Summer 2002 ushers in the debut release by stateside guitar atmospherists Stella Luna. The 4 song EP will be a precursor to their full-length follow up later this year. Our outer space explorers completed the project at Retrophonic Studios with 35 year recording veteran Jim Devito. The EP was recorded entirely analog to tape through all vintage recording equipment, using only tube gear, tube mics, and vintage amplifiers to achieve a very big - warm expanse of sound. A non-stop voyage from the shattering opener "Change" and intensely cinematic "Stargazer" to the swirling, organ-like Leslie guitar tones of the sci-fi "Antares" and the climaxing album closer - "A Bridge to Nowhere". The sounds heard on the Stargazer EP via understated drums, percolating analog synths, wildly-effected guitars and the layered vocal bliss of Hanson and Smith all combine to create a feel for the future, one of space, and of beauty... a true listening experience.

grimy excursion into the worlds of noise/power electronics/death industrial, Pharmakon is the project of New York-based performer Margaret Chardiet. Mixing slow, churning beats with abrasive blasts of synthesizers and her own anguished screams, the project blends noise's confrontational qualities without completely abandoning musicality. This gives Pharmakon a sound that, while harsh and unsettling, beckons the listener in with its hypnotic rhythms. Though Chardiet had previously released a number of CD-R and cassette recordings, the first proper Pharmakon release, Abandon, arrived in 2013 through Sacred Bones.

Juliana Hatfield is an American musician and singer-songwriter from the Boston area, formerly of the indie rock bands Blake Babies, The Juliana Hatfield Three, Some Girls, and The Lemonheads. She has performed and recorded as a solo artist and as one half of Minor Alps with Matthew Caws of Nada Surf.

Ruins was made in Aljezur, Portugal in 2011 on a residency set up by Galeria Zé dos Bois. I recorded everything there except the last song, which I did at mother's house in 2004. Iʼm still surprised by what I wound up with. It was the first time Iʼd sat still for a few years; processed a lot of political anger and emotional garbage. Recorded pretty simply, with a portable 4-track, Sony stereo mic and an upright piano. When I wasnʼt recording songs I was hiking several miles to the beach. The path wound through the ruins of several old estates and a small village.
The album is a document. A nod to that daily walk. Failed structures. Living in the remains of love. I left the songs the way they came (microwave beep from when power went out after a storm); I hope that the album bears some resemblance to the place that I was in.

Seattle's Jesy Fortino has played coffee shops, on mismatched bills with by-the-book folkies, and fielded far too many questions that address her gender rather than her music. Fortunately for us these things all fall away when she plays. Inhabiting the space carved out by minimal guitar, gentle textures, and stark, immediate vocals, Tiny Vipers' music evokes the contrast and quiet, empty beauty of a grey northwest landscape. A uniquely striking record that's as fully realized as it is spare and beautiful.

EU two track single includes the album version and the instrumental version of the title track. Sony. 2011.

In the summer of 2013, La Sera decamped to a sweltering studio in East Los Angeles with engineer Joel Jerome and banged out the ten songs that would become Hour of the Dawn—an album that never walks, but runs; a collision of unleashed punk and ‘80s power-pop. Hour of the Dawn, as its title suggests, heralds the beginning of a radiant and energetic new chapter in the evolution of La Sera.

来自LA的姐妹Jennifer&Jessie Clavin组成的Garage Rock乐队，简单，原始，青春。地址：

Trust is the sixth full-length studio album by the Duluth, MN trio. Recorded in Minneapolis, MN with Tom Herbert & mixed by Grammy winning engineer Tchad Blake (Latin Playboys, Pearl Jam, Sheryl Crow, etc...). Kranky. 2002.

Long before his fame as the man behind the music for the Charlie Brown television specials, Vince Guaraldi was celebrated in jazz circles as an inventive, unfailingly swinging pianist. He worked with Cal Tjader, Woody Herman, the Chubby Jackson-Bill Harris band and the Lighthouse All-Stars. Then as the leader of his own trio, he hit the charts with Jazz Impressions of Black Orpheus featuring bossa nova standards from the 1959 movie Black Orpheus. The album also included "Cast Your Fate to the Wind," a Guaraldi original that itself became a standard. Guaraldi's musicianship and the infectious qualities of his approach are on full display in this generous survey of his work.

Vincent Anthony Guaraldi was an American jazz pianist best known for composing music for animated television adaptations of the Peanuts comic strip. His compositions for this series included their signature melody "Linus and Lucy" and the holiday standard "Christmas Time Is Here".

This is the third full-length release for Portland, Oregon-based Liz Harris. Harris might have achieved a significant fan base thanks to the whispering, near-ambient vocal crusades of her debut album Way Their Crept and its follow-up Wide, but those with a careful ear would have heard slightly more trapped beneath her fuzzy chain of effects. Dragging A Dead Deer Up A Hill marks a departure of sorts for Liz, which sees her turn down the fuzz boxes which caged (and to some degree defined) her sound and allows her voice to ring out above everything else. It is an album steeped in the world of dream-pop -- a genre pioneered by the likes of Cocteau Twins and This Mortal Coil -- and far from shying away from the reference, Liz has instead grabbed on with both hands, creating an album's worth of perfect, left-field pop songs. Using delicate song structures which are at once both familiar and somehow alien, her vocals cry out hauntingly over stripped-down guitar lines and looped environmental recordings. Just listen to "I'd Rather Be Sleeping," a track that could be a mournful take on Belly, albeit with a more fragile heart. These unforgettable harmonies and vocal lines that embed themselves into your consciousness before you even realize it are the key to the album's success and the reason why it makes such a lasting impression. There is something to Liz Harris' music that defies time and makes you sit up and listen. These are the future soundtracks to love, despair and ultimately, hope.

The latest offering from NY synth-death master Theologian (aka Leech, also the mastermind behind the renowned power electronics/death industrial outfit Navicon Torture Technologies), "Some Things Have To Be Endured" features eight new tracks of punishing black industrial, apocalyptic darkwave frequencies, and nerve-rending electronic deathscapes. "Endured" is a collection of collaborations between Theologian and a lineup of female vocalists/artists from both within the industrial / noise / dark ambient / coldwave realm and beyond, with contributions from Rachael Kozak (Hecate), Kristen MacArthur (Sewer Goddess), Rachel Maloney (Tonikom), Nikki Telladictorian (Prometheus Burning), Patricia Benitez (Fetish Drone), Gillian Leigh Bowling (Teloahqaal), Christiana Key (Delphic Oracle), Joan Hacker (Factoria), Shari Vari (Void Vision), and professional opera singer Melissa C. Kelly. The tracks shift from grinding industrial dread to ethereal coldwave beauty, blasts of rumbling blackened synthcrush met with washes of haunting electronic melody, while always remaining rooted in Theologian's bleak, jet-black industrial sound. Co-produced with Derek Rush/DREAM INTO DUST and mastered by James Plotkin, "Some Things Have To Be Endured" contains some of the most moving and dramatic music to emerge from Theologian's black sonic abyss, and the album comes adorned with striking photography by Ione Rucquoi that makes this one of the more visually arresting releases in Theologian's growing catalog.