We're excited to finally announce that we'll be releasing a SPLIT record of Japanese instrumental project Of decay and sublime and Russian post-rock/doom band Sequoian Aequison on CD on May 12. The record features 2 tracks from each band, and Pre-orders will start at our webstore next month. You can also get a remix version of Of decay and sublime's "Parhelion" for free at their record release show with Suis La Lune & Viva Belgrado LIVE in TOKYO 2017 on May 12.

Art Direction, Design – YukihiroNakamura
Bass – Jumpei Okimura
Drums – Yoshitaka Mizuno
Guitar – Kei Terui, Sota Hosono
Illustration – YukihiroNakamura
Keyboards – Kohei Yamada
Recorded By, Mixed By – Junta Hayashi

|Genre| Post-Rock | Ambient | Neoclassical
|Country| Russia

今作のテーマは自身の名でもある「world's end girlfriend」。
18年間、作家自身が想い描き続けたその名が持つ根源のイメージ。
3.11後の世界、テロの時代における抵抗と祝福。
これまででもっともパーソナルな哲学と領域に深く踏み込んだ作品となっている。
世界中のどこにもない音世界で描かれた新作「LAST WALTZ」。
静寂と轟音、生音とプログラミング、旋律とノイズを自在に行き来し、
喜怒哀楽や善悪の彼岸も越え、全10曲70分ひとつの物語として描かれる。
「死の舞踏」のその先、「メメント・モリ」の向こう側。
震える地の上で踊り、放射される光と闇の中で最期まで遊びつづける。
ゲストミュージシャンとして
downyのギタリスト青木裕、湯川潮音、Piana等が参加。
アートワークは中国の現代美術家Jiang Zhiの作品を使用。
The album theme is his own name “world's end girlfriend”.
The writer keeps imagining fundamental images of that name creates, for 18 years.
It's Resistance & The Blessing , among the world after 3.11 and this terrorism-era.
This album is filled with most personal his philosophy. This one steps into his personal universe deeply.
The new album "LAST WALTZ" is painted by a quite unique sounds world that anywhere of the world have not ever heard.
Coming and going freely between silence and roar, acoustic sound and programming sound, melody and noise.
That passes over Joy, Anger, Sadness, Humor, Good and Evil.
It draws as a story of 10 tracks in 70mins.
Beyond "Dance of Death", the other side of" Memento mori".
We are dancing on the shaking ground and keep playing in emitted lights and darkness until the end.
Guest additional musicians are Yutaka Aoki(downy), Shione Yukawa, Piana, so on.
The album cover artwork is a fantastic photograph by Chinese modern artist, Jiang Zhi.

2010年結成の4人組インストゥルメンタル・ポストロックバンド。普遍的なカルテットによる滲み溶け出しそうなほどに繊細に紡がれるクリーントーンと、狂気的且つ柔らかに包み込むように空間を満たす轟音を、圧倒的美旋律で描くインストゥルメンタルストーリーテラー。坂本龍一や久石譲, MONO, world’s end girlfriendら日本を代表するアーティストをはじめ、Godspeed You! Black Emperor, Explosions in the Sky, Mogwai, Max Richter, Ólafur Arnalds, Jóhann Jóhannsson, Eric Whitacre, David Wiseら数多くの海外アーティスト、作曲家の影響を受ける。結成から今日に至るまで都内でのライヴを中心に活動を続け、2012年にはTokyo Jupiter所属のポストハードコアバンドThe Black Heart Rebellion（ベルギー）との初共演を果たす。過去に1枚のみデモを発表、今秋遂に1stフルアルバム「On The Eternal Boundary」をリリースする。

Caspian present Dust & Disquiet, the band’s first full length since 2012. The band returned to Q Division Studios in Somerville, Massachusetts again with producer Matt Bayless (Mastodon, Minus The Bear, Isis) where they recorded the highly acclaimed Waking Season (“the Best Post-Rock Album of Year,” said SPIN Magazine in 2012). The result showcases a maturation of the quiet/loud dynamic that Caspian has been exploring since their debut EP, You Are the Conductor. The new album reflects the many moods of post-rock from the album opener with horns and a string quartet (“Separation No. 2”), riffs on the wilder, steel-eyed side of country (“Rioseco”), all the while staying true to its epic brand of build-and-release rock (“Arcs of Command,” “Dust & Disquiet”). Look for Caspian to headline across the US through the Fall of 2015.

