由美国的华裔制作人DJ Dave Liang担纲制作的"上海复兴方案"灵感来源于上世纪30年代的旧上海夜店里的那些Jazz乐队演奏的音乐。在这一新奇的概念下，DJ Dave Liang大胆地将带有鲜明东方气息的曲调与西方的现代音乐Hip-Hop、Electronica、Jazz等巧妙地融合在一起，成为了让人眼前一亮的新鲜音乐。 当时专辑一经发布，就立刻出现在Amazon、iTunes、 MSN Music这些大型付费音乐网站电子类音乐下载的Top10当中,这说明了DJ Dave Liang这一大胆的构想已获得了不小的成功。 这张专辑是DJ Dave Liang自签约全球性大厂牌Warner Music Group旗下的Independent Label Group之后发表的第一张正式专辑。 他将唢呐二胡琵琶古筝等与rap、电子和DJ鼓点搭配，Lounge得不会太古怪，电子得又不会太喧嚣。它保持了流行度和可听性，令人愉快。 Introduction 就是采用进Kenzo 广告的那首，勾勒出一幅夏夜暧昧的星空。 Shanghai Express 十分的西化，节奏感十足的R&B男声和后方高亢明亮的高原女声完美融合。

这是美国的华裔制作人DJ Dave Liang制作的第二张专辑。专辑的创作是以20世纪关于上海的故事为背景展开的,依旧围绕着上海这个不变的主题.这张专辑中有许多才华横溢的艺人制作人都加入了进来,如:Moby, Kanye West, Wynton Marsalis, Erykah Badu, Cirque du Soleil等等. "上海复兴方案"灵感来源于上世纪30年代的旧上海夜店里的那些Jazz乐队演奏的音乐.在这一新奇的概念下DJ Dave Liang大胆的将带有鲜明东方气息的曲调与西方的现代音乐Hip-Hop,Electronica,Jazz等巧妙的融合在一起。

Parov Stelar真名Marcus Füreder，1974年出生在奥地利的林茨。自2000年以来用各种艺名发行了制作了很多音乐，04年开始用Parov Stelar此名，就此开始慢慢走向成功之路。09年新专辑《Coco》曲风复杂多变，定义为电子融合乐较贴切些。

