pintomusica

To Rococo Rot 這隊三人組合來自德國柏林, 他們以電子音樂為骨幹, 音樂風格上包含了 post-rock、 國技 krautrock、ambient、dub、IDM 等多種風格的精髓，這次他們把自己過往在fat cat、sub pop、domino跟city slang發表的絕版黑膠單曲重新整理以CD形式出版，也讓更多樂迷有機會再次見證他們近十一年來的音樂歷程！

試聽: myspace

For his sixth album Tim Hecker sticks to more organic, muted colours. It’s a sign of creative maturity and marks a welcome move away from the Fennesz-style layered glitchscapes that have dominated his back-catalogue. It’s hard to tell exactly how these drone tapestries are woven together, the granular laptop trickery of old is virtually undetectable and the source instruments detuned and dissolved to the point of blissful obscurity. Opening with the elegiac strains of ‘Rainbow Blood’, Hecker eases the listener into his melancholy new sound-world before launching into the curiously titled, ‘Stags, Aircraft, Kings and Secretaries’ with a flickering percussive urgency. Somewhere within the digital fog you can just about discern the occasional glisten of guitar strings. Next up is ‘Chimeras’, a real standout on the album, its slow motion synth arpeggios providing a rare glimpse of overt melodicism, a property which, though ever-present on this album, tends to be restrained – even buried.... (Boomkat)

延伸閱讀: 文/ garrick

However, when he sat down to write "You Are Beautiful At All Times" his aim was to combine all these influences and it's an aim he has achieved with some aplomb. Mixing in guitars shoved through massive delays, keyboards and loops sampled from real drums, Corrales has created intricate, multi-layered soundscapes of real beauty, which also have the catchy, insistent hooks of the music of his childhood.

Corrales' music has a certain air of melancholy to it and perhaps the wide open spaces of Texas have influenced the airiness of his tunes, the feeling that you are looking down onto tiny people from high in the sky. Certainly, he manages to make his modesty into something epic.

San Franciscan four-piece Tussle trounced all of the punk/electro/funk/disco acts in 2004 when they unveiled their dub-influenced organic rhythmic punch on debut album Kling Klang. With a shift in the line-up — bassist Andy Cabic left to join Devendra Banhart, drummer Alexis Georgopoulos filled in, and then Tomo Yasuda eventually took it over — and a guest appearance by heroes Sal Principato and Dennis Young of Liquid Liquid, Telescope Mind finds the instrumental quartet progressing beyond expectations. This time they’ve dug a little deeper into their stash of electronics and outside sources, but only to flesh out their experimental curiosities — this is still as natural as dance music gets these days....  (Exclaim)

試聽: myspace
Official Site: Tussle!

挪威的電子音樂發展，可追溯回三十餘年前的Arne Nordheim身上；當時Arne Nordheim於自身作品「Pace」中所提出所謂原音電子(electro-acoustic)概念對後世的電子音樂創作影響甚遠。而作為另一派電子音樂代表，Per Martinsen所化名的Mental Overdrive可能是挪威整個九Ｏ年代中最重要也是最著名的舞曲電子巨擘，當年由他一手創立的音樂品牌Love OD Communications也曾經短暫地叱吒舞壇。隨著Smalltown從前年開始引進Mental Overdrive的音樂作品之後，廠牌經濟趨向更多元化的概念叫人耳目一新。而同樣是來自挪威本地的電子音樂巨舵Lindstrøm，其背後正是由Hans-Peter Lindstrøm與他個人音樂品牌Feedelity組成而來。Feedelity雖然是一個較年輕的品牌，成立於Ｏ二年，不過在Lindstrøm與友人Prins Thomas的堅持下，Ｏ六年終於受到了Smalltown的青睞而衍生出合作的計畫，頭款作品正是Lindstrøm的新專輯「It's A Feedelity Affair」。 

