曾受到Johnny Marr和Noel Gallagher两位摇滚巨星公开称赞是最佳英国新生代乐团的Temples，宣布即将在2014年2月10日发行首张专辑《Sun Structures》，由Heavenly Recordings发行。
首张专辑由乐团的James Bagshaw在Kettering的家中制作和录音，并由 Claudius Mittendorfer混音。谈到关于新专辑的「DIY元素」，James Bagshaw说：「这有点像是Joe Meek的方法（英国录音制作先驱），他在浴室录制歌曲的人声部分，我看到这种方式时，觉得（录音）根本没有任何限制。如果你知道你想要达到什么效果，总是会有办法解决的。」
Noel Gallagher之前对BBC Radio 1的偏颇让新团没有曝光机会时，也曾为Temples发声说：「近几年有很多不错的专辑但是你不会再电台上听到，Temples、Jagwar Ma. 很不错的东西，但是始终浮不出台面，你需要了解一下他们的世界。」

英伦乐队 Spiritualized最新专辑《Sweet Heart Sweet Light》带着厚厚70年代的声音，不论歌曲旋律、编曲、录音以及溷音的声音处理，总是让人不其然地联想起那个 「音乐乌托邦」 的年代，如专辑中一曲 《Little Girl》。歌词中更谈及了不少对生命的看法和体验。

“净化”Spiritualized 是由80年代著名噪音乐队Spacemen 3蜕变而来的，Jason Pierce离开乐队之后，没有延续一贯的实验噪音，而是转而探索英式迷幻摇滚，并由此组建了Spiritualized。乐队在92年发行了首张专辑《Lazer Guided Melodies》，取得了相当不错的成绩，接着在95年发行了《Pure Chase》，同样大获好评，而97年的那张《Ladies And Gentlemen We Are Floating In Space》则被认为是他们最具代表性的专辑，并在当年获得了巨大的成功，紧接着乐队借势又在98年发行了现场版的双张CD《Live At The Royal Albert Hall October 10 1997》，庞大的演出阵容，包括了从管弦乐团到福音合唱团，也使得这次演出异常完美。
Spiritualized的音乐总是带着浓厚的布鲁斯和福音的味道，从60年代以来，很少有英国乐队给人这样的感觉了。“净化”的音乐有一点儿奇怪，他们有足够的能力做出旋律优美的调子，但却往往要用失真的吉他音墙去破坏它，仿佛噪音有一种魔力似的，而主唱的唱腔也总是保持着冰冷的感觉。“ 净化”不喜欢平铺直叙的田园风情，他们更喜欢鳞比栉次的音乐宫殿。
2001年，“净化”推出了第四张录音室专辑《让它没落》(Let It Come Down)，此时“净化”已真正变成以杰森·皮尔斯一人为核心的乐队，包括杰森前女友凯特·雷德利等成员都已纷纷离开。但专辑依旧延续以往的华丽阵容，参与的乐手多达上百人。2003年的新专辑《惊异的优雅》(Amazing Grace)是在几星期内录好的。更多粗糙原始的音效代替了华丽管弦，新专辑的歌曲在结构上更为传统，这和前几张专辑的太空迷幻倾向有着非常大的不同。封面上那赤裸的手臂似乎预示着杰森在追求更“净化”的音乐。专辑中请来了埃文·帕克(Evan Parker)、哈恩·本尼克(Han Bennink)等自由爵士乐巨匠担任乐手。在访谈中杰森对能和这些音乐家合作表示非常兴奋。谈到新专辑的变化，他说道：“其实并没有刻意经营或追求什么，事物的发展往往受很多因素的影响，但我想最主要的一点在于我们总是尝试做一些不同的东西，而不考虑它是不是有正确答案。”谈到杂志的评价，杰森颇为不屑：“在任何一个时期，英国的音乐媒体都会找出六、七张唱片并吹嘘它们是‘划时代的’，媒体就是靠这个运作。我的成就感在于唱片获得了和它的价值相符的回报，以及它完全为我个人的音乐抱负服务。我其实并不需要很多人跟我说这是张伟大的唱片，并从这种赞扬中得到满足，从别人那里得到赞扬是件极容易的事，以至于很少人会对你说：‘坚持下去，你所做的并不如计划中的那样好。’这就和皇帝的新装一样，不是吗？我并不以杂志的赞誉获得满足感，我1995年的唱片《纯粹状态》几乎没有得到任何回应，《NME》给它打了5分，满分是10分。不幸的是《NME》是英国大多数年轻人音乐口味的仲裁者。我可不认为《纯粹状态》在任何一个方面比《女士们先生们我们正在太空里漂浮》差，我更没有兴趣为了讨好媒体去做一张唱片。摇滚乐最让我热爱的一点就在于它的表达，你可以在歌词中述说一些老掉牙和俗世的事物，但当你把这些事物和音乐结合起来，它们就立刻变得富于幻想性，就像令人惊艳具有魔力的诗歌一样。例如你可以说‘我不能停止爱你’或其他类似的话，这些话本身其实是没什么特色的，但和音乐结合在一起，它们就具有了魔力。”
不像“石玫瑰”那样优美，也不是“收音机头”那般沉溺。在顶级的英国乐队中，“净化”是如此与众不同的一个，它是一种缓慢而持久的药物，用来医治灵魂和心灵。

