《桃花源里的古典之家》 2011年的首张个人专辑《Island》，已经让人领略到了丁可新古典主义音乐的神韵。如此纯粹的北欧色调，既让人领略到ECM式的厂牌格调和气质氛围，在国内音乐圈，更是一个未曾有过的先例。 2012年，加盟“树音乐”厂牌后的丁可，先是帮助Fog制作了专辑《明镜》（Transparent Mirror，从而为那张融合了“氛围乐”、“后摇”的电子唱片，赋予凝重但纵深感极强的张力。之后，则轮到了他自己个人专辑《Our Home》的登场。 与上张专辑《Island》相比，《Our Home》没有词曲，也没有人声，完完全全就是一张纯音乐专辑，甚至就像一张电影原声专辑。用来诠释“新古典主义”，显然更为纯净和纯粹。除了少量极简的音效，整张专辑几乎只是以键盘来做为主体的音乐架构。而“新古典主义”的音乐氛围，也决定了丁可不会去依靠繁复的技巧，用密集的音符颗粒，来将音乐处理得饱满、厚实。在意韵上，丁可在《Our Home》里，更接近于东方的留白技巧，用长音、延音营造出一种玄而空幻的气场，从而有了一种浑然天成的圆润与唯美。 开场曲《Sunshine》，名为阳光却有着淡淡的忧伤。用实音表现明亮，而尾音虚音则传递出一种苍白色光芒的延伸，听来有着暖暖、懒洋洋，但又不乏沉郁的感伤的愁怅。《After You Leave》和《Below the Moon》，则更像是回到了中世纪的欧洲，充满着那个时代欧洲大陆贵族气的唯美、灵性、严谨和浪漫。前者就像是敏感而多情的音乐家，在恋人离去的脚步声中，用克制来传递一种克制不了思念、离愁，小调的旋律，简单却又凝重，思的音节因此也更显绵延。后者既像是在自家小院，又像是在空寂的城堡里独自彷徨、思想，用钢琴做着一个又一个浪漫绮丽的梦。 加入效果音的《Outside the Window》，则恰到好处又恰如其逢的让乐曲在鸟语花香中，变得立体和生动。就像去巴洛克化的维瓦尔第“四季”，让窗外的景色变得更为纯净、自然。《The Door of the Tree》营造的，则又是一个还未诞生出钢琴这种乐器的史前音乐时代。简洁的电子音效，组合出一种类似冰川的回响，并由这自然声响中的强弱音，汇聚出无形却悦耳的天籁之音。《Starry Sky》的键盘音色则又近似竖琴，和声与主音阶音频的近似，虽然少了现代低音那样的纵深效果，却让音乐变得更轻盈，氛围变得更静谧和安祥。既是Starry Sky，又禁不住在脑海中浮现出Starry Starry Night的歌声……《Rain Night》则像是琴声一颗一颗的落在青石板上，音色实在又有弹性，更有着自然之声般的优美。 没有歌声，却依然流淌出无数的情绪和故事；没有繁复，却依然用极简构筑出最绵密的氛围。丁可的这张“新古典主义”专辑《Our Home》，既没有抱残守缺，一味地去复制古典主义那种清心寡欲；也没有刻意去创新，从而将古典音乐化妆出不伦不类的新效果。丁可在《Our Home》里所做的，首先就是自我的纯粹的澄澈，在让自己的灵感和手指变得清明之后，也因此将浮躁的世界推向了音乐以外，从而自然而然地回归到了中世纪，在工业还没出现的时代，还原出音乐宁静、简洁的美感。与此同时，和东方意境的暗然合拍，也使得丁可的这张“新古典主义”专辑，还拥有了山水泼墨的写意和自然。所谓古典，也就不再只是对音乐名词的复刻，而是一种音乐意境的回归，并为音乐找回了古典的家。 文/爱地人

日本传奇音乐人/作曲家坂本龙一于3月29日正式发行全新录音室专辑《async》，这也是教授自咽喉癌康复之后的首张专辑，共包含15首歌（第15首歌曲只收录于黑胶中）。坂本龙一称新专辑的构思和录制均在纽约完成，是他来自于对日常对象、雕塑和自然的感悟。 坂本龍一の8年ぶりとなるオリジナル・アルバム! Ryuichi Sakamoto has announced a new studio album, async, out April 28 via Milan. It’s the Japanese composer’s first studio album since 2012’s Three, with Jaques Morelenbaum and Judy Kang, and his first solo album in 8 years. Sakamoto recorded and conceived of the album in New York, taking inspiration from “everyday objects, sculpture, and nature,” according to a press release.

