どこまでも澄み渡り、そしてひとつの影を残す。 さらにきめ細かいサウンドになったシノラマの2ndアルバム。 坂田さちよによるスクリーミング・ヴォイスも聴きものです。

蘿やプロデュースによる植物音響作品。「循環」というコンセプトの基、コケに共感するア－ティスト達の音響作品をコンパイル。「蘿や」店主potoratch、植物音響を追求するflatbush、涼しく透明な弦の響きが印象的なビートのNo.9、沖縄石垣島のギタリスト/コンポーザーのakeybo、眠りのコンピ「5 sleepers」にも参加した女性アーティストzuzu、cubic musicの音響ユニットかしこぎ、Amephoneにも参加している生楽器プレイヤー/コンポーザーのF.L.Y 、音のレイヤーと残響が湿地に深く浸透していくaen、映像作家としても活動するOM、tsuki no waからは緩やかで深いサウンドを聴かせるヴォ－カリストfuminosukeとオーガニックな電子音のsoundwormが参加。11アーティストによる「コケ」と共に生活するサウンドを集めた オーガニックサウンドサーキュレーション。 360R21

Kiasmos, the duo of Icelandic composer Ólafur Arnalds and Faroese musician Janus Rasmussen, announce details of their long-awaited second album II, set for release on July 5th. When Kiasmos started out in the late 2000s, little did they know that their part-time supergroup would go stratospheric. It was the sound of two old friends from neighbouring islands striking out against the stark piano and electropop music that they were individually celebrated for and effusively sharing their love of Berlin-inspired beats. But their pairing blew up into a world-dominating live act whose music went on to define the decade. Kiasmos are returning, renewed and restored, with ‘II’. It’s the triumphant follow-up to their universally acclaimed self-titled debut in 2014, which re-envisioned minimal techno with orchestral flourishes and weightless production. They’d made most of that album in just two weeks; this time it’s been 10 years. The making of ‘II’ was a test of their friendship, but also testament to how great musical chemistry can always go the distance and be just the same as it ever was. “In the beginning, we hadn’t established any sound, so it was easy to write,” says Janus. “The record sounds fuller,” agrees Ólafur. “The sound design gives you a sense of place and space.” “II is livelier,” says Janus, “but it still retains the signature Kiasmos style of transitioning from a whisper-quiet ambience to an explosive dance beat that can blow your socks off.” Their phoenix is rising from the ashes, and ready to take flight.

Engineer [Mixdown] – Hideo Suzuki Graphic Design, Painting, Calligraphy, Photography By – Norio Shibuya

17岁那年，关于恋爱的幻想。

Aquaaris is an Aquatic Fantasy Synth journey that flows from ambience to melody in a full length album soaked to the brim with undersea ambience. Embark on another journey with the Vandus as he goes from warm shallows to the cold, dark depths of Aquaaris. Sit back, relax, and ride the currents of the endless seas of Aquaaris credits released September 13, 2024 Music by Vandus Humpback whale song by Monterey Bay Aquarium Research Institute (MBARI) Cover art by @thelandofflavia Dedicated to Taya: Through sky, under sea, forever you and me

Hiroshi Yoshimura was a Japanese musician and composer. He is considered a pioneer of ambient music in Japan. His music lies mostly in the minimalist genre of kankyō ongaku, or environment music—soft electronic melodies infused with the sounds of nature: babbling brooks, steady rain, and morning birds.

His most revealing and vulnerable work to date, some kind of peace also features Ólafur’s close companions Bonobo, Josin, and JFDR. Ólafur Arnalds is one of the most influential musicians of modern times: a multi-faceted talent, who has paved the way across the electronic and classical worlds. His latest album, ‘some kind of peace’, nonetheless has the feel of a brand new chapter for Ólafur. Within, you'll find a self-confessed perfectionist grappling with the messier realities of everyday life: the possibilities of love, of settling down, and how to navigate all of that during a global pandemic (the album was half-written prior to lockdown, and completed at Arnalds' harbour studio in downtown Reykjavik). What's emerged on 'some kind of peace' is a record about letting your guard down, and ultimately what it means to be alive.

