离开4AD以后的Lisa Germano终于还是无法割舍自己对音乐的热爱，在2003年推出这张Lullaby For Liquid Pig，继续着她以往的迷幻呓语风格，仍旧不变的主题是人们心中最细腻脆弱的部分，关于人与人相处的微妙感受。
Lisa总是特别的敏感，但她的歌总是能打动我，不管什么时间地点，下午或者是深夜，家里抑或是街上，只要有她的声音相伴，总觉得心门敞开着，但又无比孤独。或许是经历上的相似性，听了很多年的音乐了，也认识无数这样的歌手，也只有她的东西是我不太愿意去分享的，她的音乐也是如此自我，像Small Heads那首歌唱的“The world revolves around you,but it revolves around me too,so how could we see the same one?It's a lonely life,what a lonely life,it's a lonely life!”曲调总是美到窒息，在听不懂歌词的情况下（她低沉的声音，总是像梦话一样）也同样感受到她音乐所表达的东西。然而也许正是因为她的东西总带有类似于“自传”的成分，注定她并不是那种每个人听了以后都能找到自己影子的作品，她坦白诚实的歌词完全剖析了她的为人方式，她就像她的歌写的那样，很孤独，但是将自己的热情狂野用音乐的方式展现出来。
她曾在某个采访中讲到这张专辑，她回顾她的音乐生涯，从担任John Mellencamp专辑的小提琴手为自己赢得声誉，90年代初发行第一张专辑On The Way Down From The Moon Palace，从加入4AD公司到合同期满，在好莱坞的Book Soup工作，从帮助Neil Finn，David Bowie等歌手制作专辑到这张专辑的问世，她的音乐主题并没有随着生活经历的改变而改变：她唱的一直是她困惑而有兴趣的内容，即使很多人认为这张专辑是在探讨她本人的嗜酒问题，她说她一开始也以为Lullaby For Liquid Pig是关于酒鬼的，后来发现事实并不是这样，Lullaby For Liquid Pig是一张在深夜里听的专辑（也许因为这些歌曲的创作都是在她每天从Book Soup下班后完成的，或者她本来就属于黑夜的静谧安逸），尽管她本人并不喜欢热闹，却也写出了It's party time这样的歌曲，还有Paper Doll，依然是在讲支离破碎的人际关系这个对于她来说的永恒主题，少了Experts From A Love Circus的自嘲和Slide的华丽柔美，这更像是催眠曲（不是摇篮曲），她觉得生活即使是这样她依然可以用她的方式去反抗，抵触，但这又同时是一种小打小闹式的享受，她还是很快乐的。
还记得头一次听到她的声音是在Underworld的电影原声里，因为本来就是偏爱女歌手，所以基本上买那张CD就是为了她（当然还因为有David Bowie,他们还是好朋友），那张专辑里收录的From A Shell同样来自这张Lullaby For Liquid Pig，我当时就被她的声音吸引了，给人太多平静，Bring Me The Disco King的这个混音版本里，Bowie毫无疑问是主角，但她的钢琴和低吟也太有魅力。她的歌无论什么时候听，给人的感受都像是头次接触时的那样，像很醇厚的美酒，也像怎么也醒不来的梦境。
她在和OP8合作的那张Slush里有首歌叫It's A Rainbow，我猜那才是写酒鬼的，但是听的时候真的感觉看到彩虹一样:Feel the bottle，In my stomache，Alcoholic, Alcoholic，That's a word my friends call it...那种感觉总是想去回味，而不是去遗忘。
Lisa Germano's music has always had an out-of-time quality to it, but never more so than in the current musical climate, where toughness and a jaded attitude dominate almost every style of music. The almost complete lack of hardness — both sonically and lyrically — in Germano's work is both a blessing and a curse, perhaps limiting her audience but making an indelible impression on those she does reach. Her fans won't be disappointed by Lullaby for Liquid Pig, a concise but evocative album that sounds all the sweeter due to her long absence from the music scene. Once again, though, the strangely timeless quality to her music makes the long gap between Slide and this album irrelevant — Lullaby for Liquid Pig is very much of a piece with the rest of her gently brave, individualistic work. While her music has never chased trends, the weightless, shimmering sound that Germano has pursued since Geek the Girl still manages to sound much fresher and more innovative than that of artists who reinvent their sound with every album. Like Geek the Girl, Lullaby for Liquid Pig is something of a concept album, revolving around addictions of all kinds, not just the alcoholism that the album's title obliquely alludes to. It's not so much the addictions themselves that Germano explores as the desires and delusions behind them, which she expresses beautifully on "Dream Glasses Off" and "From a Shell," a pair of songs that melt into each other and repeat the phrases, "someday someone is gonna love you" and "it's the buzz, it's the buzz," as desperate mantras. Whether it's love or alcohol, the album says, it's the same addiction to hoping that someone or something is going to save you from yourself. While Lullaby for Liquid Pig's subject matter is typically dark, on the whole the album is more like the bittersweet meditations on Excerpts From a Love Circus and Slide than the truly tormented-sounding Geek the Girl, although in the topsy-turvy world Germano creates here, the superficially happy-sounding songs carry more danger than the brooding ones. The weirdly loopy "Candy," with its bright and hazy textures, and "It's Party Time," which sounds like bubblegum pop that's been broken and reconfigured and alludes to the Troggs' "Love Is All Around" and Neil Diamond's "Red Red Wine," have a disturbingly woozy quality that sounds like sinking into a blissfully ignorant narcotic cocoon. Conversely, the album closes with a few dark yet oddly hopeful songs like "Into the Night" and "...To Dream" that suggest that some kind of happy ending is still within reach. Imparting its wisdom and melodies in fits and flashes, Lullaby for Liquid Pig is nevertheless one of Lisa Germano's most accessible works yet; with any luck more fans of challenging but beautiful music will catch up with her this time around.

