King Midas Sound released their enthralling debut album 'Waiting For You' in the fading light of November 2009. A hypermodern nocturnal take on Lovers Rock, featuring delicate but sour electronic instrumentals topped with Roger Robinson's bitter-sweet falsetto and Kiki Hitomi's fragile voice, it highlighted a hitherto less-exposed side not just of producer Kevin Martin's musical evolution, but that of Hyperdub's too. 'Waiting For You' returns now as 'Without You', transformed by a raft of carefully chosen collaborators. As a curator, Kevin Martin has a highly respected track record. He was behind the groundbreaking 'Macro Dub Infection', 'Jazz Satellites' and 'Isolationist' compilations in the late 90s, and more recently, selected half of the 'Mysteron Killer Sounds' dancehall set on Soul Jazz. For 'Without You' he has sourced a pool of radical reinterpretations that follow somewhat in the tradition of reggae, in the same way that the original 'Waiting for You' album did. Here instrumentals are reworked or totally rebuilt by a diverse set of artists from across the musical spectrum, and on other tracks, fresh vocal interpretations totally transform the flesh that adorns the bones of their parent rhythms.

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。

Don Jones 和 Jimmy Waldo 一起来到尼泊尔首都加德满都，来到神奇的喜马拉雅山。他们在那里度过了几个星期，用声音记录了当地的风土民情和人们的喜怒哀乐。这些素材很快就构成了他们组建的 Waterbone 水骨乐团 于1998年出版的第一张专辑《Tibet 西藏》。 专辑音乐与 Deep Forest 有些相似，但 Waterbone 水骨乐团 的音乐有更多的trip-hop成分：强劲的舞曲结合佛教徒的吟诵，尼泊尔和西藏孩子欢腾的合唱，以及当地的古老乐器演奏。 记得有人把此专辑与张大为的《eMAo 唉嘛噢》专辑做过比较。而对与 Deep Forest 的比较来说，也许CD的封面标签上的一句话更为贴切：“Deep Forest Went To Africa...Waterbone Goes To Tibet”。

Los Angeles-based singer-songwriter Lo-Fang – aka Mathew Hemerlein – conceived and wrote his debut album Blue Film while traveling around the world and across the United States over the last three years. His passion for making music led him to pick up and play with musicians in Cambodia, Bali, London, Nashville, Tokyo, and other points along the way. Songs were written in transit, in hotel rooms, and anywhere the moment inspired him. Billboard’s Jason Lipshutz writes, “Blue Film funnels Hemerlein’s various vagabond experiences in 12 tracks of ornate, rhythmic electronica worth disappearing in.” A classically trained musician, Lo-Fang is fluent in diverse genres and styles of playing, which are juxtaposed throughout Blue Film. He sings all the vocals—his falsetto is soulful and often hypnotic—and plays every instrument, among them, violin, cello, piano, guitar and upright bass. The set veers from minimalist to intimately symphonic, including ten original songs and two covers. The tracks are sequenced into an atmospherically ethereal blend of shifting textures, beats, and moods that Dazed & Confused called a “brooding, quietly intense exercise in electronic torch song.” Lo-Fang says the initial template for record was based on a mix-tape called “Blue Film,” an assemblage of songs from various places and states of mind dating back to 2009. Some tracks grew out of events from his own personal evolution. Lyrics might come from a phrase spoken in conversation, or a fly on a wall that persisted as background noise—the ephemera of life. Like a novel written with elegant economy of prose, Blue Film evokes feelings beyond what the words convey. The merger of Lo-Fang’s classical background with his left-of-center approach to pop songwriting further deepens the punch. There’s mystery to the music, which aligns with his preference for each listener to arrive at their own interpretation. Blue Film was cut at studios in London, Nashville, and Los Angeles and finished at the storied Capitol Studios in Hollywood. Throughout, Hemerlein collaborated intensely with GRAMMY Award-winning producer Francois Tetaz (Gotye), who he says has “a vast encyclopedic knowledge of music” that illuminated and reflected his work at every step of the process. The album’s opening track, ‘Look Away’ is up-tempo, dreamlike and psychedelic, with a lush strings interlude mid-song. ‘#88’ opens with spare picking and swells to orchestral fullness. Lo-Fang’s cover of BOY’s ‘Boris’ adds an edgy darkness – likewise, his take on the buoyant Grease classic ‘You’re The One That I Want’ is fueled by both longing and menace. Both covers are true to Lo-Fang’s thoughts on reimagining songs – “I think of them more as remakes, like with movies. I take the same story arc, but everything is different—tone, colors, tempo. Like what Christopher Nolan does with Batman, that sort of thing.”

