、伦敦、东京和澳洲，曾在一些最负盛名的音乐现场演出过。MONO 以交响乐的名义继承着摇滚乐的精髓，创造着极端感伤却又富有戏剧性的旋律。2012 年，当他们发行了 《For My Parents》后，MONO 终于结束了先前的风格。是时候整顿情绪，重树目标了。弦乐是该减少还是该放弃？氛围是更热烈还是更安静？风格是更开朗还是更阴郁？这一切都有可能。
《The Last Dawn》和《Rays of Darkness》是 MONO 的两张新专辑。这两张同时录制的专辑有着截然不同的创作理念，是一个故事的互补两面。MONO 作品中贯有的叙事特点在这两专辑中再次得到了体现：希望与绝望的转换、爱与恨的交织以及极乐与极悲的大起大落，这些听者熟稔的主题在 MONO 这两张作品中拥有前所未有的共鸣。
《The Last Dawn》是这两张专辑中的首发专辑，相较之下主题和旋律都更为“轻柔”。毫无疑问，这张受极简电影和复古自赏音乐风格影响的专辑包含了 MONO 几首最强有力的单曲。这时期的 MONO 是最纯粹的：往昔专辑中阵容庞大的管弦乐队不再喧宾夺主；成员间默契十足，仿佛在用一种神秘的无声语言进行精神交流。与极简曲风相得益彰的是专辑中一众高度表意的曲目。要知道，自 2003 年的 《One Step More And You Die》后，还没有哪张 MONO 的全长专辑能塞得进一张黑胶中。整张专辑也在这种从简的风格中获益匪浅。一直以来 MONO 都是讲故事的好手，毋需言语便能把精彩故事娓娓道来。这次他们终于证明了自己放下架子后，亦能将听众引入新的洞天。
《Rays of Darkness》是 MONO 十五年来首张放弃任何类似管弦乐配曲的专辑。单单这件事就可称神奇。要知道 MONO 那恢弘又充满戏剧性的编曲可早已享誉在外，出现在奥斯卡影片配乐中都不足为奇。然而 MONO 却反其道而行之。作为 MONO 最黑暗的一张专辑，《Rays of Darkness》听来更像在拥挤的小礼堂中起飞的小型飞机。专辑中充斥着焦灼的 riff 和末世般的旋律，以及一段与后摇先驱 Testsu Fukagawa （Envy 成员）的出人意料的联袂。整张专辑在郁积而扭曲的吉他变声和不详的嗡嗡声中收场，仿佛在对过去那个于无边黑暗中放出万丈光芒的 MONO 唱着挽歌。

《失落的梦想》其实是沼泽乐队2007年5月26日在香港lab yellow的一场演出的现场录音，但这张唱片收录的歌曲大部分是新作，加上沼泽向来非常重视现场演出，旧作也多加以重新演绎，所以这张唱片完全可以视作沼泽的全新作品。
继香港89268唱片9月在海外发行后，内地版由中国科学文化音像出版社及广州拉拉索文化发展有限公司出版发行。

【試聽：
】
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作曲 編曲：沼澤
混縮：海遜
出品：聲銳文化
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海亮：古琴 鍵盤
細輝：吉他
阿來：貝司 口風琴
海遜：鼓 打擊樂
——————————————————————————
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滄浪之水清兮 可以濯吾纓 滄浪之水濁兮 可以濯吾足 ——屈原《漁父》
.
滄浪湛藍 浩渺星辰
悠悠古風 泠泠七弦
失落了時空的疆域
平靜守候 下一個波瀾
.
沼澤樂隊首張古琴器樂搖滾專輯《滄浪星》，歷經5年籌備、創作和錄製，於2010年12月18日發行。

时过夏末乐队首张唱片，拾柒贰肆出品。
更多信息即将更新。
欢迎关注乐队小站

这是一张梦幻感极强的专辑，从第一首《流浪》开始，破碎的音符仿佛浑然天成，自然流淌的感情将人带入一个童话般的梦境。
World's end girlfriend是我最喜欢的日本音乐人，清晰明了的post-rock，不张扬，但却明白的凸显出不同寻常的个性。如同童谣诗人一般充满幻想，但却又带有淡淡的忧伤。
如同他们美丽的名字－－世界末日女朋友
Katsuhiko Maeda(aka World's End Girlfriend)从十岁开始，沉醉於父亲的古典音乐收藏，12岁开始试著用吉他，钢琴，录音机开始作曲，到发行专辑之前，已经累积六百首以上的曲子。首张专辑「Ending Story」(2000)静謐、耽美而梦幻，听起来很有冰岛乐队mum的感觉，而WEG的吉他与弦乐，情感更为浓烈。第二张专辑「Farewell Kingdom」(2001)仍贴近电子音乐， hip hop节奏与拼贴、可爱Nintendo电玩旋律，最大的特色是弦乐与钢琴。近来，受到加拿大后摇滚乐队Godspeed You Black Emperor!影响的成分加深，编制更为壮丽。
World's End Girlfriend是目前备受曯目的日本新生代音乐家。2000年 他在半野喜弘（贾樟柯《站台》配乐者）厂牌发行首张专辑，后在Noble陆续出版Farewell Kingdom 与 Dream's End Come True，成功融合各类型音乐风格并传递出浓烈的悲剧性格与浪漫色彩，从而奠定他在techno、post-rock、avant pop 与electronica乐迷心目中的独特地位 。2002年WEG首度受邀至巴塞隆纳参加全球知名的音乐与多媒体艺术节Sonar。 去年夏天在台北、香港与澳门的三地巡回则让华人听众初次感受他峰回路转、充满电影感的现场演出。
原音乐器演奏和电子音乐旋律并用的folktronica，在欧美电子音乐圈方兴未艾之际，来自日本的World's End Girlfriend更是难以忽视的名字，其在电子音乐使用弦乐与吉他的手法，实验前卫而悦耳、充满感情与幻想，小提琴、大提琴、萨克斯风等乐器时而窜出，突显著优美的钢琴与吉他，惊喜、感动，久久难以散去。

月饼的首张出来了，莫斯科的这些家伙们对中国的喜爱看来是不可否认的事实。现场背景播放中国图片，以及MV中选用一些中国的画面。都是Mooncake想要表达的音乐一部分，一张EP后的受关注的首张专辑《Lagrange Points》呈现出来了，一张1小时的乐器专辑。之前的4人组合，目前又扩张到了5人。新加入的Nikolay Bulanov成员，为Mooncake的音乐加入了大提琴的悠扬旋律。专辑的封面对应着专辑曲目，坐标式的“L1”到“L5”，按照方位的不同，被穿插在专辑中。让人觉得十分的有意思
Text：soulpower
Post Date：2008-05-1
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Genre: Instrumental | Post- Rock | Post-Metal
Country: France

作为Temporary Residence Ltd的一项正在进行的一个系列的开场专辑，这张碟是一张充满无情的美丽和深度的纪念碑式的杰作，Pelican用带着温暖的轻音调的Ran Amber开始了这张专辑，接着的是由James Plotkin混音的Angel Tears，b-side提供了MONO的15分钟的一首音乐，像在一场重金属管弦乐壮丽盛会中滑行，专辑只限量发行四千份，大部分会在巡回演出中售出。(转自eMule)

01 繋がる遥か彼方
02 _1_21
03 New Sentimentality
04 Goodbye
05 Velvet Blanc (bonus track)