那些不熟悉4ad的朋友，可能对Swallow这支乐队知之甚少，其实Swallow也只是92年在4AD下仅发了一张"Blow"和混音辑"Blowback",94年之后就转投到Rough Trade旗下了。
半实验仙音吉他二人组(我很少把"仙音"这个词安到某个乐队身上)swallow越看越像是一队玩票的,要不然怎么这么多年来二个人一点动静都没有!玩神秘玩失踪也不用这样对待fans嘛!
由mike mason和louise trehy组成的Swallow可谓又是一队给人忽视的4AD乐队,原因?很简单,生不逢时.但如果听惯dreampop的耳朵对他们的声响都会很敏感,你只要比较一下90年代初那拨dreampop/shoegazing队伍的东西,你会发现swallow的声音真的是独此一家别无分号,Cocteau Twins和Lush完全盖不了他们.

同为4AD公司旗下的仙乐派乐队，这张Spooky 专辑里的 Take (典型的Cocteau Twins吉它音色和节拍！) 、Untogether、Monochrome等曲目清晰地反映出了Cocteau Twins 对她们音乐取向潜移默化的影响力。

LUSH来自英国著名独立音乐大本营/唱片公司4AD。独立公司的意思是指不附庸于任何一家超级垄断唱片公司址下，完全实行自立、自主的独立操作原则；更重要的是每个独立唱片公司都有一个个性强烈的音乐指向/氛围，即其旗下的乐队/个人都有一个大概统一的音乐风格范畴；另外，这类唱片公司一般是将艺术家创作的自由度放到最大，而不会为了商业效果而去过分的约束、限制。4AD是这一领域佼佼者，它不但坚持了20年屹立不倒，不为大公司所吞并，而且始终坚持了自己独立的音乐态度。
比起其他80年代末期同时崛起的英伦团体，在1998年成军，Lush的命运似乎走的特别坎坷，因为除了主唱Chris Acland后来不幸于1996年因为长期忧郁症而上吊自杀外当时的乐团的发展又因Shegazing乐派如慧星般迅速崛起,离散而让Lush的组团命运也随同大起大落,只到1998年宣布解散而结束。
一般而言，Lush或许未如同乐派的My Bloody Valentine 或Ride那样受到乐评界的诸多推崇，但不可否认，身为低调厂牌4AD仙乐派主要代表乐队之一，他们对于当时的乐坛发展规律着实有其重要的贡献。有人称其为强硬派女权主义乐队，但在他们的音乐中，往往是仙乐缥缈的女声伴随着甜美的白色Guitar噪音，营造出一种异样的美感，也可以这样说，他们踩在了Cocteau Twins的肩膀上，但是比他们的前辈更进了一步。"Light from a dead star"就是他们的绝出代表作。聆听那来自星辰的梦幻灵声，已经超越了现实的空间和时间，配乐更是达到了完美的境界，已来不及区分音乐与床的不同，能带来如此美妙的梦境，堪称唯美另类的不朽之作！

