This is our last album. It took us over two years to make, a lot longer than we expected. We put our all into it, and we hope that you enjoy the results.
credits
released May 31, 2019
Produced by
Jamie Ward and Her Name is Calla
Recorded by
Jamie Ward at Seamus Wong Studios
Additional recording at home
Mixed by
Jamie Ward (1,2,5,6,8,12,13)
Tom Morris (3,7,11,14,15)
Adam Weikert (4,9,10)
String arrangements by Adam Weikert
Audio sample in Deer Trapping taken from the adventures of Lightfoot the deer by Thornton W. Burgess
Artwork by TRUE SPILT MILK DESIGNS
[i don’t want to be a stranger in a strange land anymore.
see you in the next life]

Laced Records have teamed up with 65daysofstatic and Hello Games to bring you No Man’s Sky: Music for an Infinite Universe across digital, CD and vinyl formats. After the track ‘Debutante’ accompanied the first reveal of No Man’s Sky in 2013, the band spent over a year composing original music for the game’s soundtrack. No Man’s Sky’s procedurally generated universe is unlike anything yet seen in the gaming world, and 65daysofstatic’s sonic assault is equally ambitious. The release itself comprises 10 tracks of original music, plus a second collection of 6 soundscapes and sound design, an all-encompassing journey of almost two hours. The 6 additional soundscapes are exclusive to the Laced Records release.
No Man’s Sky: Music for an Infinite Universe is equally grand in its ambition, an experimental and overwhelming sonic experience that pushes 65dos into new territory while retaining their innate sense of relentlessness, driving rhythm, and a tune you can hum.

来自广州的器乐/后摇乐队Space Station（空间站）于2015年7月12日发行首张专辑《Space Station》。本专辑由乐队独立发行，收录了六首他们组建一年以来的创作结晶以及一首改编自广州独立乐队YourBoyfriendSucks！的作品。
他们的音乐不同于很多国内后摇乐队的温文尔雅，高山流水。他们更喜欢有强力的节奏，磅礴的音墙，以及独特的音效来营造氛围。这注定使他们即将发行的首张专辑将要面临市场的考验。即便如此，乐队并不以为意，也从未考虑过要去迎合，他们的音乐是他们自我形态的演绎。无论是现在，还是未来，始终如此。
在Space Station音乐里，青春时期的回忆是一个主题，歌曲故事来自城市的每个角落：那个闷热的下午，阳光从城中村狭小的铁窗照进来，映照着逝去暑假的模样，那些在如诗的旋律中诉说的淡淡情愫，那个寒风凌冽的北楼岗，那群渴望闯荡的青年们，那场浇灌在交错巷道的细雨……那些苦涩心酸的往事，难得放晴的心情，还有模糊的世界观，总要把它们记录下来。
关于Space Station这个名字的起源，乐队更愿意把它当然一个符号，标记。事实上我们的生活中不乏无厘头之事。但如果我们要定义它，那它内在的含义就是——孤独，世界上每一个人都是孤独的个体，如同苍茫星空中的一座小小的空间站，亦或是小王子与它的B162小星球。孤独是人与生俱来的天敌，你无法去消灭它，你只能选择与它共存。就算我们幸福地生活着，它一直都在。

Every great passion ends in the infinite… Likewise, MOTEK are driven by instinct for sultry recollections of forgotten emotional states. Chaos, coincidence and stubbornness: Motek’s endless jam sessions result in combinations of melodies, rhythms and creative flaws. Recording and relistening them, MOTEK are able to reconstruct a few ‘holy’ moments into their songs. Their sound is crafted by effect-laden guitars wandering around needy bass and entrancing drums. On stage, MOTEK combine their music with images, imagery, and imagination. They are well-known for their particular approach to live concerts, interweaving songs and visuals into a vigorous performance.
Like Enola.be and nbhap mentioned before, ‘MOTEK is back’. Going back to their post rocking roots was their starting point, thus ‘Sonder’ contains six tracks of beautiful and intense post rock like you are used to from their earlier work.
Sonder means ‘the realization that each random passerby is living a life as vivid and complex as your own – populated with their own ambitions, friends, routines, worries and inherited craziness – an epic story that continues invisibly around you like an anthill sprawling deep underground, with elaborate passageways to thousands of other lives that you’ll never know existed, in which you might appear only once, as an extra sipping coffee in the background, as a blur of traffic passing on the highway, as a lighted window at dusk.’ – source

The post-rock grandeur of Explosions in the Sky lends itself well to movies and television, so much so that the Texas foursome are pretty much synonymous with Friday Night Lights. The instrumental unit will further capitalize on their cinematic flair by releasing their original score to Prince Avalanche, the latest film from director David Gordon Green.

