Petrichor Veil（雨后纱幕）来自俄罗斯，是Siege Golem的黑金属/地牢合成器项目，Insomnia（失眠）是该项目的第二张作品，此次随着Omninight的加入，项目也从地牢合成器转向新民谣，氛围变得湿润宁静而灵动。

Sababa 5 continues their musical journey following the success of their acclaimed self-titled debut album, which fused deep funk and Middle Eastern grooves. Their latest offering, still under the Batov Records label, ventures into more explorative and experimental instrumental compositions. While evolving their musical direction, 'Aspan' delves into the realm of psychedelic rock while retaining the essence of the band's signature Middle Eastern groove. In recent times, Sababa 5's talent has gained recognition on prominent French radio stations such as Radio Nova and FIP. Their tracks have become regular features on BBC Radio 6 Music, drawing the attention of notable figures and emerging talents like Gilles Peterson, Cerys Mathews, Jamz Supernova, Gideon Coe, and Deb Grant. Leading music publication "Songlines" has praised the band's "slick precision" and the captivating elements they infuse, ranging from "Moog synth licks" to "flavors reminiscent of Wes Montgomery-style guitar." The album opens with "Wembley," radiating a summery festival vibe. The track kicks off with a distinctive guitar riff that drew parallels to classic stadium rock, inspiring its name after London's iconic ninety-thousand-seat venue. The track evolves with prominent organ and bass riffs, culminating in a surprising addition of an electric saz—a recent Istanbul acquisition—imbuing a Turkish touch that echoes the Indian sitar's influence on 60s rock, notably bands like The Beatles. "Fa Sol La" follows suit, named simply after its bass-led melody. The lively drumbeat and catchy riffs exude an upbeat energy that's bound to induce joyous reactions from listeners. Around the two-thirds mark, a dreamy guitar interlude elevates tension before easing into a shift towards a more progressive and rhythmic direction. The title track, "Aspan," takes its name from a nonexistent storm. The song impeccably showcases the band's cohesion, with guitar, bass, drums, and organ intricately locked into a mesmerizing groove. The origin of the title stems from a misinterpretation of an upcoming storm named Alpis that proved to be milder than anticipated. The name resonated, resulting in several tracks adopting storm-related titles. Concluding the album is "Indra," a laidback composition that stands as its most serene offering. This track's fusion of psychedelic folk rock is poised to capture the hearts of many, serving as a poignant postscript to the bittersweet conclusion of summer—a narrative of love discovered and lost. The expansive and captivating soundscape of 'Aspan' is set to attract a fresh wave of fans while fortifying the group's mastery of substantial grooves with a distinct Middle Eastern essence. With appearances already on European festival stages, the year 2024 holds great promise for Sababa 5, marking a significant chapter in the band's journey. credits released November 17, 2023 Guitar - Ilan Smilan Bass - Amir Sadot Drums - Raz Man Keys - Eitan Drabkin Recorded at Eilat Studios, January 2023 Mix by Ilan Smilan Master by Doug Krebs Artwork by Alon Tayar ℗ © Batov Records 2023 | BTR086 Distributed by !K7 Music

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.

墓標に刻まれる言葉のように推敲された美しい歌詞,時にリラクゼーション効果のありそうな時に激しく心をつんざくようなサウンド,それらの影に息づく悪と平和。地球という40億年の生の大地から受け継いだオーロラのような,凄まじく洗練された音楽集。

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.

“Nostalgic, soulful and, of course, boogie-woogie.” That’s how Belgian DJ producer Boogie Belgique (AKA Oswald Cromheecke) describes the enticing combination of styles and sources from different decades that make up his music. Taking vintage inspirations, most notably from swing and jazz eras, and merging them with contemporary beats and textures is the young producer’s forte. This is pleasingly evident on Volta, the latest Boogie Belgique album for the Cold Busted label. “Jungle Law” gives a glimpse into Boogie Belgique’s sonic palette. Tough hip hop beats and funky live guitar follow an intro of jungle ambience as a trumpet presents the melody. Soon some swingy big band jazz enters the song in an almost ghostly manner, while the insistent beat keeps the dance floor moving. Album opener “Go Slow” shows a different side to the coin giving the listener an uptempo broken beat rhythm, some bouncy bass guitar, snippets of string loops, and a lovely, forlorn vocal line that echoes the past. It’s a beautiful concoction, and Boogie Belgique delivers on many aspects of this style throughout his eleven track album. Volta is a satisfying trip in an aural time machine.

Hooverphonic is a Belgian band that formed in October 1995. Though originally categorized as a trip hop group, they quickly expanded their sound to the point where they could no longer be described as a lone genre, but rather encompass alternative, electronica, electropop, rock, and a mixture of others. The band originally called themselves Hoover, but later changed their name to Hooverphonic after discovering other groups were already using the Hoover name and to avoid any legal issues with the vacuum cleaner company.

