“through the window”发行于2010年3月，风格属于迷幻电子音乐。
在春天发行这样一张专辑，无疑是对歌迷最好的回报，因为这张专辑实在太适合在早春时节聆听了，春天很短暂，不像夏天和冬天那么冗长，春天往往是万物复苏，大地悄悄醒来的时节，对于人们来说，这时候需要一张清新透明，犹如春雨般的唱片来滋润我们被冰封已久的耳朵，于是，saycet发行了这张“through the window”，来帮我们敲开春天的大门。
继上张专辑之后这张《Through The Window》再接再厉进一步展现了他创作的功力，不论是纯旋律的还是有人声的，有层次感的键盘伴奏和微风拂面般的音效波纹一圈圈漾开后引起的舒适惬意，相当地让我的身心放松受益。这种造梦的音乐即使在白天听着也会惹人神思涣散，肉体和灵魂都会随着音符飘然不知所踪。值得一提的是本张专辑里的女声尤其让人耳旁一颤，有似曾相识之感，一查却发现竟是位名不见经传的亚裔人士(名叫Phoene Somsavath)。

Sublunar is the first full-length release from Kane Ikin who is also known as one half of the duo Solo Andata. Sublunar follows Kane’s solo debut Contrail (7”, 12k2022) picking up where that EP left off and pushing the boundaries outward in every direction into denser, deeper, wetter and more decayed terrain.
The word “sublunar” can be read to contain many conceptual layers important to the album. It is music about moonlight, darkness, the faintest hint of light and shadow.... Moons locked in orbit, repetition, gravity, weight, pressure... Subconscious, subliminal, distant, deteriorated signals, like radio waves lost in a noisy haze of transmission... and about dust, noise and oversaturation.
Kane conveys all of these ideas with little thought for technique, instead putting all of his energy into, as he puts it, “Quality of the sound, over quality of the sound.” His disregard for any “proper” recording techniques leaves Sublunar with waves tape hiss, buried details and sounds warped beyond recognition. Unlike other work Kane is known for there is a strong sense of rhythm on this album. Mechanical, yet natural, beats pulse in and out of time, washed away and then restructured by pulling the tail end of tape echoes forward into the mix emphasizing their warm, analogue flaws and giving the album a semi-structured feel, like the backbone of a long-dead creature buried in the earth.
Sublunar is Kane running free in his studio and, quite characteristically, utilizing nearly everything he can touch as an instrument; from grimey 78’s, uncovered from his grandfather’s shed, to early drum machines and analogue synthesizers, reel-to-reel recorders and anything within arm’s reach that can be hit, plucked, or bowed. Kane has a wonderful talent of turning his immediate world into a soundtrack for existance that speaks on a near-primal level.