张爱大神在其红学评述《红楼梦魇》里说人生有三恨：“一恨海棠无香,二恨鲥鱼多刺,三恨红楼梦未完”。再套用她的《红玫瑰与白玫瑰》的句子：或许每个人生命中都有三件恨事。对于我来说，一恨王菲不再唱歌（很有可能，哭），二恨没亲身感受过她的演唱会（貌似这辈子不大可能了，再哭），三恨总是钱包空空，四恨知音难觅，五恨有才华的人总是被淹没（像我这种没才华的不在此列），六恨“流光容易把人抛,红了樱桃,绿了芭蕉”，七恨......你有完没完啊！讲重点！（眼看无数板砖飞过来）。
Lush就是空有才华，可是知音太少的例子。Emma和Miki两人在读书的时候就彼此认识，两人都是那种时而眼露苍凉的女孩子，青春是焦躁不安的，她们在音乐中找到了安慰。最开始的Lush是五人组：Steve Rippon, Emma Anderson, Meriel Barham, Chris Acland和Miki Berenyi。Meriel刚加入没几天便跳到另一支乐队去了，而Steve在发行“Spooky”专辑后也离开了乐队，原因是他想专注于写作。他的位置由Phil King替代。这四个人组成的Lush一直坚持到98年乐队解散。
Lush的首张专辑“Spooky”由CT的Robin Guthrie制作。首次登上公众舞台的Lush，凭这张专辑小小的打响了头炮。专辑不但打入英国专辑榜前十，而且成为当年卖得很好的独立音乐专辑。只是评论的目光大都集中在Robin的制作上，那时CT刚发表完他们商业上最成功的"Heaven or Las Vegas"不久，评论对“Spooky”这张专辑中迷人的吉他音墙和吉他回授赞叹不止，Lush的光芒似乎有点被掩盖了。不过专辑卖得好总不是坏事，Lush也凭该专辑参与92年的Lollapalooza音乐节并进行美国巡演。
94年Lush发表第二张专辑“Split”。这张专辑才是Lush才华的真正体现！两位女将Emma和Miki在此专辑中展现惊人的才华。“Light from a Dead Star”空灵孤寂，淡薄如云烟；“Kiss Chase”和“Blackout”旋律优美，吉他和鼓却躁动不安；“Hypocrite”戏谑好玩，间或的吉他噪音非常惊艳；“Lovelife”是首甜美的小情歌；“Desire Lines”，“The Invisible Man”，“Undertow”，”Never-Never“，”Stardust“不论是吉他部分的编制还是鼓点的设置都让人赞叹：“The Invisible Man”仿佛是部短小的DV惊悚片，有着一跌一起的戏剧张力；“Stardust”里漂亮的吉他音墙，到最后似乎马上就要燃烧掉一样；”Desire Lines"那种低调得忧伤的气氛深入骨髓，“Undertow”里一波波的肥厚贝司线在吉他声的催促下仿佛是大海汹涌的波涛，而“Never-Never”最后四分钟的器乐演奏回味悠长。“Lit Up”是首励志歌曲：虽然你的房间小如盒子，虽然你的朋友总是谈论无聊无趣的事，不过你那么年轻，你的未来是光明灿烂的，我保证一切都会好起来的。专辑在“When I Die”淡淡哀伤的旋律中结束，Miki轻轻的唱出吉他手Emma的一段逝去父亲的伤痛。
“Split”虽然发行于Brit-pop大行其道的时期，不过专辑销量很失败，因为一点都不“Pop”，艺术的东西是卖不了钱的啊。Lush虽然是支女性为主导的乐队，却不屑卖风骚，抱大腿。经过两年时间，Lush再次发表新专辑，“Lovelife”。
“Lovelife”终于让乐队的努力获得了一点回报。这张专辑流行性得以增加，“Single Girl”成为一首热门单曲，这张专辑成为她们卖得最好的专辑。虽然增加了歌曲的流行性，不过并没有减低其艺术性，这张专辑的一个基调似乎是讽刺和黑色幽默，像Miki与Pulp的主唱Javis合唱的那首“Ciao！”，两人从头到尾不带脏字的对骂，很搞笑。而“Last Night”和“Olympia”让我们再次看到一个内敛的Lush。
只是这张专辑发行过后不久，鼓手Chris Acland便因抑郁症而在父母家上吊自杀了。Chris的去世给予Emma和Miki极大的打击，因为他一直是联系整个乐队的纽带。98年剩下的三位成员终于宣告Lush解散。Lush虽然不复存在，不过Lush这样的例子从来不缺少，以前有，现在有，以后还会有......