所在地：台北市
官方網站：
吉他手:徐徹天 (徹天)
吉他手:陳彥璿 (七二九)
貝斯手:涂瑞欣 (小欣)
鼓手: 柯傑耀 (小柯)
企鵝熊愛吃雞肉球是一個新興的器樂搖滾(Instrumental Rock)樂團。發起於2006年，台北，至今三年餘。於2006年自行製作發行了”出道!解散!”EP，於首場台北the Wall的現場演出中銷售一空。後因團員當兵、上大學、上班工作等原因四散在台灣本島北中南三地，遲遲到今年才正式發行首張專輯”Continue ?”。
企鵝熊愛吃雞肉球的音樂沒有主唱(Vocal)，比較像是在鋪設一種氛圍，築構一個情緒，讓聽眾或觀眾在聆聽之餘，感受到一幕幕的畫面呈現。亦像是一個成長的故事，在不同的段落，讓人覺察到不同時期的自己或心情。至於談到他們的現場能量，就不多提了，去看看吧！我只能說，你不會後悔的！

Hoping for the Invisible to Ignite' was recorded and mixed between Paris, Normandy (FR) and Saint-Margaret of Antioch Church in Leeds (UK), these four haunting orchestral pieces were performed in the studio live, and re-recorded using a 'wall of sound' process, adding the natural reverb of the church to the raw tracks.
The DVD includes the Super 8/16mm black&white film 'As True As Troilus' by Jayne Amara Ross & a bonus live performance shot by Alain Grodard & Rod Maurice during the 'Festival des Nouveaux Arts Sacres' at Saint-Eustache Church in Paris. You can watch a trailer for the film above.
Words on 'As True As Troilus' film by Nicole Brenez (curator for the Avant-Garde programs at the Cineématheèque Francaise)
'As True As Troilus owes its title to Shakespeare’s Troilus and Cressida (act III, sc .2). In this work, Troilus embodies denial, he does not want to see his lover for what she really is. Despite the fact that she is ‘as false as Cressida’, he remains resolutely faithful in his love, desiring to be the superlative lover. ‘True swains in love shall in the world to come / Approve their truths by Troilus: when their rhymes, / Full of protest, of oath and big compare, / Want similes, truth tired with iteration (…) / Yet, after all comparisons of truth, / As truth's authentic author to be cited, / 'As true as Troilus' shall crown up the verse, /And sanctify the numbers.’
Unflinchingly wrestling with denial, As True As Troilus combines two antithetical energies : elucidation that puts into perspective/expounds upon the complex afflicting Troilus, and enchantment that champions over lucidity in order to access a full experience, deeper than any rational knowledge. The film finds its answer in an overwhelming radiance: images that radiate clarity, visceral logic, symbolic readability, and graphic splendour unfurling in symmetry and duplication.
From the onset Jayne Amara Ross retraces denial to its source, death, defining the pathologies of obsession, addiction and monomania. As fugitive passengers in free-fall through time, we reinvent passion, heroism, adventure, or even a tragic destiny, all in order to repress our ineluctable end. Following in the tradition of great cinematic mythographers Jean Cocteau, Maya Deren, Kenneth Anger, Gregory Markopoulos, Etant Donnés but also David Lynch in Eraserhead, Jayne Amara Ross reworks the traditional iconography of the Fates and weaves an astonishing portrayal of the human condition. As True As Troilus is endowed with a poetic fullness, as assured in the (visual, written, musical) images themselves as Troilus is confident in Cressida.
Such enchantment is born from this raw fullness: black loyal to white, a musical soundtrack loyal to the optical vibrations, a film loyal to a strange Elizabethan drama. Never ‘tired with iteration’, As True As Troilus becomes its own protagonist in the sense that it evolves into negativity and magnifies the vulnerability that results from a willing blindness. What madness. But the point here is to transmute this succession of images into psychic irradiance. A declaration of love.'

