"It felt like we were in a movie that had a totally implausible ending..."
Slowdive's second act as a live blockbuster has already been rapturously received around the world. Highlights thus far include a festival-conquering, sea-of-devotees Primavera Sound performance, of which Pitchfork noted: "The beauty of their crystalline sound is almost hard to believe, every note in its perfect place."
"It was just nice to realise that there was a decent amount of interest in it," says principal songwriter Neil Halstead. The UK shoegaze pioneers have now channelled such seemingly impossible belief into a fourth studio opus which belies his characteristic modesty. Self-titled with quiet confidence, Slowdive's stargazing alchemy is set to further entrance the faithful while beguiling a legion of fresh ears.
Deftly swerving what co-vocalist/guitarist Rachel Goswell terms "a trip down memory lane", these eight new tracks are simultaneously expansive and the sonic pathfinders' most direct material to date. Birthed at the band's talismanic Oxfordshire haunt The Courtyard - "It felt like home," enthuses guitarist Christian Savill - their diamantine melodies were mixed to a suitably hypnotic sheen at Los Angeles' famed Sunset Sound facility by Chris Coady (perhaps best known for his work with Beach House, one of countless contemporary acts to have followed in Slowdive's wake).
"It's poppier than I thought it was going to be," notes Halstead, who was the primary architect of 1995's previous full-length transmission Pygmalion. This time out the group dynamic was all-important. "When you're in a band and you do three records, there's a continuous flow and a development. For us, that flow re-started with us playing live again and that has continued into the record."
Drummer and loop conductor Simon Scott enhanced the likes of 'Slomo' and 'Falling Ashes' with abstract textures conjured via his laptop's signal processing software. A fecund period of experimentation with "40-minute iPhone jams" allowed the unit to then amplify the core of their chemistry. "Neil is such a gifted songwriter, so the songs won. He has these sparks of melodies, like 'Sugar For The Pill' and 'Star Roving', which are really special. But the new record still has a toe in that Pygmalion sound. In the future, things could get very interesting indeed."
This open-channel approach to creativity is reflected by Slowdive's impressively wide field of influence, from indie-rock avatars to ambient voyagers - see the tribute album of cover versions released by Berlin electronic label Morr Music. As befits such evocative visionaries, you can also hear Slowdive through the silver screen: New Queer Cinema trailblazer Gregg Araki has featured them on the soundtracks to no less than four of his films.
"When I moved to America in 2008 I was working in an organic grocery store," recalls Christian. "Kids started coming in and asking if it was true I had played in Slowdive. That's when I started thinking, 'OK, this is weird!'"
Neil Halstead: "We were always ambitious. Not in terms of trying to sell records, but in terms of making interesting records. Maybe, if you try and make interesting records, they're still interesting in a few years time. I don't know where we'd have gone if we had carried straight on. Now we've picked up a different momentum. It's intriguing to see where it goes next."
The world has finally caught up with Slowdive. This movie could run and run...

Dreampop/Shoegaze老将Lush解散20年后2016年复归EP。
与之前的《Chorus》全专辑复刻属于4AD版权不同，
新EP系由乐队自身厂牌Edamame出版。