Split is the third studio album by English alternative rock band Lush, released on 4AD on 13 June 1994 in the UK and a day later in the US. Two commercial singles were released from the album: "Desire Lines" and "Hypocrite," both released on 30 May 1994. Split was reissued by 4AD on CD in July 2001.

1988年LUSH乐队成立于英国伦敦，1998年解散。LUSH是4AD旗下一支重要的乐队，是自赏摇滚(shoegazing)风格的代表，密集的回授吉他和优美的旋律是乐队的两大特点，虽然乐队没有象4AD旗下一些乐队那么被大众所熟知，但LUSH的音乐却是绝对非一般的缥缈唯美。
ciao!是lush的精选集，轻轻撩拨的流丽吉他，玲珑通透的乐声似月光下微漾的涟漪，女主唱Miki Bierenyi幽谷百合般纯净的吟唱，伴着缥缈的隐隐绰绰的背景和声，飘忽迷离。
1988年乐队成立于英国伦敦，是自赏摇滚(shoegazing)风格的代表乐队，密集的回授吉他和优美的旋律是乐队的两大特点，虽然乐队从没有象他的同类乐队一样被大众认可，但他们却有着比他们更长的生命力。主唱Chris Acland后来不幸于1996年因为长期忧郁症而上吊自杀外当时的乐团的发展又因Shegazing乐派如慧星般迅速崛起,离散而让Lush的组团命运也随同大起大落,只到1998年宣布解散而结束。LUSH没有同类“我血淋淋的情人节”的高评价，在巾帼济济的4AD中，没有受到过多的推崇，但她对当时的乐坛发展确实有重要的贡献，仙乐飘渺的女声拌着甜美的白色吉他噪音营造出一种异样的美感《WHEN I DIE》《LIGHT FORM A DEAD STAR》（来自死亡星辰的光）都是她的佳作，均出自她的第二张专集《SPLIT》。乐队由四人组成.乐队由四人组成，女主唱是日本和匈牙利的混血，忧郁并且美丽。
在他们解散三年后，4AD公司于2001年为Lush发行了最后一张专辑。这张专辑是一张精选集。ciao是意大利语，同时有”再见“，“你好”的意思。对于Lush的乐迷来说，这张是他们的绝唱；而对于那些不熟悉他们的人来说，这张可以让他们很好了解这支优秀的乐队。

LUSH来自英国著名独立音乐大本营/唱片公司4AD。独立公司的意思是指不附庸于任何一家超级垄断唱片公司址下，完全实行自立、自主的独立操作原则；更重要的是每个独立唱片公司都有一个个性强烈的音乐指向/氛围，即其旗下的乐队/个人都有一个大概统一的音乐风格范畴；另外，这类唱片公司一般是将艺术家创作的自由度放到最大，而不会为了商业效果而去过分的约束、限制。4AD是这一领域佼佼者，它不但坚持了20年屹立不倒，不为大公司所吞并，而且始终坚持了自己独立的音乐态度。

