2003年全新上市一款5CD的套装The Grace EPs，听着许多先前发行过单曲的重点歌曲的各种不同版本，听着许多从未发行过的歌，Jeff Buckley在巴黎、澳洲、墨尔本、日本、 鹿特 丹等的现场演唱，深沉的悲伤，孤单的荣耀。Jeff Buckley短暂的一生只出过一张真正意义上的录音室专辑The Grace EPs。

Until June 来自美国加利福尼亚，但是他们是一只英式乐队，有Keane和Coldplay俩者的影子。乐队的音乐风格主要受到英式乐队和另类摇滚乐队的影响，专辑中的曲子有些会让我感觉是Keane 加上了吉他的效果。因为Until June的主要乐器是钢琴和吉他。成员由3名小伙组成，Josh Ballard主唱和钢琴，Dan Ballard吉他手和鼓手Daniel Dempsey。目前他们签约在SONYBMG公司下的 Flicker Records 长牌。《Until June》是他们的首张专辑.

一支古老的乐队，一张复古的专辑
这是一张风格多变的专辑，但是相信你即使第一次听它也会感觉到它的音乐那过时的味道，单调的吉他，简单的节奏，但是如果这样理解这个乐队就有点狭隘了，他们的音乐永远都是富有知识分子气质的，文雅的摇滚着。虽然古老，但是只有真正喜欢他们，喜欢这种感觉的人才能体会这张专辑的价值，也许就和它的名字一样，Out Of Time

被切割的眼球、文身的乳头、美人鱼、妓女和冲向厕所的圣经人物--这就是波士顿四人组合“小妖精”第二张专辑《都立特》中的一些精彩画面。布莱克．弗朗西斯（Black Francis）的超现实品位为乐队带来了诡异的深度，但他们的音乐在今天更能引起共鸣。简单来说《都立特》继承了80年代美国地下凶狠的硬核并使之发扬光大。当柯特．科本承认《少年心气》（Smells Like Teen Spirit）中完美的动静结合是照搬“小妖精”时，他只是证实了忠实歌迷已经知道的事。如今，《都立特》听起来像一张终极的另类摇滚唱片：重吉他噪音、朋克速度、冲浪摇滚、冲天的圣歌、暗示抗争污秽与异类的歌词，以及布莱克．弗朗西斯的超自然嚎叫。意料之中，却证明了无法战胜。在接下来的两张专辑后，贝司手奇姆．迪尔（Kim Deal）创建了“饲养员”（The Breeders）。布莱克．弗朗西斯把名字换成了弗朗克．布莱克（Frank Black），生产了数张失水准的个人专辑。鼓手戴夫．洛弗（Dave Lovering）则成为了一个魔术师。

Duly impressive is the shear magnitude of Skywave's sound. At live shows, the band is known for soundchecking at half-volume, then cranking it all the way up at curtain time for an unsuspecting soundman. Bassist Oliver Ackerman designs his own effects pedals, including the Supersonic Fuzz Gun and a series called Total Sonic Annihilations, which Skywave employ to help achieve their massive sound. His clientele includes Keith Fullerton Whitman, who used FX-pedal-augmented, laptop-produced guitar tones to construct 2002's beautiful Playthroughs. Synthstatic is similarly experimental in its delicate treatment of extreme noise, and its oscillating high-volume dynamics more than live up to the band's promising URL. The record even sounds potent on laptop speakers.
If only for its formalism is it impossible to call Synthstatic a great album. Bands following similar formulas in different genres might be pilloried, and Skywave will doubtless endure their own share of derision. But some forms of rock, given an occasional tightening of the bolts, never seem to grow stale. Had it been released 15 years ago, a work of this songwriting caliber would likely have been wildly acclaimed. As it is, Synthstatic lacks any shred of originality, but is probably the best of all possible end-results from a monument built completely out of scrap material, a shoegazing "Junkyard Workshop" that, like any successful tribute, enforces the significance of its forebears while managing to hold its own ground.