Where eerie, droning, psychadelic feedback meets textured, muli-layered song-writing, there we find Bardo Pond. Their 4th Matador release, Dilate, is their most fully realized record to date, providing a fresh yet familiar insight into the band's unique take on apocalyptic tension and noise distortion. Sylistically, Bardo Pond venture further into the stoner drone territory that they pioneered but bring with them a newfound diversity which is unparalleled. 10 tracks. 2001 release.

This CD presents ten interesting works, in diverse styles, by as many composers. Pauline Oliveros' Poem of Change (1992) is a powerful and thoughtful piece for evocative sound effects, voice and accordion. Nurit Tilles' Raw Silk (A Rag) (1994), is an alternatively sultry and light-hearted virtuosic piano work. Linda Montano's mysterious Portrait of Sappho (1997) is written for voice, low drum and piano. Lori Freedman and Marilyn Lerner's Barbie's Other Shoe (1997) is a lively and jazzy work. Paula Kimper's lyrical and operatic I Want To Live is taken from Patience & Sarah (1997). Eve Beglarian's Wolf Chaser (1995) is a truly innovative work, full of rich and intriguing timbres for violin, wolf chaser, percussion and electronics. Jennifer Higdon's running the edgE (1996) is a wildly energetic ensemble work. Annea Lockwood's I Give You Back (1993) is a moving solo for soprano. Madelyn Byrne's computer music composition Winter (1997) is rich in imagery and mystery. The last work is Ruth Anderson's sound collage SUM (State of the Union Message) (1973 /revised 1997). In the liner notes, the various composers discuss their thoughts about participating in this collection, as well as the musical ideas of the compositions.
Some people ask why "Lesbian American" should be used as a designation, but after centuries of musical dictionaires like Men in Music and the Great Composers (i.e., male, European) some alternative emphasis certainly seems long overdue; but more than that, we now live in a multi-cultural, and multi-everything else world, and, to quote from the album's liner notes "As beautiful, strong and diverse as the voices of women in America today, the music of these ten lesbian American composers speaks to the heart, soul and conscience of our times." So, in answer to the question "Why?": "Why Not?".

Oh, Inverted World is the debut studio album by American indie rock band The Shins, released on June 19, 2001 to critical acclaim. Omnibus Records put out an initial run of vinyl distributed by Darla. Sub Pop Records reprinted the vinyl, but the Sub Pop logo only appears on later pressings.

One of the most original records of the early Eighties.
Imagine a violent and noisy (close to cacophony) hardcore punk base with solid aggressive vocals (think of a Jello Biafra gone berserk), a jazzy scent and an art-rock attitude.
Debut from the mighty Saccharine Trust is about the most punk rock they ever got. A pretty wild sound similar to the Dead Kennedys in some ways, but except for the classic "Human Certainty", they just got better from here.