Artwork By – Sean Conrad Music By – Steve Targo

这套音乐是Burj Al Arab推出的House合辑. Burj Al Arab位于阿拉伯联合酋长国之一的迪拜酋长国，传说中的7星级酒店，这家豪华的全套房酒店在 2006 年 “世界旅游大奖” 评选中被公认为全球领先酒店，其设计描摹了怒涛奔涌的航海景致，酒店高达 321 米，可俯瞰迪拜美丽壮观的海岸线。 夜晚，酒店四周环绕着精妙的水火色彩雕塑，呈现出令人难以忘怀的绝佳夜景。 这家独享酒店所体现的是举世无可比拟的极致奢华享受。 酒店为您提供由司机驾驶的劳斯莱斯轿车接送、周到体贴的套房内登记入住、位于每一楼层的私人接待处，以及受过良好训练、提供全天候服务的私人管家，从而确保您在整个住宿期间能够体验到高度个性化的顶级服务。 如此奢华无比的顶级酒店和音乐厂牌合作推出属于自己酒店感觉的音乐专辑,自然也是十分精心、考究的。 The silhouette of the world famous luxury hotel Burj Al Arab is the fantastic eye-catcher for the compilation Dubai Chillhouse Grooves. Sit down, relax and let your feeds jam. Cool chillin beats, jazzy instruments and spacy padsounds make you chill down. This highlight CD has as special the exclusive highlight - title Phil Kinley - funny beach. This title is this year one of the most played titles at famous chillout places like Cafe del Mar.

这套音乐是Burj Al Arab推出的House合辑. Burj Al Arab位于阿拉伯联合酋长国之一的迪拜酋长国，传说中的7星级酒店，这家豪华的全套房酒店在 2006 年 “世界旅游大奖” 评选中被公认为全球领先酒店，其设计描摹了怒涛奔涌的航海景致，酒店高达 321 米，可俯瞰迪拜美丽壮观的海岸线。 夜晚，酒店四周环绕着精妙的水火色彩雕塑，呈现出令人难以忘怀的绝佳夜景。 这家独享酒店所体现的是举世无可比拟的极致奢华享受。 酒店为您提供由司机驾驶的劳斯莱斯轿车接送、周到体贴的套房内登记入住、位于每一楼层的私人接待处，以及受过良好训练、提供全天候服务的私人管家，从而确保您在整个住宿期间能够体验到高度个性化的顶级服务。 如此奢华无比的顶级酒店和音乐厂牌合作推出属于自己酒店感觉的音乐专辑,自然也是十分精心、考究的。 The silhouette of the world famous luxury hotel Burj Al Arab is the fantastic eye-catcher for the compilation Dubai Chillhouse Grooves. Sit down, relax and let your feeds jam. Cool chillin beats, jazzy instruments and spacy padsounds make you chill down. This highlight CD has as special the exclusive highlight - title Phil Kinley - funny beach. This title is this year one of the most played titles at famous chillout places like Cafe del Mar.

Light In The Attic’s Japan Archival Series continues with Kankyō Ongaku: Japanese Ambient, Environmental & New Age Music 1980-1990, an unprecedented overview of the country’s vital minimal, ambient, avant-garde, and New Age music – what can collectively be described as kankyō ongaku, or environmental music. The collection features internationally acclaimed artists such as Haruomi Hosono, Ryuichi Sakamoto and Joe Hisaishi, as well as other pioneers like Hiroshi Yoshimura, Yoshio Ojima and Satoshi Ashikawa, who deserve a place alongside the indisputable giants of these genres. In the 1970s, the concepts of Brian Eno’s “ambient” and Erik Satie’s “furniture music” began to take hold in the minds of artists and musicians around Tokyo. Emerging fields like soundscape design and architectural acoustics opened up new ways in which sound and music could be consumed. For artists like Yoshimura, Ojima and Ashikawa, these ideas became the foundation for their musical works, which were heard not only on records and in live performances, but also within public and private spaces where they intermingled with the sounds and environments of everyday life. The bubble economy of 1980s Japan also had a hand in the advancement of kankyō ongaku. In an attempt to cultivate an image of sophisticated lifestyle, corporations with expendable income bankrolled various art and music initiatives, which opened up new and unorthodox ways in which artists could integrate their avant-garde musical forms into everyday life: in-store music for Muji, promo LP for a Sanyo AC unit, a Seiko watch advert, among others that can be heard in this collection. Kankyō Ongaku is expertly compiled by Spencer Doran (Visible Cloaks) who, with a series of revelatory mixtapes as well as his label Empire of Signs (Music For Nine Postcards), has been instrumental in shepherding interest in this music outside of Japan. Together with Light In The Attic’s celebrated anthologies I Am The Center and The Microcosm, Kankyō Ongaku helps to broaden our understanding of this quietly profound music, regardless of the environment in which it’s heard.

