Tomorrow We Sail is a group of seven musicians based in Leeds, UK. Formed in 2009, they have spent the past four years developing their sound into what is now an impressive landscape of billowing, reverb-soaked guitars, orchestral strings, piano, organ and multi-layered group-harmony vocals. Folk, slowcore, neo-classicism, minimalism, ambient and post-rock are all apparent in the music Tomorrow We Sail create together. If you’ve ever been moved by albums like Talk Talk’s ‘Spirit Of Eden’, Sigur Ros’ ‘( )’ or Low’s ‘Secret Name’, you may find yourself falling for this music.
After self-releasing their debut EP, 'The Common Fire', in 2010 the band retreated back to their studio to further develop and refine their sound as they sought to incorporate an ever-expanding roster of instruments. With the line-up solidified, the band released two singles, 'The White Rose' in November 2011, followed by 'For Rosa' in May 2012 ahead of appearances at festivals such as Kendal Calling and Tramlines. October 2012 saw Tomorrow We Sail embark on their first tour of the UK & EU, playing headline shows and supports with bands such as Caspian, Ef and Last Harbour, culminating in an appearance at the The London International Festival of Exploratory Music at Kings Place. That Autumn the band were part of the soundtrack to the independent feature film 'Broken Roads', released in cinemas across the US and winner of Best Motion Picture at the American International Film Awards.
Now the groundwork is laid for the band’s debut full-length. ‘For Those Who Caught The Sun In Flight’ is a supremely well-realised work. The seven stately, graceful songs move in orchestrated ebbs and flows of sound, gently building an immersive group identity. The voices are sincere and affecting, and often come in pairs or groups. The words themselves are full of emotive storytelling. The central trilogy of ‘Never Goodbye’, ‘December’ and ‘Testament’ is based loosely on Vera Brittain’s writing about the lost generation after WW1, and especially her autobiography ‘Testament Of Youth’, now considered a feminist classic about women’s role in the society of the time. There’s a powerful sense of the layers of history being carefully unraveled. And, unusually for a set of long songs, not a moment is wasted. The melodies are strong, the performances assured, nothing is hurried. Tomorrow We Sail ask for your patience.

Recorded in a single day and mixed at the Sun Flower Sound studio in the summer of 2013. Cover photo by Nadia Kid

sleepmakeswaves have announced a national headlining tour for July and August, launching their second album 'Love Of Cartography'.
Known for the passionate energy they bring to live instrumental rock, the band will take their epic and climactic live show around the country for their biggest shows to date. The album and tour follows a massive 3 years of touring in support of ARIA-nominated debut '...and so we destroyed everything' which has seen them tour Australia, the US, UK and Europe multiple times.
sleepmakeswaves' moving instrumental rock has earned them a dedicated following and supports with major acts including Karnivool, Boris, 65daysofstatic, Russian Circles and Bosnian Rainbows, as well as performances at SXSW, co-headlining Dunk Festival alongside This Will Destroy You & Pelican and performing at London's Beyond The Redshift Festival curated by Cult of Luna.
'Love Of Cartography' is the band's most epic and ear-shattering record to date and reflects the constant remapping of the band's capabilities. Recorded in Byron Bay with producer Nick DiDia (Karnivool, Pearl Jam, Stone Temple Pilots, Powderfinger, Rage Against The Machine), it features 10 tracks that showcase the band's uplifting and dynamic take on modern post-rock.

I am no hero were formed in 2010 in Athens.Since then they are rehearsing & experimenting with music.
In summer 2011 they recorded their first album under the title "Without Antennas".In January 2014 their second album will be released under the title "Underwater Cities"