When Rough Trade reissued the Pixies' seminal full-length debut album, Surfer Rosa, on CD, they added the terrific mini-album Come on Pilgrim as a bonus. While it's nice to have these two records on one disc, the sequencing of Come on Pilgrim after Surfer Rosa is a little disconcerting, since the two albums each have distinctive sounds that clash slightly. Steve Albini's production of Surfer Rosa is metallic and spare — it's in black and white, with no shades of grey and no color. Come on Pilgrim, on the other hand, is filled with greys and colors, and while the contrast between the two is certainly interesting, it would be more enlightening if the mini-LP was placed before Surfer Rosa. Nevertheless, some fans might like having both albums on one disc, but buying them individually is a better move and, in any case, a little more cost-effective as well.

转：Pale Saints在伦敦的处女演出即为乐队赢得了4AD的一纸合约，随后推出了《The Comforts Of Madness》(1990)、《In Ribbons》(1992)两张专辑唱片。Pale Saints的音乐以吉他为核心，分成3条线平行发展；清新爽朗富于韵律的、激烈癫狂的、低沉虚幻的。除了英国以外，Pale Saints在日本也很受欢迎，曾在日本发行过一张专辑《Mr. Dolphin》。

放上来的《In Ribbons》，风格更为清新飘渺，是4ad公司出品的又一张出色的Dream pop 唱片。

这张是Lisa发行的第一张专辑，上面的作品基本上都是在她自己的家里完成的，但已经充分显示出她的多才多艺，除了她具有强说服力的小提琴演奏以外，她还可以熟练的将手风琴，曼陀林，吉他，钢琴等乐器一并融合到她的音乐里，比如奇特的民谣Riding My Bike，纯音乐的Calling,Simply Tony,甚至十分流行化的Guessing Game,Haning With A Dead Man等等，无一不将她在音乐上的功底展露的十分漂亮。
On The Way Down From The Moon Palace是张制作成熟的作品，同她以后的作品Geek The Girl和Experts From A Love Circus的怪异不同的是它听上去更加的偏向主流，但对于头一次发行专辑的Lisa来说它仍然明确的指示了她以后所逐渐完善的个人风格，因为整张专辑贯穿的不统一的风格可以在她以后的每张专辑里找到影子，所以说这是个好的开始。
同之后作品给人的昏黄迷暗色调相比，专辑封面的深紫色也略有不同，更明显的是Riding My Bike的MV中透过滤镜处理后的那种深蓝，冷色调的Lisa，略显憔悴的脸，凌乱的长发，有些不谙世事，而后来的Dresses Song的MV里，她就已经会用笑容和十分眩目的色彩来表达自己，我想这也能见证她的逐渐成熟吧！

One of two co-released EPs released as a teaser for the final Cocteaus album Milk and Kisses, the other being Otherness, Twinlights stands on its own as being as close to an "unplugged" effort as the Twins ever got. Rather than being a series of folky strums, though, the Twins brought the same elegant arrangements and performance to the songs as to their work in general, prominently using piano while ditching percussion entirely. Two numbers eventually appeared in full-band form on Milk and Kisses; the opener, "Rilkean Heart," was stripped down here to piano and bass, with Fraser's singing as lovely as always. The other, "Half-Gifts," benefits from a striking string arrangement exclusive to this version, preserving the gently passionate beauty of the Milk and Kisses take while adding a further resonance. One song appeared only here, "Golden-Vein," with very understated acoustic guitar added to the mix. "Pink Orange Red" was the one remake of a past effort, keeping the same pace and general arrangement of the Tiny Dynamine original, but otherwise undergoing a striking revamp. Piano replaces the opening guitar washes and main melody lines, Fraser's singing is much more low-key, and the marvelous descending chords after each chorus are performed on vibes. It's an imaginative and quite successful revision, testimony to the release's overall success.