The Brooklyn electro-acoustic duo Mountains have finally landed in a place as vast and awe-inspiring as the landforms they're named after. This is an album that causes you to view everything the band did before a little differently, turning 2011's Air Museum into a transitional piece, a necessary step in the build toward Centralia. Koen Holtkamp and Brendon Anderegg seem to alter their working methods with each passing release, choosing here to separately layer acoustic and electronic instruments, not manipulating the former with the latter. The technical details aren't too important; to pick apart who did what and where would cause Centralia to lose some of its magic. Instead, it's better to just fall into it, letting it wash over you again and again. The actual Centralia is a ghost town in Pennsylvania, a place with a population barely in double figures, condemned by a 1962 mine fire that made it largely uninhabitable. It couldn't be less appropriate as a title-- this Centralia is rich with connection, bustling with possibility. It's got life pulsing through it.
This is an album that finds Mountains expanding outward, replacing bungalows with steeples. Brian Howe noted that the duo "like a big canvas" in his review of Air Museum, but nothing from that album feels as all-encompassing as their work here. They've added a touch more movement to their music, with the perma-halt they get locked into mostly intact. But those changes in tone are often startling and moving when they appear. It's there in the unexpected rush of noise halfway through "Propeller", and in the lulling cello at the close of "Sand". Still, nothing resembles traditional song form, with Holtkamp and Anderegg finding strength in great circular drones, ring-shaped synth accents, and ruminative acoustic picking. Mostly it feels like more thought went into this work than prior Mountains records, with the inclination to spread themselves wide birthed through a rigorous attention to detail. There's a strong sense of objective and design, a feeling of being taken somewhere instead of getting deadlocked in one mood, one place.
That sense of creating shifting conditions is a key differentiator between this and any similar works. Centralia is primarily concerned with beauty and contact, creating hypnotic melodies that resonate with meaning as their looped paths uncoil. It's music to get lost in on a certain level, but you can feel pliable human emotions tugging hard on your shoulder throughout. Partly that's due to Mountains improving at integrating their earthy and otherworldly impulses. The acoustic plucking and blocky drones of "Circular C" don't feel like they're drawn from separate strains of thought, pushing folk traditions and analog synthesis together as if they were always meant to co-exist. Mountains' guitar work has often resembled Ben Chasny's Six Organs of Admittance output, and that remains a constant here, especially in "Tilt", a track that gathers poignancy as it gains momentum. Here, they're as skilled at change as they are at staying lost in time.
It's to Centralia's great credit that its 20-minute centerpiece, "Propeller", doesn't completely dwarf everything that comes before and after. "Propeller" is huge and masterful, the fullest embodiment of the "pure phase" aesthetic Jason Pierce was working toward on the Spiritualized album of the same name. The fact that it's a live recording, albeit one sweetened by a few studio tweaks, is particularly impressive considering the immaculate way all the parts twist around one another. It's here that the possibilities for this music seem boundless. This is music for wide open spaces, full of reach and depth. It's not exactly Mountains' gambit for the big time, but it is the kind of track that could open them up to a wider audience, principally because it takes what they do so well-- repetitive motions executed with ample emotional impact-- and blows it wide open. There are even a few power chords thrown into the following "Liana", further emphasizing the maximal strength Mountains have harvested for this release.
Holtkamp and Anderegg's bursts of robustness on Centralia don't quite tell the full story. It's matched by a tenderness that occasionally mirrors the kind of blues Dave Pajo was feeling circa Papa M's Live from a Shark Cage, and a hush that Jason Noble was reaching for in the post-classical outfit, Rachel's. There's a continuity between this and prior Mountains releases, but it's more grandiose than Choral, more focussed than Air Museum. In its longer stretches it's similar to the no-waste ethic of Swans' The Seer, where every tiny detail serves the bigger picture, where nothing in an ostensibly open-ended piece is allowed to drift unattached. Centralia is less severe than The Seer, but it's executed with the same unyielding desire to move and to feel. It's impressive how multi-purpose some of the tracks can be. You can zone out to the one-note drone that "Sand" arcs into for a while, only to be yanked somewhere else altogether when a great slide of strings pulls you down. That's the spot Mountains inhabit, in a capacious synchronization of the real and the unreal, a space they've gloriously matured into.

2011 album by former Cocteau Twins member Robin Guthrie and Harold Budd; unquestionably the two masters of sonic beauty, minimalism and modern ambient.

As COCTEAU TWINS guitarist and producer, Robin Guthrie is the man responsible for creating that famous sound and opening the door for My Bloody Valentine, Slowdive, Ride, et al. Darla Records is very proud to offer Robin Guthrie's second instrumental album Continental. Dare I say... continental is Robin's strongest all-instrumental bliss out, or make out, record since Cocteau Twins. Robin gives more heart and soul on Continental than on his previous instrumental release Imperial. Continental is more focused, stronger in feeling, and in composition. Of course all of Robin's signature elements are here: Shimmering guitars, ethereal moods as fluid and deep as any of Eno's, and yes, he does at times thankfully bring the rock. The mood overall is classic Robin Guthrie. Fans of the Cocteau Twins and all they've spawned, please welcome back your daddy. This is the first of four new Robin Guthrie records for Darla. Robin's music is a treasure. He's one of the great all-time heroes of the current bliss pop generation, which includes Mahogany, Auburn Lull, Ulrich Schnauss, Manual, Sweet Trip, Windy & Carl, Landing, Aarktica, Yellow6, and many, many others.