이제껏 우리들에게 ‘이런 음악’은 없었다! 독보적인 멜로디 훅, 입체감 넘치는 청초한 신스-록 사운로 2011-2012 페스티벌 섭외 1순위를 기록중인 지구상에서 가장 뜨거운 밴드, Glen Check(글렌체크). 프랑스와 벨기에, 자신들의 지하 작업실을 오가며 만든 열 한 개의 사운드 컬렉션 [HAUTE COUTURE] 앨범 발매 라이브 콘서트 [prêt-à-porter(프레타포르테)] 4월 13일, 14일 양일간 진행!! 앨범의 모든 곡을 정주행 하고 나니 쓸 데 없이 손발이 오그라들 만한 부연 설명을 늘어 놓을 필요가 없다고 생각했다. 지난해 4월 데뷔 후부터 정규 앨범[HAUTE COUTURE]를 발매하는 지금, 이들이 대중음악계에 미친 영향력에 대해서도 마찬가지. [HAUTE COUTURE]는 프랑스, 벨기에 등의 유럽지역과 서울의 글렌체크 지하 작업실을 오가며 진행됐다. 이전에 발매 된 2장의 EP앨범 [Disco Elevator]와 [Au Revoir]가 컴퓨터를 중심으로 한 작업이었다면, [HAUTE COUTURE]는 각종 아날로그 신서사이저들과 다양한 악기들, 외장 장비들로 박진감 넘치는 신스-록 사운드를 구현했다. 물론 모든 곡의 녹음과 믹스도 글렌체크의 작업실에서 맴버들에 의해 직접 이루어졌다. 각 밴드마다 곡을 만드는 고유한 방식이 있지만 이들의 작업이 특이한 것은 기초 아이디어를 모아 프리젠테이션으로 진행한다는 점인데, 각 곡에 1부터 10까지의 요소가 있다면 8,9번째에는 여러가지 변수를 배치한다. 이를테면 일부러 소리를 뭉개버리거나, 심하게 왜곡시키는데 그들의 표현을 빌자면 “병신짓”도 서슴없다. 그 모든 것은 ’듣기 좋은’ 앨범을 위한 우연하고 즉흥적인 실험이 되어 앨범명처럼 대량생산 할 수 없는 커스텀 메이드 사운드, 결국 대중들이 글렌체크에게 열광하는 복고와 미래가 혼재 된 자신들의 성역을 구축할 수 있는 원동력이 된다. 1집 [HAUTE COUTURE]의 가장 큰 변화는 리듬파트다. 모두가 춤출 수 있는 다양한 그루브를 위해 국악은 물론 아프리카 전통 음악, 아프로-큐반, 세네갈 음악들에서 그 해답을 얻었는데, 여러 리듬을 모아 하나의 그루브를 이뤄내는 폴리리듬을 전면에 배치 한다거나 드럼에서 하이 햇 심벌 없이 킥과 스네어 만으로 짜여진 비트를 선보이면서 흥미로운 실험을 계속 했다. 아이작 아시모프의 소설과 동명의 제목인 ‘The Naked Sun’으로 비장하게 시작해, 통쾌한 기타소리와 신나는 런웨이 쑈를 떠올리게 만드는 ‘Vogue Boys and Girls’, 스타일리시한 폴리리듬과 카우벨, 혀가 말려 올라가는 듯한 보컬의 목소리가 심장을 두근거리게 하는 ‘French Virgin Party’, 작렬하는 신서사이저와 음울할 정도로 무거운 멜로디의 궁합이 압권인 ‘The Flashback’, 청초한 봄 분위기가 물씬 풍기는 ‘Rebellion’, 짧지만 지나칠 수 없는 Skit트랙 ‘Bataille!’, 고전적 아름다움과 미래적 사운드가 공존하는 ‘Concorde’, 공연에서 떼 창을 이끌어 낼 것으로 확신하는 ‘Racket’, 총 천연색 물감이 박자에 맞춰 쏟아져 내리는 듯한 마지막 트랙 ‘Vivid’까지 듣고 나면, 이미 무장 해제 되어 앨범에 길들여져 버린 자신을 발견하게 된다. 그리고 계속 글렌체크에게 새로운 무엇인가를 기대하는 마음도. 아직 이들이 젊고 무한히 성장 하고 있다는 걸 알기 때문일 것이다. 마치 음악을 만들기 위해 태어난 존재인 것처럼. 글 ㅣ 사운드홀릭Ent.....