Alt-classical composer/pianist Ludovico Einaudi returns with a brand new album ‘Elements’ released on 16th October on the Decca label. With that in mind Music-News.com caught up with Ludovico Einaudi at Decca HQ in London to find out more. Check out our exclusive interview below. Einaudi has quietly become one of the most successful musicians on the planet. His hauntingly beautiful and evocative music tops the classical charts worldwide, particularly here in the UK and in his home country Italy) and he has sold over 1.5 million records. He is the biggest streamed classical artist in the UK with over 130 million streams – that’s more than Pavarotti and Bocelli, and neck a neck with current chart stars Years & Years. ‘Elements’ was recorded this year at his studio in the Italian countryside. It is inspired by the world around him: nature’s elements (earth, water, air, and fire) as well as the lines of the grass and hills, mathematical and scientific elements, musical form and works of arts including those by Paul Klee and Gustav Klimt. Einaudi created the album’s cover artwork himself – drawing a variety of different symbols and illustrations, which combine to stunning effect. Einaudi’s music has been heard by millions worldwide – especially through adverts, trailers, film scores and TV soundtracks. He has provided music for more than 20 films including Shane Meadows’ ‘This Is England’ film and the TV sequel ‘This Is England ‘86’, for which he earned a BAFTA nomination, as well as ‘Black Swan’ (starring Oscar winner Natalie Portman) and Ricky Gervais’ TV series ‘Derek’. Einaudi has performed to huge crowds at venues around the world and has even achieved a Top 40 pop hit thanks to a BBC Radio 1 campaign by DJ Greg James. His recent UK dates include sell-out performances at Blenheim Palace, Hammersmith Apollo, Barbican and headlining the iTunes festival at the Roundhouse. His music has been described as minimalist, alt-classical, ambient and contemporary, but it defies easy classification. He sums it up best: “There is something in it that comes from classical, but I have influences from different music I have experienced in my life, from African music to folk and rock.” This latest album brings together a musical alchemy that draws on elements of electronicam, world, rock and classical music – reflecting Einaudi’s unique position on the international music scene.

Swift & Raven is an expansive and atmospheric neoclassical album centred around the cello. With psychedelic ambience and a Renaissance spirit, the album has a unique and timeless quality. This is the cello weaving stories with its human-like voice and characterful nature, taking you to the soul of the instrument and the realm of raven mythology.

Recital publish the newest record by Canadian composer Sarah Davachi. Currently working on her PhD in Musicology at UCLA, her trajectory has been unorthodox. Hailing from Calgary, Alberta, which, if you've never been there, doesn't really scream "Avant-Garde" (Calgary is the rodeo capital of the world). From a young age, Sarah was a driven pianist (and figure-skater, although that's a story for a different time). It is important and interesting that she chose to study esoteric music; as Sarah could have easily been a cowgirl or a concert pianist had her ingrained love of synthesis and sonic phenomenology not taken the wheel. "Sarah is a considered person. I find few people that have the diligence and resolve to take their time with music... especially in a live context. I respect that about her. The first time I saw Sarah perform, I presumptuously told her that her music reminded me of my favorite Mirror albums (the exceptional project of Andrew Chalk and Christoph Heemann). Sarah was not familiar with Mirror, so the compliment was initially lost on her. Years back I was in the same situation when a review compared my music to Andrew Chalk, who was unknown to me at the time. So I felt a kinship in our magnetic drift towards unspoken and clustered beauty. Let Night Come On Bells End The Day follows the release of her "sound-wheel" LP All My Circles Run, which examines the isolation of different instruments. Let Night Come On..., recorded mainly with a Mellotron and electronic organ, feels like a return to the nest. Burrowed in the studio, Davachi was the only performer on this album. She both splays her compositional architecture and re-contextualizes the essence of her early output. She chiseled careful and shadowed hymns; anchors of emotion. Two pillars of this album are "Mordents", which to my ears drops hints of her love for Progressive rock music - and "Buhrstone," comparable to a sombre funeral march of piano and flutes. These two examine punctuations of early music, gently plucking melodies and movements. The three other compositions are tonal works, blowing slow jets of lapping harmonics. Writing this description now, I find it hard to separate "At Hand" from filmmaker Paul Clipson, who made a melancholic film for this piece of Sarah's. A fitting title for Sarah and Paul's relationship - frequently working in orbit of each other, meticulous and tactile. I cherish this track as a memory of Paul. This is a lovely album to fill an evening living room with. A blanket, a cup of wine, a dim bulb, a wide window. Three beautiful photo-prints by Davachi are included with Let Night Come On Bells End The Day. Frames are not included." - Sean McCann