Full length follow up to SBR-045 Ancient Land EP from Jan.2011. For fans of Brian Jonestown Massacre, Woods, Kurt Vile. The Holydrug Couple have done a lot of growing since their first release with Sacred Bones Records in 2011. The couple , consisting of Ives Sepúlveda and Manuel Parra recorded Noctuary in Santiago, Chile. They put together a home studio and recorded the entire album themselves, from start to finish. Feeling that no one else had been able to capture their sound, Ives decided to take a risk and produce and engineer the album on his own. After four months of obsessively working and barely leaving the house, Ives emerged with a final product of which the band is truly proud. All of this hard work has manifested in a more elaborated, astral sounding album than its predecessor, Awe. While Awe and their Ancient Land EP had a bluesier, woodsy sound, Noctuary plays out like a slow motion 60 s beach party dream that you never want to wake from. This is not your typical motorik beat kraut album; rather it sounds more like a breezy take on Love or Beau Brummels. The way that songs like Willoweed and Paisley flow seamlessly into one another, it is easy to see how listeners will become entranced by this new, dream-like world that The Holydrug Couple have created. These two stand-out tracks, as well as Follow Your Way really exemplify the growth of this band and signify the new direction they re headed in.

Hobo Rocket is the fifth LP from Perth, Australia based five-piece Pond. Made up of Nick Allbrook, Jay Watson, Cam Avery, Joseph Ryan and Jamie Terry, the band set out to make a record that captures a portion of rock music's great, decadent history through a personal lens.
Hobo Rocket is brief and dark. It captures the live intensity the band cultivated during their tour across a large swath of the world around the release of 2012's Beard, Wives, Denim. "This album is supposed to represent that thrill that I get watching Youtubes from [the Beard Wives Denim] era," says Watson. "That thrill that we never had on record. This was our attempt to make it tuneful, not just yelling and throwing each other around."
While that album was made up of lush thickets of sound that untangled themselves into languid mini-epics, Hobo Rocket casts a shadow across that, bottling the confrontational energy of their live show, tightening up their arrangements and spitting them back as compact whirlwinds of sound.
"It was the kind of mindset of finding our own little place in music," says Allbrook, "and being more of a functioning band, which is what makes it noisier and denser. This one we went as brutally hard as we would at a show. We wanted the songs to sound loose and live."
Single "Xanman," long a live staple, is built on anthemic guitar stomp and drum breakdowns that warp into a vortex of loopy intensity. Allbrook's vocals whoop into drawn out yowls and almost-past-the-point-of-sanity distorted rasps that would sound pretty perfect blasting from the tape deck of a flame-decaled Camaro in just about any decade.
But Pond are not a retro or ironic band. They genuinely love what has come before in rock, but they don't have a problem skewering the genre in all its comically over-the-top glory. This love and perspective comes across in all the songs on Hobo Rocket, which is vital but reverent.
The impetus behind Hobo Rocket, like the rest of their back catalog, is to make music that their teenage selves would listen to, while still creating deeply layered songs that engage with their current interests. "There was more attention being paid to being our own band," Allbrook says, “rather than just doing the first thing that came to our heads which was also usually the last thing that had gone into our ears.” There's genuine love and perspective here - the tracks are messy, imperfect, jagged and real.
Hobo Rocket is a diverse album: from the groggy spoken word of the title track (featuring Perth fixture Cowboy John on vocals) to the glittery psychedelia of "O Darma" to the ominous Black Sabbath stomp of "Aloneaflameaflower." The record is, first and foremost, a deliberately fun listen, but it's worth digging deeper to discover a conflicted, sometimes sweetly sad, raucous love letter to a genre with no shortage of awesomely weird moments.

