Start Stop Worrying is the second full-length album by the Danish instrumental rock group The Shaking Sensations. Three years after the release of an EP entitled This Is Your Hellfire Religion, and 2 years after the release of critically acclaimed debut album East of Youth, the band now delivers their most mature output to date with their 2nd album, Start Stop Worrying.

Elara is a post-rock band from Italy which has heavy ambient and modern classical influences. The band Luigi Cerbone (Guitar, electronics, sounds & programming) was the founder, he first released an EP called “Starry night in a cold November” by himself in 2008.
Soon he met Alessio Tozzini (Bass) and Vincenzo Barbone (Drums) and they have been playing as a band since 2011. Band members told that band was result of the changes in their musical styles and concept and moreover, soon after that, "it came a moment of breathing space, the quest of peace and serenity."
These are the questions asked by the band:
"Is it possible, if only for a moment, to forget the frenzy of life?
Is it possible, at any time, anywhere you are, whatever you're doing, to take your mind back to the most exciting places you've ever seen, from the horizons that you have touched, to the nature that surprised you, to the single beat of the Earth that has allowed you to understand that whatever obstacle you're facing, somewhere there`s a lovely personal place where you can find peace and quiet?"
Elara continues:
"We tried to give shape to this need of the soul, notes and melodies, crescendos and atmospheres, which allowed us to fix forever the memory of those places and those emotions, which allowed us to create our own "Soundtrack For a Quiet Place."
The band decided to record a brand new 3 songs EP at the Domination Recording Studio based in the Republic of San Marino. Afterwards Greg Calbi, Senior Mastering Engineer at the Sterling Sound of New York, completed the mastering of the EP.
Elara is set to release their second EP “Soundtrack For a Quiet Place” with Fluttery Records in winter 2013.
credits
released 01 February 2013

Post-Rock，新专辑。

The Swan Thief is a paradox. Songs are detailed, layered, and technical in composition but devoid of philosophical meanderings. The Swan Thief focuses on what is commonly taken for granted: present sensory experience. Vocals are rare and actual words are even rarer, but act as another instrumental texture in a landscape of layered guitars and drums. Ranging from calm and collected to devastating and chaotic, the goal is to keep the listener’s senses guessing.
What started as a way of passing time in the quiet town of Paso Robles soon became necessary to live. Although members have come and gone, the core idea of a unique sensory experience has remained the same. The Swan Thief is Gabe Ulibarri, Evan Anthony, Chase Hall, and Alan Dahlquist.

来自长沙的器乐摇滚计划“伞（unrest in shadow）”的首张全长专辑
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小站：
制作人：阿聪
吉他：吉吉，于鹏，阿聪
编曲/录音：于鹏，吉吉，阿聪
bass：阿聪
封面设计/内页插画：子船
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2013年9月于Weary Bird Records | 倦鸟唱片（
）发行。

Margus Voolpriit, a drummer from estonian shoegaze band Pia Fraus, has traded the drums to computers and guitars. He's mixing electronics with shoegaze and post-rock in his solo project, Wolfredt.