Ryan Lee West aka Rival Consoles presents his expressive new album ‘Persona’, set for release on 13th April 2018 via Erased Tapes. The title ‘Persona’ was inspired by Ingmar Bergman’s film of the same name, specifically a shot in the opening credits of a child reaching out to touch a woman’s face on a screen, which is shifting between one face and another. This powerful image struck Ryan and it inspired the album’s main theme — an exploration of the persona, the difference between how we see ourselves and how others see us, the spaces in between; between states, people, light and dark, the inner persona and the outer persona. “My music is generally inward looking. I like finding something about the self within music, that doesn't have to be specific but maybe asks something or reveals something. This record is a continuation on the self through electronic sounds. Like Legowelt once said ‘a synthesiser is like a translator for unknown emotions’, which I think sums up what I am trying to do. I think all these emotions we have make up our persona. So in a way by finding new ones you alter or expand your persona. And that is what I want my music to try to do. I deliberately aimed to be more sonically diverse with this record. I wanted to experiment more. I wanted to create new sounds and new emotions.” Recorded at his studio in south-east London, ‘Persona’ benefits from Ryan’s exploration of a dynamic production process that combines analogue-heavy synthesisers, acoustic and electric instruments with a shoegaze-level obsession with effect pedals. A greater depth of emotion and confidence can be heard across the album. From the deconstructed movements on‘Unfolding’ that starts the album with a snap of delayed snares, the apocalyptic drones of the title track and thundering drums in ‘Phantom Grip’to more restrained ambient feels of ‘Dreamer’s Wake’, ‘Rest’ and ‘Untravel’. The latter transverses six beatless minutes of undulating melodies representing “a limbo space, a feeling of ennui, of not really ever being known to others and others not ever really being known to you”. ‘Be Kind’ reveals a musical connection with fellow Erased Tapes artist Nils Frahm, with its minimal approach and improvisational nature. On the more complex sounding ‘I Think So’ Ryan aims to replicate a colour collage with sound. Like a musical kaleidoscope, a flashing and convoluted mass. Written after he saw Slowdive perform live last year, ‘Hidden’ builds from whispers to landscapes of controlled noise. In an interview with XLR8R magazine, Ryan explains: “once you start trying to make a sound loud, then you turn your back on thousands and thousands of sonic possibilities. One of the best things to do is to start a track with a really quiet, weak sound.” Taking this idea to its ultimate conclusion, ‘Fragment’ closes the album as an innocent sounding ambient piece, almost nursery rhyme like, yielding time for reflection on how the persona has changed. ‘Persona’ follows the success of a series of releases — the ‘Odyssey’and ‘Sonne’ EPs, long player ‘Howl’, and 2016’s mini album ‘Night Melody’— that saw Ryan mature into what Pitchfork has called a “forward-thinking electronic musician with his own ideas about sound”. Atypical of instrumental-electronic music, Ryan has achieved a signature sound that’s unmistakably identifiable as Rival Consoles. Going beyond typical electronic music production, Ryan defines it as “songwriting with an electronic palette of sounds”. The increasingly dynamic live audio-visual show, born from bespoke performances at the Tate and for Boiler Room at the V&A Museum featuring self-programmed visuals in Max/MSP, has propelled him to play around the world. Ryan launches ‘Persona’at London’s XOYO on 12th April with further dates to be announced.

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.

Laying solid foundations in the underground through 2016 and 2017, Peggy Gou is poised to blow up in 2018. In April she will make her debut at the 2018 Coachella Valley Music and Arts Festival in California, but she is kicking off the year in impeccable style with a Resident Advisor Podcast, closing her mix with stunning new single ‘It Makes You Forget (Itgehane)’ lifted from her forthcoming EP “Once” for Ninja Tune (due on 2nd March 2018). Sleek, instantly danceable and effortless in its simplicity, it shows off a new dimension to Peggy’s signature production style, featuring her singing for the first time - and in her mother tongue Korean too - “I’ve recorded my voice before but this time I tried to sing… I'm not a pro singer but I did my best,” she laughs. Describing the 3-track 12” entitled “Once”, she says: “I really wanted to represent different styles and moods on this EP, from 'open air' warm-up vibes to ‘proper party’. I tried to draw on all my influences of the last few years, from electro, African music, early 90s house music and also techno, especially Maurice Fulton and DMX Krew.” Korean born and residing in Berlin, Peggy Gou has built a sterling reputation for herself via a handful of standout 12”s on Rekids, Phonica White and 2016’s “Seek For Maktoop” EP on Ninja Tune’s Technicolour imprint. The combination of her own profoundly groove-led musical output partnered with her passion and flair in the DJ booth playing week in, week out across the globe - from Glastonbury Festival to Panorama bar, De School, DC-10 and Dekmantel Festival - has won her fans in rapidly increasing numbers. Among them are Jackmaster who invited Peggy to play his Mastermix parties in Glasgow, Dublin and Manchester; plus the annual Numbers showcase in London; and a special B2B in Lisbon, and Btraits who invited Peggy to record a coveted “Future 12” mix series for BBC Radio 1. Stream/Download ‘It Makes You Forget (Itgehane)’ now. “Once” 12”/Digital will be released on 2nd March 2018 featuring stunning artwork by fellow Korean illustrator Jee-ook Choi. releases March 2, 2018