Great new album from Olafur Arnalds - a long time favourite of Rough Trade. The highly anticipated record features Ólafur’s ground-breaking new software, Stratus, which transforms the humble piano into a unique new instrument. He is currently performing his new material on a huge worldwide tour. The Stratus Pianos are two self-playing, semi-generative player pianos which are triggered by a central piano played by Ólafur, and are the centrepiece of his new works. The custom-built software is born out of two years of work by the composer and audio developer, Halldór Eldjárn. The algorithms generated from Stratus were also used to create the innovative album artwork. On the album Ólafur uses these methods reinvigorate the compositional experience, feeding back into the creative process in a completely new way. As Ólafur plays a note on the piano, two different notes are generated by Stratus, creating unexpected harmonies and surprising melodic sequences.

音楽 : 高坂宗輝 Muneki Takasaka (paniyolo) 絵・デザイン : 菊地慎 Shin Kikuchi a&r : 小瀬村晶 Akira Kosemura 企画・制作 : 株式会社 SCHOLE (2016年) この作品はライブ 会場、一部の店舗のみで販売を予定しています。 始めに、2016年5月3日 大倉山記念館での演奏会「春の絵」で。 新曲６曲と、「ひとてま」収録の「カラー」を再録音したものを含めた７曲。 今回、音は作曲、編曲、録音、ミックス、マスタリングまでを全て1人で行いました。 音の１人作業は「３月が眠る」以来。 ジャケット、デザインは菊地慎君。 大倉山記念館での演奏会「春の絵」のフライヤーのために描いてくれた彼の絵 が素晴らしく、この絵をジャケットにアルバムを制作したいと思い、 SCHOLEにお願いして実現した作品です。

haruka nakamuraの新曲「アイル」（I’ll）は、1stアルバム『grace』（2008年 / SCHOLE）の世界観の続きを10年ぶりに表現した楽曲。春の季節をイメージして作られたこの曲を含む、全６曲を収録したEP / 8cm CD （DLコード付き）が春分の日にリリースされる。 「アイル」では、作詞、作曲、全ての楽器パートをharuka nakamura本人が担当し、『 grace』でボーカルを担当したJanis Crunchを再びフィーチャー。さらに、1stアルバム発売当時のライブ音源「every day」（ 『grace』収録曲）をこっそり隠し味として詰め込むこだわりも見せている。春を祝福するような軽やかなテンポの生き生きとしたアンサンブルとボーカルは、初期音源のみずみずしさを残しつつも、この10年で大きくスケールアップした両者の成長を感じさせる快心の１曲。 その他、1stアルバム『grace』を代表する楽曲「arne」をこのプロジェクトのために10年ぶりに再構築した「アルネ」や、haruka nakamuraが音楽を担当した映画『every day』のクライマックスシーンで使用され、話題を呼んだ楽曲「リリウム」を新たに録音・収録。さらに、教会のオルガンやミュートピアノに環境音のテクスチャーをミックスしたノルタルジックな小品曲など、全６曲が収録されている。 アートワークはインスタグラムでのコラボレーションをきっかけに繋がった、”身近な場所が美しく見える瞬間”をカメラにおさめる注目の写真家・岩倉しおりが担当。「アイル」の世界観を表現するために、haruka nakamuraが熱望したキャリア初となる8cm CD短冊型パッケージを、岩倉が新たに作り上げた美しいコラージュ作品が全面を彩る。そして、マスタリングは近年のharuka nakamura作品の音を手掛ける田辺玄が担当。