佛罗里达州的迈阿密，是美国最南部的大都市。上个世纪晚期，加勒比海流域大批移民涌入，城市老龄化问题日益严重，经济飞速发展的春天中止，这里似乎与欣欣向荣的南部其他地区割断了联系。在这样的城市里出现身患都市怀乡病的Iron and Wine，似乎是再自然不过的事情。
2004年的“Our Endless Numbered Days”是Iron and Wine的第一张录音室专辑，它意味着Beam完成了从业余爱好者到音乐家的转变。专辑的音色乾净，简洁的编配让Beam的声音和歌词成为听众关注的焦点。精良的技术手段丝毫没有乾扰“Our Endless Numbered Days”发自内心的简单澄澈，Beam像是收起翅膀的天使，停在你的肩头娓娓道来。“Naked as We Came”依然是Iron and Wine招牌式的动听旋律，Beam的妹妹Sara贡献了悦耳的和声；兄妹二人生来和谐的声线在“Fever Dream”中珠联璧合；“Radio War”是一曲爱的挽歌，听得人心窝生疼；“Sodom, South Georgia”让人想起Smog、Palace这些Slowcore高手的作品，Iron and Wine足以与他们抗衡。在其他音乐家的协助下，这张专辑有了比“The Creek Drank the Cradle”更加丰富的音乐语汇，无数精致的小细节激活听觉末梢，让人又惊讶又感动。到底是大学教师，Beam看似不着痕迹的遣词造句凝练而深刻，坦白、持重的语句摒弃了任何一点矫揉造作。Iron and Wine不是那种听一耳朵就能让你欣喜若狂或者号啕大哭的音乐，它慢慢流进你的心田，渗透下去，灌溉你，滋养你。
很难说清楚Iron and Wine的音乐风格。蓝草和另类乡村的根基，田园牧歌般的沉思默想，从某种程度上与Nick Drake、Sparklehorse遥相呼应。以诗意隽永的语言表达极为个人化的生活感受，思想的内向性、深刻性让人想起Conor Oberst和Elliot Smith的都市民谣。“在我大量接受采访之前，我从来没有考虑过如何给我的音乐归类”，Beam说道，“我想我喜欢‘民谣’这个标签。我最近意识到民谣是除了古典音乐之外的一切音乐，无论说唱还是摇滚乐都一样，民谣就是来自民间的音乐。”
事实上给音乐归类只是一个类似于乐迷入门指南的东西，当Iron and Wine不落窠臼的音乐响起，相信你会有自己的判断。音乐好，管它何门何派？凉爽的夏夜，满天繁星照耀下宁静的海滩，这就是第一次听Iron and Wine时我的感受。钢筋水泥的丛林中，我们依然可以找到释放情感的地方，有些细腻、脆弱的情怀仍然能够得到抚慰。幸好有音乐，这一刻，泛起的不只是音符，还有似曾相识的乡愁。

While maintaining elements of the pastoral folk of their first EP on songs like “Portrait" and "Whisper”, Flyaway Garden also sees the band moving into more aggressive, punk influenced territories with tracks such as “Shape" and "Setting Stone”. British IDM and ambient music play a significant role on their new album, most notably in the electronic textures that accent, and occasionally envelop these recordings. Perhaps best representing Breakfast In Fur’s multi-faceted aesthetic is their cover of Neil Young’s “Cripple Creek Ferry”, which brings together their many musical influences into a single recording. At once a dreamy pop song, a pulsing work of dissonant electronic music, an homage to a classic rock hero, and a prog-rock mini-epic in three movements, Breakfast In Fur’s production of “Cripple Creek Ferry” is a highly original and complex recontextualizing of Neil Young’s song that both embraces the past, and moves far beyond it.
As Wolfe told the Miscreant Fanzine about the lyrical content of their latest album, “the new record has a lot of songs about time and identity— like when you look at a photograph of yourself as a child... how are you that person? There’s a lot about that kind of feeling.” These questions of identity and the passing of time crop up all over Flyaway Garden. Tellingly the cover art features an illustrated version of Wolfe as a four year old overtaken by flowing layers of color.
Now performing live as Dan Wolfe, Kaitlin Van Pelt, Mike Hollis, and Chris Walker, Flyaway Garden marks Breakfast In Fur’s transition from the quiet bedroom folk of their first EP into the experimental psychedelic rock of their new album.

Mates of State touch on so much of what has been great in the last 50 years of pop music, all viewed through the Mates of State filter. Most of all, they have actually built their own sound. They sound like themselves. I hear palomino and it sounds like quintessential Mates of State. Sometimes I hear a new band and think 'What a Mates Of State rip-off!' They have been carving out their place in the indie rock world since the late 90s, as two people playing complex songs that sound like five people playing a simple song. That is what the great ones can do.

Northern Shore was recorded at
Soundwest Studio, Tacoma, WA Spring 2014
and mixed at RMG Secret Studio 2014
Produced by: Lo There Do I See My Brother
Engineered by: Ahren Lanfor
Mixed by: Tor Caspersen
Mastered by: Terry Walker at Tonalex UK

Artwork designed by: Jakob and Tammy VanAntwerp
photos by: Michael-Rex Carbonell

Thanks to Adam Vasquez, Brandon Green,
Hartley Lewis, Jake George, and Lydia George
for their help and for everyone's continuing support.
For all Lo There Do I See My Brother info
please visit

美国加州圣里安德鲁

美国二人组 Simon & Garfunkel 于 1968 年发行的第四张专辑，是他们最优秀的专辑之一，此为 2001 年重发行重制版（罗伊）