生長於Stavanger後移居於奧斯陸發展的Lindstrøm，他非常明白舞曲音樂(dance music)絕對無法脫離人群，於是成立了Feedelity音樂品牌，主司發行他自己的舞曲音樂作品。產量豐富且速度驚人的Lindstrøm，單是在Ｏ五年就一共發行過15部音樂作品(包含專輯、單曲以及混音)，其中他有份替Lcd Soundsystem、Juan Maclean等人擔綱單曲混音的工作。年初Lindstrøm開始與友人Prins Thomas翻玩Roxy Music的舊作「Avalon」，其後替格拉斯哥樂隊Franz Ferdinand的單曲「I'm Your Villain」炮製混音，縱然Lindstrøm的名氣並不如同鄉的Røyksopp等人，不過其豐富的電子音樂涵養在挪威國內亦很快地累積出一定的名氣。新專輯「It's A Feedelity Affair」為STS的樂迷帶來了猶如Røyksopp夢幻般華麗的down-tempo.house等曲風。一曲Limitations略帶著Fusion的魅惑氣氛；Music(In My Mind)也好似Røyksopp或Annie等人的柔軟曲風。Feedelity的官網上公佈了Lindstrøm將於Ｏ七年稍早發行的單曲中邀請日本噪音樂隊Boredoms的樂手EYE擔綱混音，究竟會擦出什麼樣的音樂火花十分令人期待。 (boyethan) 

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「One Way, It's Every Way」是一張層次非常豐富的專輯。在這張CD裡面，聽不到印象中電子音樂會出現的一些「電子音效」，反而使用了許多原音樂器。不提醒的話，我們不會感覺到這是一張大部分由電子樂器所編曲的專輯，反而因為溫暖、綿密的人聲和器樂讓我們沉浸在澳洲年青音樂人Clue To Kalo營造的聲響中。

這張專輯，用了很多手風琴、吉他、笛子等等原音樂器，和電子聲響、合成音色混合在一起，42分鐘的音樂，共十首歌，頭尾相連沒有間斷。於是我們可以把他當作一整首歌來聽，一首疏密有緻的歌曲。這張專輯的前半部是比較緩和、沒有強烈節拍的民謠式歌曲，到了第六首＜Ignore The Forest Floor＞之後，是比較明顯的分界線；強烈的節拍，引出下一首＜The Tense Changes＞的手風琴開場之後，更加快了歌曲的節奏，接下來的歌曲，都有一種比較開闊、明亮的感覺。無論是在什麼樣的地方，我想「One Way, It's Every Way」是一張讓人心情愉悅、放鬆，不經意會去把電視機關掉，只讓音樂包圍著你的好專輯。

試聽：
＊2. Seconds When It's Minutes
＊4. The Just Is Enough
＊7. The Tense Changes

延伸閱讀: 文/袁智聰

更多介紹

Probably one of the more esoteric acts from the F Communications stable, Sao Paris meld jazzy, world music tinged electronica with a more difficult (and arguably more rewarding) element of soundscaping. Sâo Paulo-born writer, Leticia Maura provides warm vocals to the more traditionally structured songs on the album, with a track like ‘Sambaleias’ not sounding out of place on a Cornelius record, while ‘Gato’ is almost entirely made from voice and guitar.

It’s beautiful stuff with only the lightest of electronic touches. Giving evidence of an entirely different approach, ‘Piano Class’, ‘Sâo Paulo’ and ‘Last Dreams’ take their cues from a musique concrete starting point. Environmental soundscaping is the dominant element here and it lends a welcome depth to the album. This is a record that will appeal to pretty disparate audiences, with something for electroacoustic enthusiasts and Gilles Peterson types alike.

Portal即是Make Mine Music這個標榜由藝人集體營運的廠牌的主導人，Scott Sinfield。音樂風格令人想起the Cocteau Twins，不過更加ambient而富電子元素，白日夢般美好旋律暈染著shoegazing調調的微交響曲。Portal 1998年的首張單曲曾受已故英國首席電台DJ John Peel青睞，之後的零散發行也贏得衛報、NME等傳媒的一致好評。本專輯收錄了一些已經絕版或從未發行過的曲目、電台、現場錄音、混音作品。限量發行520張。

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July Skies是Antony Harding (Hefner)的side-project，July Skies有著Slowdive的舒緩吉他，July Skies說自己的音樂是shoegazing，但他們的音樂總是夢幻但溫柔。

(延伸閱讀)