When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes.
The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here.
The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too.
Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.
1999 年成队之初，MONO 带着一个简单的使命便踏上了旅程：抱持轻柔亦抱持轻狂，品味极乐亦品味极妄，无论前路何其艰长。他们的首张专辑《Under the Pipal Tree》为这则使命赋予了更多扭曲而迷幻的激怒面容。之后的几张续作中，MONO 韬光养晦地打磨着匠艺。为了更辉煌的梦想，他们最终抛弃了初始之路。之后的 MONO 游走于越来越宏大的交响乐团间，足迹远至纽约、伦敦、东京和澳洲，曾在一些最负盛名的音乐现场演出过。MONO 以交响乐的名义继承着摇滚乐的精髓，创造着极端感伤却又富有戏剧性的旋律。2012 年，当他们发行了 《For My Parents》后，MONO 终于结束了先前的风格。是时候整顿情绪，重树目标了。弦乐是该减少还是该放弃？氛围是更热烈还是更安静？风格是更开朗还是更阴郁？这一切都有可能。
《The Last Dawn》和《Rays of Darkness》是 MONO 的两张新专辑。这两张同时录制的专辑有着截然不同的创作理念，是一个故事的互补两面。MONO 作品中贯有的叙事特点在这两专辑中再次得到了体现：希望与绝望的转换、爱与恨的交织以及极乐与极悲的大起大落，这些听者熟稔的主题在 MONO 这两张作品中拥有前所未有的共鸣。
《The Last Dawn》是这两张专辑中的首发专辑，相较之下主题和旋律都更为“轻柔”。毫无疑问，这张受极简电影和复古自赏音乐风格影响的专辑包含了 MONO 几首最强有力的单曲。这时期的 MONO 是最纯粹的：往昔专辑中阵容庞大的管弦乐队不再喧宾夺主；成员间默契十足，仿佛在用一种神秘的无声语言进行精神交流。与极简曲风相得益彰的是专辑中一众高度表意的曲目。要知道，自 2003 年的 《One Step More And You Die》后，还没有哪张 MONO 的全长专辑能塞得进一张黑胶中。整张专辑也在这种从简的风格中获益匪浅。一直以来 MONO 都是讲故事的好手，毋需言语便能把精彩故事娓娓道来。这次他们终于证明了自己放下架子后，亦能将听众引入新的洞天。
《Rays of Darkness》是 MONO 十五年来首张放弃任何类似管弦乐配曲的专辑。单单这件事就可称神奇。要知道 MONO 那恢弘又充满戏剧性的编曲可早已享誉在外，出现在奥斯卡影片配乐中都不足为奇。然而 MONO 却反其道而行之。作为 MONO 最黑暗的一张专辑，《Rays of Darkness》听来更像在拥挤的小礼堂中起飞的小型飞机。专辑中充斥着焦灼的 riff 和末世般的旋律，以及一段与后摇先驱 Testsu Fukagawa （Envy 成员）的出人意料的联袂。整张专辑在郁积而扭曲的吉他变声和不详的嗡嗡声中收场，仿佛在对过去那个于无边黑暗中放出万丈光芒的 MONO 唱着挽歌。