Shivaree是一个美国另类摇滚乐团，成立于1999年，同年推出首张大碟“I Oughtta Give You a Shot in the Head for Making Me Live in this Dump”。该乐团由三人组成，主唱为Ambrosia Parsley，键盘手为Danny McGough，而Duke McVinnie 则为吉他手。其风格较为另类，所以名气寂寂无声，未能得到广泛的认同。
直到2004年，其1999年旧作“Goodnight Moon”竟然被用作于鬼才导演昆汀·塔伦提诺巨作"Kill Bill Vol.2"的插曲。 "Goodnight Moon"的妖魅感吸引了广大歌迷注意，从而Shivaree开始被人认识。
Shivaree 翻译过来的词义是新郎新娘闹洞房，热热闹闹的聚会.但是这支乐队却有
着更为柔和缓和的气氛，还有午后阳光灿烂明媚还有些许慵懒的法国气质.当然了，Shivaree不是经常能出现在唱片封套上那个女子的名字，女孩名叫Ambrosia Parsley.一个从小在祖母的四弦琴下长大的小姑娘.在Pizza店和老年班卓琴乐队的交相辉映下有了第一次登台演出.13岁迈出家门独闯天下，边走边唱，结识了吉他手DukeMcVinnie以及键盘手DannyMcGough.从此，Shivaree诞生.
Shivaree有点懒散舒适的Folk风格，又带点POP的流行轻松，仔细听还加入些歌特的迷幻意味.Ambrosia Parsley稚气，张力，质感，甜美，迷幻，慵懒，颓废配合乐队恰倒好处的节奏，完美的展现了属于他们耐人寻味的音乐线条.
Shivaree 最初的录音湮灭得比录制的时间还快，但不久就炮制出史上名字超长的专辑《I Oughtta Give You a Shot in the Head for Making Me Live in This Dump》， Shivaree2002年第二张录音室作品《RoughDreams》充满奇思妙想，其中《Wagers》像是 Billie Holiday在用techno-folk的形态表演，名谣前辈JoniMitchell附体灵魂唱腔的调子也在这张专辑里绽放，整张专辑涌动电子碎拍、哥特这些超浓度的浮流。企图心永远不代表结果，这张作品没有在美国开花结果，反而差点把他们送出音乐版图。
昆汀·塔伦蒂诺及时拉了她、或者说他们一把，《杀死比尔2》的原声带里选用Shivaree的一首《Goodnight Moon》，甜美而颓废，备受追捧。很多人都是从昆汀迷人、歪瓜裂枣的电影音乐里发现自己原来是有品味的。
此后有<Who's got trouble>以及07年新的专集<Tainted Love>,都是值得一听的。

亚特兰大四人组Deerhunter是过去几年最多产、最受欢迎也最受争议的乐团之一，主脑Bradford Cox居功厥伟。
天生一副高瘦骨架，苍白而病奄奄的模样与其说是摇滚乐手，其实更像篮球队的板凳球员；他爱恨分明，时常祸从口出。然而自2007年的破茧作《Cryptograms》一路听来，你得承认他真有几把刷子。Bradford Cox将迷人的病态美灌入Deerhunter的音乐骨干：纹理纤细却经得起拉扯，貌似恍神实则招招命中要害。一旦听上瘾，就再也戒不掉。
Atlas Sound是Bradford Cox的个人计画，专门收录置于Deerhunter专辑嫌太轻、太柔或太实验的个人作，去年的出道碟《Let The Blind Lead Those Who Can See But Cannot Feel》让人惊喜听见Bradford Cox不设防的内心世界，今年这张《Logos》不仅延续了行云流水的风格，许多歌由于都在巡迴时顺手写下（譬如巴士、旅馆甚至场馆后台），《Logos》更有一种逐水草而居的游嬉感。
开头曲〈The Light That Failed〉悄声闪动的音波讯号，〈Attic Lights〉悠扬的小提琴与〈Logos〉鬼魅的电子琴，搭配暖烘烘的原音乐器与Bradford Cox漂浮在空中的歌声，这是Atlas Sound拿手的环境摇滚（Ambient Rock）绝活。不过团结力量大，《Logos》最脱俗的两曲，是邀来Stereolab女主音Laetitia Sadier献唱、长八分钟的神游太虚极品〈Quick Canal〉，及与Animal Collective台柱Panda Bear共谱的〈Walkabout〉。
如一首俏皮的摇滚童谣，听着〈Walkabout〉，彷彿躺回了无忧无虑的小学操场。哪怕童年，已是如此遥不可及。

In the spring of 2011 Be Forest‘s debut album, Cold, was released, causing an earthquake among the music press in Italy and abroad. Music zines started buzzing about the “Pesaro-scene”: a town on the Adriatic coast of Italy that gave birth to bands such as Soviet Soviet, Altro, and Brothers in Law (a band that shares Be Forest‘s guitarist Nicola Lampredi). The Pesaro-movement brought out sharp sounds, chilly atmospheres, and new energies. As the band describes it: “Pesaro is not a city for young people, there are less and less venues to play at, especially during the winter. Perhaps this lack is exactly what motivates kids to embrace music so passionately”.