Leicester's Maybeshewill have never previously done things by halves, they have always put the maximum effort into everything they have ever written, and their third album, 'I Was Here For A Moment, Then I Was Gone,' is no exception.
Opening track (Which is cleverly called 'Opening') is a brilliant orchestral piece, starting off the album in the style of 65daysofstatic. An epic drum line and choral singing help to create a dark atmosphere, which leads nicely into the second track.
'Take This To Heart' kicks in straight after 'Opening,' with no chance to sit back and take in what you just heard. Heavy guitar lines and violins give this song a very epic feel, which is what this record is about. This song is nicely unpredictable, every now and then the guitar stops and an orchestral piano or violin section will come in, which is really what helps to seal Maybeshewill's reputation as a great post/math/whatever rock band, I have never been able to make up my mind as to what genre to classify this band as.
Next track 'Red Paper Lanterns' starts with a calm guitar line, which then is layered with drums and xylophones to build up to a climax where everything goes very Explosions in the Sky-esque. Then everything goes calm again, with a synth interlude mimicking what the guitar was doing previously, all building up to a math rock guitar riff that seems very common in the current UK underground scene, reminiscent of bands such as Tubelord, Tangled Hair etc.
Next track and lead single 'Critical Distance' is a good example of how well this band can do post rock, I would have to, once again, refer to 65daysofstatic in order to describe how this sounds, but it's not in a way that they are ripping them off, more as in they are acknowledging what 65days are doing and trying to do similar. For me this is the best song on the record, a very good choice for lead single, and probably a very good way for people who haven't listened to Maybeshewill in the past to get into them.
'Accolades' follows with distorted guitars and a fast synth line in an odd time signature, this track is almost in the style of early Biffy Clyro, in the way that it is fast, heavy and unpredictable. Once again this song like most on this record cut out to a calm, almost orchestral section, then goes into a great calm build up which leads to what is probably the album's heaviest moment. The track leads into a quiet outro, while xylophones and sampled violins play what the guitar was playing prior to it. By this point I am totally won over by this album, listening to the next 5 songs is just a mere technicality that I have to do in order to give a fair review.
'An End To Camaraderie' is another brilliant example of how much talent this band has, there is so much energy in this song it becomes hard to sit still after a while. There is a brilliant background synth part in this song that you have to really listen out for, in my opinion it should have been turned up in the mix as it would have made this song so much better, but regardless this song is the best example of what this band does, heaviness mixed with ambience.
The album then leads into 'Words For Arabella,' a calm song, all the way through this time. This was a good tactical move by Maybeshewill, as everybody listening would be expecting this song to get really heavy like every other one on this album, but this keeps the album unpredictable. As well as working as a good way to maintain unpredictability it is a refreshing break from distorted guitars and loud drums, even if just for a few minutes.
Next up is 'Farewell Sarajevo,' which starts with ambient synths, this intro could quite easily go into a drum and bass song, but I am quite glad that it doesn't, instead going into a brilliantly formulated post rock crescendo.
Penultimate track 'Relative Minors' is the longest on the album, and is also the most epic of every song on it. With brilliantly thought out guitar melodies over distorted chord sequences, energetic drums over amazingly well sampled piano parts, this song just reinforces the great impression that the rest of the album has made, and cements them as one of the great post rock bands in the world, I expect one day to see the name Maybeshewill alongside Mogwai, Explosions in the Sky and Godspeed You! Black Emperor.
Final track, 'To The Skies From A Hillside' is a good way to end the album, with both guitarists contributing to what is essentially a 5 minute long riff with the occasional slowing down point, presumably because the guitarists need a second to catch their breath.
All in all this is a brilliant post rock album. It will not be everybody's cup of tea due to how hard some people find it to get into post rock, but for fans of the genre, it will win them over with no effort.

Jimmy LaValle's varied experience includes stints with Tristeza, The Locust, GoGoGo Airheart, The Blackheart Procession, and Sigur Ros. "Into The Blue Again" sees LaValle handling the bulk of the vocal and instrumental duties. After tracking, he took the concentric billows of feathered keyboards, filmy strings, and chiseled drums to Iceland for three weeks of mixing to tape to maintain Brian Eno-informed translucence. Having shared so much time and space with others on the road, LaValle proves, with this personally charged release, that The Album Leaf resonates most profoundly when he goes it alone.