When MONO began in 1999, they set out with a simple mission: From bliss to bludgeon, no matter how long or winding the path may be. Their debut album, Under The Pipal Tree, outlined that mission in twisted, psychedelic fury. Subsequent albums would see the band honing their craft, mastering their mission, and ultimately abandoning that path in favor of more grandiose pursuits. Flanked by increasingly larger orchestras, MONO performed live at some of the most prestigious venues in New York City, London, Tokyo, and Australia. MONO had become an orchestral rock band, a spectacle of extreme melancholy and melodrama. On 2012’s For My Parents, the band had finally reached the logical conclusion of that era; it was time to remember where they started, and to rethink where they were heading. Less strings? No strings? Louder?Quieter? Lighter? Darker? Yes.
The Last Dawn and Rays of Darkness are a pair of new albums by MONO. Recorded simultaneously yet conceptually and creatively disparate, the two act as both opposing and complementary sides to a story. No strangers to narratives, the two albums explore familiar themes for the band: Hope and hopelessness, love and loss, immense joy and unspeakable pain. Those elemental parts of life and the complicated relationships they create have never been more resonant through MONO’s music than they are here.
The Last Dawn is the first of these two companion albums, and is the “lighter” of the two, thematically and melodically. It contains undoubtedly some of MONO’s strongest songs ever, drawing on an array of influences from minimalist film score to vintage shoegaze. It is MONO at their absolute purest, executing an uncanny, unspoken dialogue with each other without the dozens of stringed instruments that have been so prominent throughout their catalog. The songs are also noticeably more efficient – there hasn’t been a MONO full-length record to fit on a single slab of vinyl since 2003’s One Step More And You Die – and the album benefits immeasurably from this streamlined approach. MONO have always been masters of telling compelling stories without words. But now they’ve proven they can do it without frills, too.
Rays of Darkness is the first MONO album in 15 years to feature no orchestral instruments whatsoever. That fact alone is remarkable given the band’s reputation for sweeping, dramatic instrumentals that recall Oscar-worthy film scores. Instead, Rays of Darkness more closely resembles a jet engine taking off inside a small, crowded auditorium. It is MONO’s blackest album ever, a collection of scorched riffs, doom rhythms, and an unexpected contribution from post-hardcore pioneer Tetsu Fukagawa of Envy. The album ends with the smoldering wreckage of distorted guitars and ominous drones playing out a eulogy to the days when MONO shot blinding rays of light through seemingly endless darkness.
1999 年成队之初，MONO 带着一个简单的使命便踏上了旅程：抱持轻柔亦抱持轻狂，品味极乐亦品味极妄，无论前路何其艰长。他们的首张专辑《Under the Pipal Tree》为这则使命赋予了更多扭曲而迷幻的激怒面容。之后的几张续作中，MONO 韬光养晦地打磨着匠艺。为了更辉煌的梦想，他们最终抛弃了初始之路。之后的 MONO 游走于越来越宏大的交响乐团间，足迹远至纽约、伦敦、东京和澳洲，曾在一些最负盛名的音乐现场演出过。MONO 以交响乐的名义继承着摇滚乐的精髓，创造着极端感伤却又富有戏剧性的旋律。2012 年，当他们发行了 《For My Parents》后，MONO 终于结束了先前的风格。是时候整顿情绪，重树目标了。弦乐是该减少还是该放弃？氛围是更热烈还是更安静？风格是更开朗还是更阴郁？这一切都有可能。
《The Last Dawn》和《Rays of Darkness》是 MONO 的两张新专辑。这两张同时录制的专辑有着截然不同的创作理念，是一个故事的互补两面。MONO 作品中贯有的叙事特点在这两专辑中再次得到了体现：希望与绝望的转换、爱与恨的交织以及极乐与极悲的大起大落，这些听者熟稔的主题在 MONO 这两张作品中拥有前所未有的共鸣。
《The Last Dawn》是这两张专辑中的首发专辑，相较之下主题和旋律都更为“轻柔”。毫无疑问，这张受极简电影和复古自赏音乐风格影响的专辑包含了 MONO 几首最强有力的单曲。这时期的 MONO 是最纯粹的：往昔专辑中阵容庞大的管弦乐队不再喧宾夺主；成员间默契十足，仿佛在用一种神秘的无声语言进行精神交流。与极简曲风相得益彰的是专辑中一众高度表意的曲目。要知道，自 2003 年的 《One Step More And You Die》后，还没有哪张 MONO 的全长专辑能塞得进一张黑胶中。整张专辑也在这种从简的风格中获益匪浅。一直以来 MONO 都是讲故事的好手，毋需言语便能把精彩故事娓娓道来。这次他们终于证明了自己放下架子后，亦能将听众引入新的洞天。
《Rays of Darkness》是 MONO 十五年来首张放弃任何类似管弦乐配曲的专辑。单单这件事就可称神奇。要知道 MONO 那恢弘又充满戏剧性的编曲可早已享誉在外，出现在奥斯卡影片配乐中都不足为奇。然而 MONO 却反其道而行之。作为 MONO 最黑暗的一张专辑，《Rays of Darkness》听来更像在拥挤的小礼堂中起飞的小型飞机。专辑中充斥着焦灼的 riff 和末世般的旋律，以及一段与后摇先驱 Testsu Fukagawa （Envy 成员）的出人意料的联袂。整张专辑在郁积而扭曲的吉他变声和不详的嗡嗡声中收场，仿佛在对过去那个于无边黑暗中放出万丈光芒的 MONO 唱着挽歌。

The title of This Will Destroy You’s new album, Another Language, feels almost like an inside joke. Over three albums and a handful of EPs across the last decade, the Texas band has turned their expansive, instrumental songs into a communicative form of expression. What’s being expressed, exactly? That’s up to you, really. The songs’ epic, ethereal drifting serve as a Rorschach test for your inner psyche. If you’re having an optimistic day, they might feel uplifting and empowering. If you are depressed, they might make you want to crawl into a dark hole of self-loathing and Cinnabon. “Invitation” from their new album is a four-minute choose-your-own-emotion track that can speak to you however you want. It’s in another language.

As some of you may have gathered from various social media updates over the past year we’ve been working on a new record. It’s taken it’s time, but we’re very happy to say that it’s finally finished and we’re really, really happy with it.
Our fourth album is called ‘Fair Youth‘, and it will be in your hands and ears on the 25th August 2014 through the good people at Superball Music.
It’s been recorded at Seamus Wong and Park Farm studios with our very own Jamie Ward’s steady hand at the production helm once again, and it was mastered last week by Mr. Tom Woodhead at Hippocratic Mastering.
In related news, we’re pleased to be able to announce our first UK Headline show for what feels like a really, really long time. We’ll be playing downstairs at The Garage, London on 17th October. This is by far our biggest UK headline show to date, so we’d love you all to join us. We’ll do our best to make it as special as we possibly can, and of course we’ll be announcing some good friends as support in the very near future. In the mean time, tickets are available here. Get them while they’re hot:
We’re unbelievably excited for what the next couple of years have in store, and we promise this is just the first of many shows to be announced that will become the Fair Youth tour.
We’re really looking forward to seeing you all soon.
Jim, Matt, John, Robin & Jamie
Maybeshewill