Digital single 発売日：11月26日（金） 福井県観光連盟テーマソングにもなった本作は、実際にその場の触れた空気やインスピレーションを随所に織り交ぜているのも聴きどころの一つ。 化石発掘の名地からタイトルは「琥珀星」、ジャケットも琥珀-Copalを思わせるデザインも注目すべきポイント。 マイナー調でアップテンポでありながらもDEPAPEPEの持ち味である軽快なサウンドをしっかりと捉えた本作は、15年歩み続けている今の彼ららしい楽曲となっている。 ストリーミングはこちらから↓

Artwork By – Sean Conrad Music By – Steve Targo

Notes on "Technodrome" by Motohiko Hamase: A few years ago, the creators of house music, who are collective and anonymous, tried to transcend the framework of tonality and expand the frontiers of music not with any sophisticated ideas but by having an intense beat and bass sounds take center stage in their music. Ambient house also succeeded in realizing the same idea as that of John Cage: eliminating the border between noise and musical tone. And yet there happenings were not at all in accordance with a new intellectual current. Rather, house music was being consumed in tremendous quantity as a fashion statement. I myself was deeply impressed at this chain of events. However, I also recognized how drug use acted as a major catalyst of this phenomenon. Because there was too much reliance on drugs for its effect, house music began to reveal its weaknesses and has fallen into a black hole of popularization and stylization. Both the prosperity and the degradation in house music affected me with an almost violent intensity; I felt the tendencies revealed in house music were not merely fashion, but ware actually symbolic of a change in our image of music. Then, early last autumn, I heard the new releases of Brian Eno and Jon Hassell, both of whom have been consciously pursuing this sign of change. I believe Brian Eno's "Nerve Net"('92) contains the best examples of house music composition around. For his part, Jon Hassell, in "City: works of fiction"('90) provides a thorough expression of city music in one of the most remarkable musical accomplishments of recent years. I also think that there are so many common points in the attitude toward creating music seen in these two works and the musical trials that have been working with over the last ten years. Coincidentally, last spring I planned to release a collection of chamber music and I had already started composing pieces and bringing together production staff for it("Lattice for saxophone quartet," the eight track on the CD, was the piece that inspired me to work on this collection). After hearing the work of Eno and Hassell, however, I felt driven to express my own musical vision and quickly changed direction, leading to the composing of "Technodrome." I tried some new approaches with "Technodrome." I used innovative techniques for producing the bass sound. And, to keep my "monocracy" for the recording, I did everything myself, from performing and recording, editing, mixing, and laying down tracks directly on the computer). Also I got bass improvisation not simply for the melody or narrative, but I made it play the role of a picture (for expanding and repeating images as well as several styles of consciousness). Basically, I am trying to destroy the old-fashioned "Improvisation means existence" idea. "Technodrome" is structured so that it shows neither development nor transformation. My intention was to use repetitions of extremely short phrases for realizing a time sense that has a strong binding force. In fact, this intention and the methods used have not changed at all from my last work, "Notes of Forestry." But, while "Notes of Forestry" attempts to express, on the level of an auditory hallucination, a consciousness of striving and affinities on which life is based, with "Technodrome," I was aiming to express the inverted images, the optical illusions, and the sense of deja-vu that modern persons can get in the city by using the gritty sensation inherent at the core of house music. It was also an attempt to recreate as metaphor the time in our mother's womb.

還弦主義アルバム第2弾!! 平沢進ソロ楽曲セルフ・カヴァー 『変弦自在』11月10日リリース!! 平沢進ソロ20周年/P-MODEL30周年記念イベント「凝集する過去 - 還弦主義8760時間」の一環として2009年10月より行われている「還弦主義的リメイク」作業。 P-MODEL作品に続き、2010年5月からは平沢進ソロ作品のリメイクがスタート。 オリジナル版ではストリングス中心のアレンジなどありえなさそうだったナンバーから、すでにストリングスがふんだんに使われている楽曲まで、新解釈の還弦アレンジが施された。 「夢みる機械」ではライヴではおなじみとなったテスラ・コイルのスパーク音と競演、ノイズとシンフォニーが奇妙な調和を見せる。 「サイレン*Siren*」は、還弦作業中に亡くなった今 敏監督の「今的大終了」を飾るべく、映画『パプリカ』のパレード・シーンの魑魅魍魎たちが監督の棺を担いで街中を練り歩くというイメージのもと、まったく違う様相へと生まれ変わった。 「金星」をはじめとする楽曲では、ナイロン弦のアコースティック・ギター・サウンドも楽しめる。 リスナーによるリメイク楽曲リクエスト期間に「スケッチ」として発表されていた断片からは想像もつかないスケールで展開するストリングス・ワールド。 2011年1月開催のライヴ「東京異次弦空洞」では、さらに躍動する還弦世界を見せてくれそうだ。