我城黑雨滂沱 - 说说甜梅号新专辑 撰文: 詹伟雄
甜梅号的新专辑取名《金光之乡(Hometown of Glitter)》，关键字在于「Glitter」的一字二义，它既代表某个金光闪闪、扣人心弦的事物，又代表耀眼的光芒背后，一种深沉而惆怅的迷惘。
1971年，齐柏林飞船发行的单曲《Stairway to Heaven》，前两行歌词这么写着：「有一位确信所有发光事物都是黄金的女士，正要买一只通往天堂的梯子(There's a lady who's sure all that glitters is gold, and she's buying a stairway to heaven)」；当然，最终，女士并没有在天上的商街寻获黄金，但却让「Glitter」成为摇滚乐历史中一个亘古永恒的隐喻: 当社会疯狂地追逐夺目的光亮，摇滚客得孤独地咀嚼真实且巨大的黑暗。
70年代，正是美国与世界「敲打的一代」敲打芝加哥摩天楼与钢铁坦克的年代。
「金光之乡」是一张典型的后摇滚专辑，它没有歌词可明白地勾勒那黑暗，也没有主唱来嘶喊微光中倨傲的英雄身影，但就音乐形式的要素本身，听者应当可由钟铃般的电吉他拨弦到电气音墙竖起的齐奏间，探寻到台湾都市化生活中的孤独、黑暗与迷惘。
甜梅号，其实是台湾最具时代感的摇滚乐团，虽然，他们操作的是所谓的「后摇滚」(post rock)形式：让一般听众不耐的乐曲长度、扬弃主副歌的ABA曲式、像织绣花布般细密地建构旋律肌理、层层堆叠之后的爆发情绪、自高潮退烧下来的冷漠冰原之够冷够硬，主唱缺席或仅把人声当作另一种乐器……等等；虽然，也常有人说他们的音乐背后有着苏格兰乐团Mogwai的影子；但只要你生活在台北、台中、高雄，你岂会不对那四面八方的工业噪音(《吃伏冒有礼貌 our good strong neighbor》)有所共鸣，不为一把吉他与奔腾套鼓扬起的英雄气质(《1vs99 one versus ninety-nine》)所悸动，不因其精巧设计的都市田园牧歌(《关闭罐头工厂the cannery must go》)而记起童贞情怀曾那么永远、永远的失落。
虽然「敲打的一代」(beat generation)这一词已被Jack Kerouac在半个多世纪前用过了(他巧妙地把「beat/垮掉」转换成「beat/敲打」，殊途同归地呼应了摇滚乐在另一侧的崛起)，但千禧年后的台北、台中或高雄，你不觉得我们正也该拿些什么来敲打那些光鲜亮丽的摩天大楼与天堂幻想吗？
在英、美、欧洲、日本陆续崛起的后摇滚乐团，有着清晰的时代社会发展脉络：六、七○年代壮大的摇滚（吉他、套鼓与贝斯为基本组，以清晰可辨的riff结合强力节奏，外加破嗓主唱），因为大量成员的加入，逐步开始庸俗化(电吉他大厂Fender的产能1964年一下子扩大了三倍，因为自从Beatles上了Ed Sullivan的电视节目后，每个美国年轻人都得要把电吉他)，因而催生了80年代的庞克，他们不要Jimmy Page或Jimi Hendrix出神入化的吉他吟唱，而更强调直截了当的情感吐露与社会抗议，最好直接到把乐器当场摔碎；但正如所有艺术形式一样，当B咖和C咖一齐近来搅和，庞克就得必须被更酷、更本真(authentic)的音乐风格淘汰。
8、90年代交错之际，「后摇滚」诞生了:: 好吧，既然有人声就免不了矫情，那就更纯粹点，回到基本的乐器声音就好；再者，既然每首曲子三、四分钟已成单曲唱片的常态，象徵着乐手屈从工业标准(以便电台播放，从而进军排行榜)、泯灭良心，那么就来个十分钟或以上的海枯石烂，重新抓回创作主导权；更重要的是，乐手愈来愈「感冒」买他们唱片且对副歌还朗朗上口的歌迷，因为「大众」(the mass)不断要求他们重回过去，而天杀的－－那正是艺术家想杀死的第一批灵魂。摆脱「大合唱」的后摇滚，在音乐形式上更接近古典世界的奏鸣曲，它更要求听者运用知性、感性的交相错位与自我控制，解开布局以获得更巨大的聆听快感，有西方乐评说: 聆听后摇滚漫长的飘摇乐音，有如淋着从细密到磅礡的黑色之雨；然而，这样的譬喻，不也暗示着工业体制裡更巨大的绝望，反抗再无可能，惟美学得以救赎。
换个说法: 后摇滚让摇滚乐「变抽象了」，乐迷没有歌词和人声这种肉感的媒材来辅助，必须自己透过声音的感受（旋律、节奏、音色、和声）来想像音乐所对应的生命世界，这过程与企图类似当年马勒与华格纳面对工业社会的那般心境，只是乐器换成电吉他与电贝斯，而鼓手不再是龙套而变成了诗人。
台湾没有西方摇滚乐的发展历程，本土乐团同时面对西方各种风格的冲击与洗礼，各自咀嚼生命经验，发而为创作。此际，如何辨别浮光掠影，双脚能直朗朗地踩穿流沙站牢台湾土地，而又能摆脱大众的魅惑与陈腔滥调(它们可是比摩天大楼的玻璃更油亮)，本身就是一件英雄事业。 孤独、黑暗、迷惘？是的，你该搭上甜梅号，台湾这个时代的齐柏林飞船。

1st album "microcosmos" のリリース以降、台湾、ニューヨーク、香港、ロンドンへのツアー等、日本国内のみならず世界を見据えた活動を続けてきたインストゥルメンタルロックバンド OVUM が、待望の 2nd album "ascension" をリリースする。
5年の歳月の間に降りかかった数々の試練を乗り越え、圧倒的なスケールで鳴り響く旋律は透明度を更に増し、研ぎ澄まされたハーモニーと強靭なグルーヴはその強度を確かなものにした。よりプリミティブに、よりプログレッシブに、よりヘヴィーに進化/深化した末に辿り着いた本作は、インストゥルメンタルロックカルテットが描く一つの究極の形と言えるだろう。
緻密な構築美と躍動する肉体性を兼ね備えた、トータル74分に及ぶ珠玉の全8曲。
天高く舞い上がる祈り。
世界を包む悲しみへの祝福。