* Produced by Ivo and Cocteau Twins.
* All titles written by Cocteau Twins.
* Engineered by Eric and John at Blackwing Studios.
* Thanks to Ivo, Vince and Nigel.
* Art direction, design and photography by 23 Envelope.
* Additional Peel Session vocals on "Dear Heart" and "Hazel" by Gordon Sharp.
* Lyrics from "But I'm Not," "Shallow then Halo," "Garlands," and "Grail Overfloweth" are printed on the inner sleeve of the vinyl release.
* The bonus Peel Session tracks on the original compact disc and audio cassette releases have the songs Hearsay Please and Hazel listed out of order.
* A remixed version of "Wax and Wane" is available on the 1985 release The Pink Opaque.
* Peel Session recordings were later released as part of BBC Sessions, in 1999.
* A remastered version of "Blind Dumb Deaf" appears on the 2000 compilation Stars and Topsoil.
* "Wax and Wane" was performed during the 1996 Milk & Kisses Tour, mixed live by Mark Clifford.
* Garlands was digitally remastered and re-released by 4AD in 2003. The artwork for the first pressing of the remaster incorrectly labels the track "Blood Bitch" as "Blood Bath." It is a typographical error that was subsequently corrected.
* Voted #59 of "Scotland's 100 Best Rock and Pop Albums" in 2003

2003 4AD reissue of 1988 album remastered by guitarist Robin Guthrie.

2003 4AD reissue of 1983 album remastered by guitarist Robin Guthrie.

Four-Calendar Café is the seventh studio album by Scottish alternative rock band Cocteau Twins. It was originally released on 18 October 1993 on Fontana.

Milk and Kisses is an album by Cocteau Twins issued in 1996. It proved their last; a meeting two years later to record a new album ended with the breakup of the band.
The song "Rilkean Heart" is a homage to Jeff Buckley, who was a lifelong lover of the work of poet Rainer Maria Rilke.
The Asian edition of Milk and Kisses contains two bonus tracks ("Flock Of Soul" and "Primitive Heart") and a version of "Serpentskirt" sung by Elizabeth Fraser with C-pop artist Faye Wong as a duet. Wong later recorded an acoustic version of "Rilkean Heart" in her 1997 album Faye Wong, in which Guthrie and Raymonde also wrote a new song "Yu Le Chang" ("Amusement Park") for her.

Cocteau Twins是支来自苏格兰的三人乐团。迷朦的音乐气氛下优美夹着伤感，又流露出强烈的死亡浪漫。天才吉它混音大师Robin营造出阴冷颓唐的旋律，再加上女主唱独一无二的声线使他们成为另类音乐界最美的声音。
早期的Cocteau Twins成员是由吉他手Robin Guthrie，女主唱Elizabeth Frazer及贝司手Will组成。82年在4AD旗下发表了首张专辑Garlans(花环），显然那时乐队的风格和大家印象中的仙乐迥然不同。Rob迷幻缥缈的吉他Will沉实的贝司在机械鼓机的衬托下充满着狂野的后朋气息。专辑推出后受到了地下音乐界教父之称的John Peel的赏识，同时在英国独立音乐界引起了不小的轰旋律动，被称为是难得个性化的作品。
真正奠定Cocteau Twins日后风格的是1983年的专辑Head Over Heels(从头到脚），这时的Will已经离队，乐队找来了新的贝司手Simon Raymonde。专辑中那迷离缥缈，迷乱沉重的伤感氛围和低调复古的音乐路线形成了Cocteau Twins日后真正的取向。Head over Heels成功的打入了英国独立大碟榜的首位。同年EP作品Sunburst And Snowblind也成为细碟榜的冠军作品。无论演奏技术和录音技巧上乐队越来越趋于成熟。
提起Cocteau Twins不能不提到着名的<Treasure>（珍宝）这张84年发行的惊世骇俗之作。中世纪的音乐强烈的巴洛克风味，多声部旋律，音乐鲜明的对比，优美又不缺乏震撼力。但ROB表示自己不喜欢这张专辑，可能缘于Treasure商业方面取得的成功，被多家杂志评为年度最佳，LIZ即被评选为最佳女歌手。Treasure被乐评界称之为“The Voice Of God"(天神之声）。封面图片也透露着清冷怪异的气息，与整张专辑的风格相得益彰。不可否认Treasure做的是如此完美，超脱，是我的至爱。