官方购买 所有不切實際的臆想和付出都可以成爲對這個現實世界的反抗 出品人：ROAD 製作人：梁奕源 出品： 拾柒贰肆 作曲、編程：梁奕源 器樂演奏：梁奕源（巴烏、古琴、揚琴） 平面設計：梁奕源 錄音混音：梁奕源 母帶處理：楊文虎 唐信明 李雲中 錄音室： 絕粒堂 宣傳： 小吉 備註： 一．請開大音量，讓聲場把自己包圍。 二．放鬆，放鬆，再放鬆，或者在聲場中躺下，休息。 三．如果你睡著了，我們會非常高興，你的睡眠和夢境將被視爲這個作品的一部分。 四．爲了您的安全，請不要給在駕駛和性交時收聽。 感謝：白岡岡、黃郡、胡曉瑩、高菲、懷一法師、耀易法師、李雲中、邱大立、唐信明、佟妍、徐益英、楊文虎、楊波、夜郎、朱芳瓊和小泉、肖真、杭州清影畫廊、佛山殊同文化、廣州千尋影音、廣州191SPACE。 歡迎傳播 功德無量 写在《虛菩提的致幻劑》发行之前 road/1724 Records 在前两张唱片之后，梁奕源这次希望你能在他的新声景中入睡。 2010年初，刚拿到这张新唱片的小样版本曾经让我目瞪口呆。作为梁奕源的忠实拥趸，我已经很难由这些声音里找到解读可能。作为出品人，我则对更积极的听者回应不抱期望。 我们计划同年6月发行，梁奕源的个人网站则提前上线。 之后，我主动“忽略”了义务提交网站设计稿的“独立趋势”的小朋友，把时间和精力抛洒在了帝都谋生的广阔天地里。梁奕源则在广州、丽江的搬迁过程中一次次重新制作这张催眠唱片的后期版本。同样，我们计划制作的周边产品和梁奕源的小说也在这个过程中无限拖延。 如是直到年底，我们最终也没能实现不让新唱片跨年的愿望。 不过，不管是因为梁奕源的一贯逆天，还是基于认可基础上对拾柒贰肆的可怜执行力的忍耐，我们终于能在这个春天结束这次旷日持久的造音。 没错，梁奕源这次是在创造声音，曾经看过他现场的人应该对此有一定了解。在对巴乌、古琴、扬琴和各种非音乐器具的组合使用之后，就是这张貌似简单的氛围作品。如果不考虑作者对标签的反感，《虚菩提的致幻剂》的准确分类应该是氛围化的实验音乐。和先锋们的实验不同，梁奕源是在严格地极简主义标准下在探究声音呈现的可能。和艺术家们的孤高有别，这款“致幻剂”欢迎听者的接受和再创造。如果将新作和此前两张唱片组合使用，效果或许更佳。 我想，作为一个着眼点不只限于声音的创作者，梁奕源并不反对这种功用化的处理。或许，他还会有大计得售的得意。而我，则期待这个独特的梁氏系列产品能够继续排列下去。

Written and recorded by Daigo Hanada Mastered by Emil Thomsen (ET Mastering) Artwork by Kevin Townsend / Layout by Nicolas Hyatt

Wolfgang Voigt commits one of GAS's most darkly sublime albums with 'Rausch', which arrives nearly one year on from Narkopop to remind us his position as the prince of ambient techno. Meant to be listened to from end to end without interruption, but also included as seven discrete parts for those who need them, Rausch unfurls in diaphanous form along a depressed heartbeat march of padded kicks swept with distant horns and string swells in the faithful, time-honoured style of Wolfgang Voigt's finest recordings. The difference lies in the feeling conjured by these swollen crests of abstracted instrumental textures and timbre. Rather than dreaminess or tranquilised melancholy, this one feels portent, impendingly stygian, as though summing up humankind’s incessant trudge toward a bleak unknown horizon, resulting in the emergence of sounds more akin to a Sunn 0))), with his entrenched kicks struggling to break the gloom, and ultimately, poetically losing out in the end.