Inspiration is what drives creation; it is akin to lungs enabling a person to breathe. Musicians in experimental genres such as post-rock and post-metal have taken a great deal of influence from the world around them and have implemented the power of the environment in their music. ISIS, Tides, Up There: The Clouds all reference the sea, the sky, and events triggered by a combination of these and use the inspiration to produce moments of sublime beauty in their work. The Sleep Design gains inspiration from a more divine presence. The Alabama quartet formed out of "a passion for the beauty of God through sound” with an aim to “shed light on the power of a Creator captured in rhythm.” Christianity portrays God as the all powerful creator of the earth, and The Sleep Design successfully encompasses the perception of that power, unleashing moments of true inspiration and beauty throughout with All That Is Not Music Is Silence.
Even with divine intervention it would be difficult to create something in the realm of epic post-rock that has not been touched already. The majority of the tracks on the album begin on the lighter side of instrumental post-rock, some soaring off into spiraling anthems while others continue on the more melodic path. There is a solid blend of ideas, and although a simple formula rears up in many of the songs, there are instances where variation is nicely placed. “Hope Is the Dream of a Soul” makes use of a soaring vocal loop which takes away the attention of the regrouping instruments before hitting a towering ending. The band plays with breathtaking results, and “The Sound of War” is a stunning example of how well its songs are constructed. Following a simple peak-rebuild-peak layout, the track makes use of a great guitar pattern that continues to rise and gain momentum toward a second crescendo, high above the previous one. The success of this record is down to the work that is done between these moments of towering splendour.
Even though the album contains all the hallmarks of post-rock, the variation in the styles alleviates hang-ups over the influences on display and helps the band avoid sounding familiar and repetitive. Not every song ends in the same manner or on the same tone, and the band uses passages of ambient interplay to reset the mood both during and between tracks. This acts in a similar way to a palate cleanser, allowing for something new to come in that could well be similar, yet tastes different. “These Dreams Haunt & Capture” not only breaks the tone down from the emphatic start to the album, it also provides time for a new sound to sink in before more uplifting guitar work sets off towards the middle of the song. Moments of stillness are never stretched beyond their need, and the tracks ultimately benefit. For all the excellent musicianship on display one of the best tracks is one of the shorter songs on the album. “The Fire, The Grave, & The Eyes of Man” takes time to build before it unleashes a torrent of rocketing guitar and an emotional screaming vocal loop. The song is short yet very effective at displaying the heights that this record can reach.
Albums that redefine post-rock music are few and far between these days, and All That Is Not Music Is Silence is certainly above the standard of many releases. The music that is produced is wide ranging and has the ability to enthuse a great deal of emotion in the listener, be it from the rousing crescendos or the ambient plateau The Sleep Design comes to rest on. When a genre has been saturated with so many attempts to provoke these emotions it is always refreshing to find a band that has the talent to work within the constraints and yet creates something that truly is inspirational.
-Gary Davidson