The Seven Mile Journey (demo, 2001)
1. In an Eight Track Universe [Mp3]
2. The Mystery of Olden
3. Distant March
4. When Blizzards are Afraid
Total running time 44:11
Recorded in the winter of 2001 in Aalborg

Notes for the Synthesis” is constructed of 6 unified tracks moving through gloomy and melancholic passages to intense and captivating soundscapes. Each track tells its own tale in the overall storyline, inviting the listener into the role of narrator and interpretor of the instrumental introverted musical journey.
The album further explores The Seven Mile Journey´s musical approaches and concepts deeper than ever before, along with combining these with new ones. Through this the band creates new layers in their music and is intensifying and broadening the overall dimensions and expression in the songs, in the sound of The Seven Mile Journey, and in the new album as a whole.

"Were stoked for Moonlit Sailors new full-length to be our first release of 2014, which marks our 19 year anniversary as an independent record label. Already having received well-deserved critical acclaim for pioneering an entirely new dimension to the post-rock genre, these four Swedes have done it yet again with a truly amazing album. Firmly entrenched in their quasi-pop / post-rock roots, the Sailors continue to expand the blueprint for the future of post-rock. From the sounds youve never heard before, to the arpeggios that swallow you whole, to the powerful crescendos that devastate your senses, their music is a prime example of just how effective instrumental music can be. Devoid of all lyrics, the music alone speaks for itself...and it speaks volumes,” says label founder John Szuch.
"This album is the next step for Moonlit Sailor as a band. Although we are still a young band, we felt like we needed to navigate into new, and for us unknown, waters, without straying too far from our roots. We have always been trying to write music that gives the listener hope and light. Because of that, hope and light is what we brought into the new waters. We knew that we wanted to do something new and fresh this time, but didnt know exactly how to do it. That was kind of scary,” says bass guitarist Markus Rundlof. Rundlof continues "Some of the songs are metaphors for how we felt back then, with elements of vulnerability, uncertainty and mystery...but at the same time they give you a feeling of hope and light. When listening to the album, we want people to have a vision of the sailor featured on the cover art, navigating into new waters and eventually finding a new home. Other songs are metaphors for pushing your limits and trying new things. What we discovered in the songwriting process is that when you decide to release control and finally jump, you see the world from a new perspective and its liberating." "That approach gave us a lot of creativity. Weve never experienced such creative atmosphere in the band before and it never felt better. We knew we were onto something special. Suddenly we had hundreds of different ideas to pick from. It was exciting to select which ideas and songs would work together to best convey our belief that we come from exploding stars,” adds pianist Joakim Wiik.
Moonlit Sailor is Adam Tornblad (drums, piano, guitars, synthesizers, programming), Markus Rundlof (bass guitar, piano, programming), Oscar Gulbrandsen (guitar, piano, synthesizers, programming) and Joakim Wiik (piano, programming). "We Come From Exploding Stars" was recorded at Nacksving Studio (Dorena, Immanu El, Neneh Cherry, The Spotnicks) in Gothenburg, Sweden from September to December 2013. The album was recorded, produced and mixed by Anders Lagerfors (also of the band Obliq) and mastered by Martin at Cutting Room (In Flames, Red One, Dungen, Mando Diao) in Stockholm. A video for the song "Skydiver" is currently in the works with plans for release as the band begins touring in support of the album in May. The bands music has appeared in scores of television shows, commercials and films, most recently in the trailer for the romantic comedy "Love Is In The Air" by director Alexandre Castagnetti (Focus World). Previous albums include "Colors In Stereo" (2011), "So Close To Life" (2009) and "A Footprint Of Feelings" (2008) which have all been released on Deep Elm Records. Adam Tornblad and Oscar Gulbrandsen are also members of cinematic post-rock duo U137. The band resides in Boras, Sweden where they often experience weeks without sunlight.
"One of the post-rock bands that stands out from the crowd. Damn near flawless..." - StereoKiller
"Saturated with hope, the music stands on its own…theres no need for words. Simply epic." - Alternativ News
"Theyve mastered the overlap of indie and post-rock...and beautifully so. Moonlit Sailor has no peers." - RockFreaks
For Fans of: U137, Lights & Motion, Dorena, Explosions In The Sky, M83

這張是WEG 2002年底發行的，同樣涵蓋極端的情感變化，從狂躁到崩潰的起伏壯麗而冷酷。最後一曲結尾重複的 “good-bye”，強調一切的終止，令人窒息地感到寥寂。