一支北爱尔兰的独立电子流行乐队， 2007年成立，今年获得了BBC潜力新人的提名，之前签约一家法国厂牌Kitsuné Music，并发行了首张专辑。合成器拼凑跳跃舞曲，驱动抢耳的庞克气流，整张专辑流畅节奏驰骋，相当出色。

Though their sound blends everything from dub to reggae to Middle Eastern folk, Washington, DC’s own Thievery Corporation developed in the tradition of Bossa Nova. They’ll return to those roots with the release of their seventh studio album, Saudade, due out April 1st their own ESL Music label. Reacquainting themselves with Brazilian legends like Antonio Carlos Jobim, Gal Costa, and Luis Bonfá, the core duo of DJs Rob Garza and Eric Hilton sought to create a “delicate yet deeply sensuous sound”, according to a press release. (“Saudade” is the Portuguese word for “contented melancholy” or “the presence of absence.”) Like 2011′s Culture of Fear, the album is packed with guest contributors, including U.N.K.L.E., Argentine singer Federico Aubele, Brazilian percussionist Roberto Santos, and longtime Thievery cohort LouLou Ghelichkhani. “We always try to progress into something different and stretch our musical chops, and taking a whole album to dive into this one sound seemed like a really great way to do that,” said Eric Hilton in an issued statement. Added Rob Garza, “It’s a bit of a departure for us, but at the same time these are our roots, this is what brought us together. It’s us coming full circle from electronic music back to something organic before we move on to our next chapter.” Our first taste of the “very feminine record” comes with “Depth Of My Soul”, a rich and dramatic jazz-tune. Feeling at home in an old movie or a cocktail lounge, guest vocalist Shana Halligan passionately croons over luxuriant strings and vibrant orchestration. In an interview with the Wall Street Journal, Garza said the song has lots of “hidden meanings, adding, “It’s kind of inspired by love, but it’s also inspired by psychedelic moments musically from all types of soundtracks. I appreciate a lot of films from that era, just the look, the stylings, the locations, everything.”

Pop that’s both understated and immediate, from a rising singer/songwriter. On her long-awaited debut, Shura weaves together elegant, intricately patterned electro-pop that channels late-‘80s Madonna (“What’s It Gonna Be?”), Janet Jackson (“Indecision”), and more. Though it has the grand sweep and melodic goods of a major breakthrough, Nothing Real also bears the subtle flourishes (and song titles) of a reticent, deeply introspective mind.

Olivia Broadfield是一名英国的年轻歌手，Olivia Broadfield的歌融合了Imogen Heap(解释一下，Frou Frou组合的女主唱)的电子风格和Leslie Feist的声线。于是就产生了一种充满迭句、闪光的声音来慰籍你伤痛的心。我相信你一定会喜欢的。 Olivia Broadfield is a young artist from the UK..."26 is young OK!?"...although living in a bungalow in a cul de sac in a teeny tiny village is hardly a good way to prove that! At a time when the charts are saturated with girls wielding guitars, Olivia offers something different, blending the electronic stylings of Imogen Heap with the vocal shades of Feist. The result? An electronic pop album filled with hooks, twinkles, shimmers and a voice to soothe your aching hearts and furrowed brows...we dare you not to like it!

Vincent Fenton (born March 27, 1991), known professionally as French Kiwi Juice or the abbreviation FKJ, is a French multi-instrumentalist, singer, and musician

One year and a half of composition, recording and mix. Melodic, quiet chamber music mixed with sparse electronic sounds: "Nocturne Impalpable" was Chauveau’s manifesto, with the help of friend and sound engineer Joan Cambon (Arca). The result allowed him to be discovered by Ryuichi Sakamoto, Christian Fennesz, and BBC’s John Peel. Musicians: Xavier Carrière (trumpet), Olivier Cavaillé (cello, arrangement), Eugen Fabris (cello), Benoît Génot (viola, arrangement), Olivier Lageyre (piano, arrangement), Matthias Meier (clarinet, arrangement), Vincent Pouplard (accordion), Sylvain Chauveau (electronics) Composed by Sylvain Chauveau, except "Arachnéenne encore" (composed by Olivier Lageyre) Recorded and mixed by Joan Cambon and Frédéric Luneau Mastering by David Mascunan