Nuit (translated “Night” from French) is the new flagship offering from ambient artist and composer Tony Anderson. Past works have often reflected brighter daytime energy, but Nuit is a cohesive and focused journey into meditative night music - “as if the earth were performing a silent ballet while we all slept.” This work has a density to it - like the sense of rest we experience after waking up from a long night of REM / slow wave sleep. “It’s the deepest dive I’ve done in my music to date, yet it’s also the most simple. The music showed up and knew right where to go,” says Anderson. “People are tired. They’re exhausted. They’re feeling the weight of the world…it was clear to me early on that the music wanted to make its home inside of our collective exhaustion. Music knows right where to go, and for me I just had to stay out of the way and let it do its thing. I felt like a passenger to Nuit more than an artist or a composer. I had to be careful and slow with these songs as a result - I had to ask the songs where they wanted to go and who they were for, and this just took a lot of time. A lot of rest between writing sessions to gain perspective. Every frequency I kept in writing or mixing served the one goal of the album which was to resemble the stillness and quiet of the night. It didn’t matter if it was the Balinese gamelan bell ensemble used in Cambodia or Timbre’s haunting soprano in the album track, Nuit, nothing could be allowed to exist as a distraction, so my work was in cutting away the harshness to reveal the softness and quietness we all experience in the middle of the night.” A custom built upright piano is the soul of Nuit. “Tracks like Éclosion and Perennial are deceptive in their simplicity,” says Anderson. “I was constantly fighting the desire to add more to the piano and opted to just let the instrument speak for itself.” But electronics also play a defining role in the work as a whole. Slipstream, among others, relies upon a blending of new and old analogue synthesis often layered with digital synths of the late 90s. “I decided to use synthesizers in a purely meditative way…staying away from harsh high frequencies is the hardest thing and the most necessary thing to do in this body of music.” “Longer form sonic explorations like Nightingale (coming in at 10 minutes) and Retour (7 minutes) belonged on this album. Everything slows down at night when we sleep…why can’t the songs mirror that slowed pace? I wanted hypnotic arpeggiations to live in the same space as plucked harp harmonics and piano - I wanted it to feel alive, and that required more time for each song to develop so that each element could be fully heard and appreciated,” Anderson continues. “People tell you not to write longer songs because people’s attention span is too short, but I have found the opposite to be true. People want an experience more than they want a song, and that’s what I wanted to give people with this work. Halo and Lune were written during evenings where the stars and the moon were particularly visible, and though written with an electronic emphasis, they each carry the softness of moonlight and the wonder of starlight…I had to ask myself how to give what I was feeling away to the listener and I had to be sure it would connect in the same way with them.” “At its core, Nuit is a meditative experience. Nothing you’ll hear has been rushed, and none of it has been forced. I hope it’s the same gift to you it’s been to me these many nights of channeling it and writing it.”

烈火坠落冬夜，撕咬隐秘的梦境，灰烬跟那飞烟走，仍在远去，仍在燃烧；灰烬跟着飞烟走，永远自由，抹去山梨落地的叹息，泥土湿冷的嘴巴。 -二零二二年十一月二十五

Yann Tiersen首张个人钢琴独奏作品集《EUSA》！本作录制于英国伦敦著名的Abbey Road录音室，十首钢琴独奏曲对应着这位艺术家的住处——法国阿申特岛(Ushant Island)上的十处地点，并有对应的实地录音作为曲目音效背景。 Tiersen表示：“法国阿申特岛(Ushant Island)不仅仅是一处家园，更成为了我的一部分。这张作品的意图是为这个小岛绘一张音乐地图，或者更广义的，通过钢琴独奏描述表达真我。一开始，我筛选出岛上的十处地点，在每个地方都实地录音。以此为基础，进行谱曲并最终命名。每首曲子都有精确的GPS坐标，还有Emilie Quinquis帮忙拍摄的实景照片。 ”

映像や映画のための楽曲制作、アート作品や空間のためのサウンドデザインを手がける山梨在住の音楽家Kosuke Anamizuによるアンビエント&クラシカルプロジェクトmoshimossの9年ぶりとなるフルアルバム。 これまでに発表されてきたアンビエントやギターを基調とした 作品イメージから一新され、2020年、21年とリリースを重ねたEPシリーズの続編として、ピアノや弦楽器にフォーカスを当てたシンプルな構成やメロディによる普遍的なモダンクラシカルを軸に、moshimossの真骨頂である壮大なスケールを感じさせる深く儚いサウンドスケープが加わった、moshimossが描く架空の物語のためのサウンドトラック集。 ゲストプレーヤーにASA-CHANG&巡礼やTRIORAのメンバー、森山直太朗やSEKAI NO OWARIのサポート等で精力的に活躍するバイオリン奏者、須原杏が参加。 マスタリングは東岳志（山食音）、ジャケット写真はフォトグラファーの吉田周平が担当。 本作はデジタル、アナログレコードとしてリリースされます。

そこはかとない音楽家としての才能と、 しなやかで神秘的な“女性像”を秘めた、 静謐に紡がれる、美しい指先の短編集。 ドイツ人女性作家 nunu のピアノアルバム。