Pendant is the artist formerly known as Huerco S, and this is the debut release on his new label West Mineral Ltd, following on from his acclaimed ‘For Those Of You Who Have Never (And Also Those Who Have)’ album. The artist sometimes known as Huerco S. ushers a phase shift of sound on the shoegazing harmonic gauze of Make Me Know You Sweet, his immersive debut proper under the Pendant alias. In this horizontal mode he relays abstract stories from a headspace beyond the dance, placing his interests in the Romantic landscapes of JMW Turner, Robert Ashley’s avant-garde enigmas, and Indigenous North American philosophy at the service of a more expressive, oneiric sound that sub/consciously avoids the trapfalls of ‘chillout’ ambient cliché. Across seven amorphous, texturally detailed tracks he establishes far reaching coordinates for both Pendant and the West Mineral label, which aims to release everything except commonly accepted, traditional forms of late 20th/early 21st century dance music, while also representing the work of his inner circle of friends, producers and artists. In that sense there’s a definite feeling of “no place like home” to his new work, but that home appears altered, much in the same way The Caretaker/Leyland Kirby deals with themes of memory and nostalgia. It’s best described as mid-ground music, as opposed to the putative background purpose of Ambient styles, or the upfront physicality of dance music. Rather, the sound here billows and unfurls with a paradoxically static chaos, occupying and lurking a space between the eyes and ears in a way that’s not necessarily comforting, and feels to question the nature and relevance of ubiquitous pastoral, new age tropes in the modern era of uncertainty and disingenuity. The results ponder an impressionistic, romantically ambiguous simulacra of reel life worries and anxiety, feeling at once dense and impending yet without centre. From the keening, 11 minute swell of VVQ-SSJ at the album’s prow, to the similar scope of its closer, Pendant presents an absorbing vessel for introspection, modulating the listener’s depth perception and moderating our intimacy with an elemental push and pull between the curdling, bittersweet froth of BBN-UWZ, the dusky obfuscation of IBX-BZC and, in the supremely evocative play of phosphorescing light and seductive darkness in the mottled depths of KVL-LWQ, which also benefits from additional production by Pontiac Streator. Make Me Know You Sweet taps into a latent, esoteric vein of American spirituality that’s always been there, yet is only divined by those who remain open-minded to its effect.

Fourth in a series of six albums from The Caretaker cataloguing the effects of early-onset dementia. Featuring four extended, smudged and hallucinatory side-long pieces - the darkest and most immersive music from The Caretaker to date. The Caretaker slips into the first “post awareness” stage of Everywhere At The End of Time. The ability to recall singular memories gives way to confusions and horror; the beginning of a process where all memories begin to become more fluid through entanglements, repetition and rupture. Leyland Kirby connotes the transitory cognitive breakdown of moderate into severe late stage dementia; memories of the good times are recollected in picnoleptic flashes as the music struggles to follow consistent trajectories, instead fluctuating between a fractured mosaic of ideas and elusive emotive gestures, still occasionally able to gather coherent thoughts. In aesthetic, the sieve-like mindstate of stage 4 vacillates a serene sort of psychedelia with utterly paranoid and petrifying mental subsidence. Smudged traces of sublimated music hall memories give way to shocking tracts of atonality and discord with runaway logic, perpetually tumbling farther into states of mind perhaps best compared with K-Hole-like dimensions or the babble of after-hours psychonautic journeys. The concision of previous stages is here replaced with wandering, side-long tracts. Three of those are titled Post Awareness Confusions and correspondingly explore and reflect agitated mindsets as they navigate an ephemeral, confusing complexity of structures. The other piece is called Temporary Bliss State and starkly contrasts the other parts in a coherently lush traverse of ambient crackle and glittering melody…

“Dear listeners. This is the first track from my new album, Dead Magic! Me, my band and Randall Dunn spent 9 days in Copenhagen recording this record. The great pipe organ you’re hearing is a 20th century instrument located in Marmor Kirken, "The Marble Church", Copenhagen. Here is a poem for you by the Swedish writer Walter Ljungquist (1900-1974): ”Take the fate of a human being, a thin pathetic line that contours and encircles an infinite and unknown silence. It is in this very silence, in an only imagined and unknown centre, that legends are born. Alas! That is why there are no legends in our time. Our time is a time deprived of silence and secrets; in their absence no legends can grow." Please enjoy the music. Yours sincerely, Anna von Hausswolff"