10/25/93 Paris, France

Autumn's Grey Solace，美国Dream-Pop二人组合，女生Erin Welton负责主唱与填词，而Scott Ferrell是吉他手兼音乐主脑；前者靓声飘逸，后者梦幻奏乐，合作起来总能恰到好处，宛如云顶观世的一对。
如果说四年前他们自资出版的处女作Within The Depths Of A Darkened Forest是记载了其摸索阶段，而去年的Over The Ocean看到了二人找到该走的音乐路线，那么Autumn's Grey Solace的第三张专辑Riverine，则标志着他们的声音已趋向成熟浑圆。

2009/11/04(Wed) RELEASE
ZNR-077 　¥2,520（tax in）
【日本を代表するポストオルタナティブシューゲイザーバンド『Luminous Orange』 の竹内氏が自らセレクトした過去6枚の作品の中から厳選されたベスト盤をリリース！】
国内のみならず、海外でも評価の高いLuminous Orangeがなんと残響レコードとタッグを組みリリース決定。
過去に国内外の信頼すべきレーベルから次々と良質な作品をリリースしているLuminous Orangeが残響レコードとタッグを組み、ベスト盤の発売が決定。収録曲は、Luminous Orange唯一のメンバーである竹内里恵が、過去にリリースした全音源から厳選。収録される15曲の中には、2000年にトラットリアから発売され、近年入手困難であったマキシシングル「LUMINOUSORANGESUGARPLASTIC」、1998年に英国で発売された超レア限定7インチ「Puppy Dog Mail EP」からのセレクトもあり、ファンはもとよりLuminous Orange初心者でもマストなアイテムになることは間違いない。さらに名曲『Honey Eyes』や『Walkblind』を現在のサポートメンバーである河野岳人(b/マヒルノ他)、西浦謙助（d/相対性理論、進行方向別通行区分、他）、柳川勝哉（g/Caucus）と共に新規録音。もちろん全曲リマスタリング！
1996年の1stアルバムリリース以来、5枚のアルバム、1枚のミニアルバム、2枚のシングル他、コンピレーションにも多数参加。過去にはコーネリアス小山田圭吾の耳に止まり、氏が2002年まで主催していた伝説のレーベル、トラットリアにも参加した。 マイ・ブラッディ・ヴァレンタイン、ソニック・ユース、ダイナソーJr. といった由緒正しきギター・ロック・バンドの申し子である。だが美しいメロディーを支える、色彩豊かなコード感と、思いがけないリズム変化によって惹き起こされる、目眩のような感覚はルミナスオレンジ独特のものであり、時にポップに、時にアグレッシブに、その音楽を耳にした者を惹きつける力を持っている。
歴代のサポートには、アヒト・イナザワ(d / 現Vola & the Oriental Machine, ex. Zazen Boys, number girl)、平井直樹(d / Boom Boom Satellites, Original Loveサポート他)、中尾憲太郎(現Loves. ex. number girl他)といった凄腕ミュージシャンもおり、難易度の高い楽曲に遺憾なく発揮される彼らの才能も聴き所である。 NEW YORKで行われるCMJ Music Marathonや世界三大音楽カンファレンスの１つであるSXSW2006、2007に選出され、台湾の大型音楽フェスティバル「Formoz」などにも参加。海外のアーティストやレーベルからも支持されている素晴らしいアーティストである。 来年には、NEW ALBUMのリリースも控えている。

Indulging more than a little curiosity in synths, Silver Screen is a one-man project by Cris Miller, who creates gorgeous, airy pop songs in the style of Sarah Records' famous tradition of pastoral beauty. For fans of Blueboy, Field Mice, Shoestrings, and Sarah Records.