我城黑雨滂沱 - 说说甜梅号新专辑 撰文: 詹伟雄
甜梅号的新专辑取名《金光之乡(Hometown of Glitter)》，关键字在于「Glitter」的一字二义，它既代表某个金光闪闪、扣人心弦的事物，又代表耀眼的光芒背后，一种深沉而惆怅的迷惘。
1971年，齐柏林飞船发行的单曲《Stairway to Heaven》，前两行歌词这么写着：「有一位确信所有发光事物都是黄金的女士，正要买一只通往天堂的梯子(There's a lady who's sure all that glitters is gold, and she's buying a stairway to heaven)」；当然，最终，女士并没有在天上的商街寻获黄金，但却让「Glitter」成为摇滚乐历史中一个亘古永恒的隐喻: 当社会疯狂地追逐夺目的光亮，摇滚客得孤独地咀嚼真实且巨大的黑暗。
70年代，正是美国与世界「敲打的一代」敲打芝加哥摩天楼与钢铁坦克的年代。
「金光之乡」是一张典型的后摇滚专辑，它没有歌词可明白地勾勒那黑暗，也没有主唱来嘶喊微光中倨傲的英雄身影，但就音乐形式的要素本身，听者应当可由钟铃般的电吉他拨弦到电气音墙竖起的齐奏间，探寻到台湾都市化生活中的孤独、黑暗与迷惘。
甜梅号，其实是台湾最具时代感的摇滚乐团，虽然，他们操作的是所谓的「后摇滚」(post rock)形式：让一般听众不耐的乐曲长度、扬弃主副歌的ABA曲式、像织绣花布般细密地建构旋律肌理、层层堆叠之后的爆发情绪、自高潮退烧下来的冷漠冰原之够冷够硬，主唱缺席或仅把人声当作另一种乐器……等等；虽然，也常有人说他们的音乐背后有着苏格兰乐团Mogwai的影子；但只要你生活在台北、台中、高雄，你岂会不对那四面八方的工业噪音(《吃伏冒有礼貌 our good strong neighbor》)有所共鸣，不为一把吉他与奔腾套鼓扬起的英雄气质(《1vs99 one versus ninety-nine》)所悸动，不因其精巧设计的都市田园牧歌(《关闭罐头工厂the cannery must go》)而记起童贞情怀曾那么永远、永远的失落。
虽然「敲打的一代」(beat generation)这一词已被Jack Kerouac在半个多世纪前用过了(他巧妙地把「beat/垮掉」转换成「beat/敲打」，殊途同归地呼应了摇滚乐在另一侧的崛起)，但千禧年后的台北、台中或高雄，你不觉得我们正也该拿些什么来敲打那些光鲜亮丽的摩天大楼与天堂幻想吗？
在英、美、欧洲、日本陆续崛起的后摇滚乐团，有着清晰的时代社会发展脉络：六、七○年代壮大的摇滚（吉他、套鼓与贝斯为基本组，以清晰可辨的riff结合强力节奏，外加破嗓主唱），因为大量成员的加入，逐步开始庸俗化(电吉他大厂Fender的产能1964年一下子扩大了三倍，因为自从Beatles上了Ed Sullivan的电视节目后，每个美国年轻人都得要把电吉他)，因而催生了80年代的庞克，他们不要Jimmy Page或Jimi Hendrix出神入化的吉他吟唱，而更强调直截了当的情感吐露与社会抗议，最好直接到把乐器当场摔碎；但正如所有艺术形式一样，当B咖和C咖一齐近来搅和，庞克就得必须被更酷、更本真(authentic)的音乐风格淘汰。
8、90年代交错之际，「后摇滚」诞生了:: 好吧，既然有人声就免不了矫情，那就更纯粹点，回到基本的乐器声音就好；再者，既然每首曲子三、四分钟已成单曲唱片的常态，象徵着乐手屈从工业标准(以便电台播放，从而进军排行榜)、泯灭良心，那么就来个十分钟或以上的海枯石烂，重新抓回创作主导权；更重要的是，乐手愈来愈「感冒」买他们唱片且对副歌还朗朗上口的歌迷，因为「大众」(the mass)不断要求他们重回过去，而天杀的－－那正是艺术家想杀死的第一批灵魂。摆脱「大合唱」的后摇滚，在音乐形式上更接近古典世界的奏鸣曲，它更要求听者运用知性、感性的交相错位与自我控制，解开布局以获得更巨大的聆听快感，有西方乐评说: 聆听后摇滚漫长的飘摇乐音，有如淋着从细密到磅礡的黑色之雨；然而，这样的譬喻，不也暗示着工业体制裡更巨大的绝望，反抗再无可能，惟美学得以救赎。
换个说法: 后摇滚让摇滚乐「变抽象了」，乐迷没有歌词和人声这种肉感的媒材来辅助，必须自己透过声音的感受（旋律、节奏、音色、和声）来想像音乐所对应的生命世界，这过程与企图类似当年马勒与华格纳面对工业社会的那般心境，只是乐器换成电吉他与电贝斯，而鼓手不再是龙套而变成了诗人。
台湾没有西方摇滚乐的发展历程，本土乐团同时面对西方各种风格的冲击与洗礼，各自咀嚼生命经验，发而为创作。此际，如何辨别浮光掠影，双脚能直朗朗地踩穿流沙站牢台湾土地，而又能摆脱大众的魅惑与陈腔滥调(它们可是比摩天大楼的玻璃更油亮)，本身就是一件英雄事业。 孤独、黑暗、迷惘？是的，你该搭上甜梅号，台湾这个时代的齐柏林飞船。

1st album "microcosmos" のリリース以降、台湾、ニューヨーク、香港、ロンドンへのツアー等、日本国内のみならず世界を見据えた活動を続けてきたインストゥルメンタルロックバンド OVUM が、待望の 2nd album "ascension" をリリースする。
5年の歳月の間に降りかかった数々の試練を乗り越え、圧倒的なスケールで鳴り響く旋律は透明度を更に増し、研ぎ澄まされたハーモニーと強靭なグルーヴはその強度を確かなものにした。よりプリミティブに、よりプログレッシブに、よりヘヴィーに進化/深化した末に辿り着いた本作は、インストゥルメンタルロックカルテットが描く一つの究極の形と言えるだろう。
緻密な構築美と躍動する肉体性を兼ね備えた、トータル74分に及ぶ珠玉の全8曲。
天高く舞い上がる祈り。
世界を包む悲しみへの祝福。

Country: Ukraine
Genre: Post-Rock / Ambient / Electronic / Piano

乌克兰PR

1. Dreamscape 04:36 info download
2. Let Go 03:56 lyrics download
3. Rebirth 04:26 info download
4. Stay 03:48 lyrics download
5. Falling in Slow Motion 04:09