Trust Now is the keystone album of Brooklyn's Prince Rama. The album takes the kaleidoscopic mysticism of ancient devotional music and focuses it through the fierce urgency and archetypal language of pop, forming an environment that is both accessible and impenetrable. Deep synths rise from a sparkling sea of gamelans and prayer bells as tribal drums pound the earth with the hypnotic power to heal or destroy. Voices carry captivating and haunting melodies that shine like the diamond jewels of old Bollywood soundtracks spilling over dark wave dance floors.
First conceived as a ritual to be performed live, the songs were fittingly recorded inside a 19th century church in Seattle by Scott Colburn (Sun City Girls, Animal Collective, Arcade Fire). As their 5th full-length album, and first as a duo, Trust Now is perhaps Prince Rama's most focused, cohesive and powerful album to date.

Accomplished at the end of some little panel of eternity, Orval Carlos Sibelius’ first self-titled record is a joke, and such for quite a number of reason. First and foremost, because this miraculous debut album is not really a debut album – Axel, who hides himself behind this mysterious alias, as if it didn’t really matter, used to electrify the hearts of the French underground a few years ago, using the Snark moniker.

Going up and against the streams of our time, Axel records on a plastic recorder, he likes to stretch his recording sessions over time (between the first brick and the last piece of tile, this one album took 5 years in the making), and he loves progressive rock. He is an eager musicophage, who belongs to that little group of people who likes to spend time deciphering the mathematic melancholy of Robert Wyatt (and also belongs to that even smaller group of those who actually know what the latter is about), the eager passion for the raw gold of ELO, early Yes or Genesis material, the tempi craze of math rock. Constant interferer of line spaces, he also likes to fill up his sweet and complex, songs, foliated with unexpected surprises of truncated bars, with non-western clutter, resonances of weird strings and sun lit bazaar. And he always stands, hand in hand, next to his unblinking doppelganger, the actual Orval Carlos. Superb and cool-headed, virtuoso, amazing lover, he is his permanent skyline, his musicianship ideal, his dream of a composer, dream of a musician; he is also the one to which he can attribute the words "I wanted to revisit the melancholic harmonies of the old masterpieces of Yes or Genesis, which have deeply marked me when I was a teenager".

Ladies and Gentleman...之後，Jason將所有隊友解僱，重新召集另一批樂手，並將這張新專輯伴奏樂手數目增加至接近九十人，實行與Sonic的Minimalism對抗。

The Complete Works Vol. 1

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The Earlies are an American/English collective who produce the kind of music you’d expect Brian Wilson to create if he was just starting out today. Their 2004 album ‘These Were The Earlies’ is a sumptuous trawl through dreamlike soundscapes that recalls Spiritualized, Neil Young and even Phil Spector at their most blissed out. A mesmerizing record from a truly awesome band. . Names/Warner. 2004.