Commonly identified as shoegaze, Slowdive nonetheless exhibited a broader set of inspirations – one that spanned four decades, including folk-rock, dub, and ambient techno – than the majority of their '90s contemporaries. A combination of geographic origin, labelmates such as My Bloody Valentine and Ride, and a sustained predilection for dreamlike harmonies and psychedelicized layers of guitar, led to inevitable restrictive classification. The band's distinctive sound continually evolved from their late-'80s start through 1995, when they closed out their first phase with a misunderstood ambient album that shed nearly all rock convention. Two decades later, while most of the members remained involved with individual pursuits, the band was reactivated for touring and recorded again. Formed in Reading, England in late 1989, Slowdive originally consisted of Nick Chaplin (bass), Rachel Goswell (guitar, vocals), Neil Halstead (guitar, vocals), Christian Savill (guitar), and Adrian Sell (drums). Goswell, Halstead, and Sell were previously the core of the Pumpkin Fairies, an indie-pop act that had recorded a demo. Savill was a member of Eternal, who released a single on Sarah. Within less than a year, Slowdive signed to Alan McGee's Creation label and released their debut, a self-titled EP of demos.

Stereolab took an unprecedented two years between 1997's Dots & Loops and 1999's Cobra and Phases Group Play Voltage in the Milky Night, as they tended to personal matters. During those two years, Stereolab's brand of sophisticated, experimental post-rock didn't evolve too much, even as colleagues like Tortoise, Jim O'Rourke, and the High Llamas tried other things. Since each Stereolab album offered a significant progression from the next, it would have been fair to assume that when they returned, it would be with a leap forward, especially since Tortoise's John McEntire and O'Rourke were co-producers. Perhaps that's the reason that the album feels slightly disappointing. The group has absorbed McEntire's jazz-fusion leanings – "Fuses" kicks off the album in compelling, free-jazz style – and the music continually bears O'Rourke's attention to detail, but it winds up sounding like O'Hagan's increasing tendency of making music that's simply sound for sound's sake.

Safe Trip Home is the third studio album by Dido. It was released in the United Kingdom on 17 November 2008. The album features collaborations and production with Jon Brion, her brother Rollo Armstrong, Brian Eno, Mick Fleetwood, Citizen Cope and Questlove. The album was the 44th best-selling album worldwide of 2008. The album was nominated for a Grammy Award in the category Best Engineered Album, Non-Classical.

Armed with an already extensive catalog of stunning music, Palace return their deeply personal, fourth studio album, Ultrasound. The record's production sees the band reunited with Adam Jaffrey, eight years after working together on their debut album, and arrives off the back of Part I - When Everything Was Lost and Part II - Nightmares & Ice Cream, the band's 2023 companion EPs.

The sixth album from Still Corners is “Dream Talk”. Beautifully arranged, elegant and wistful, Dream Talks is a set of ten carefully crafted classic songs. From the autumnal opener "Today is the Day" to the hot summer night finale of "Turquoise Moon", Still Corners have created a sound that is focused, stylish and seductive. Tessa Murray says, "The genesis for a lot of these songs came from dreams. Every night I would write down the dreams I could remember. While recording I would pull out my book of dreams and sing over various looped phrases Greg had been working on, the repetitive nature of the looping and singing almost felt like going into a trance. A lot of the songs came from that process, it was fun and what I thought were sort of ramblings ended up surprising us with their various meanings and imagery."

Working once again with her brother Rollo Armstrong, who produced the majority of the album, Dido collaborated with a "who's who" of hit makers including Brian Eno, Jeff Bhasker, Rick Nowels and Greg Kurstin to create an album of finely, self-penned songs and soul-baring pop with electro, folk, hip hop, ambient and dance infusions. The album GIRL WHO GOT AWAY is a captivating collection of well-crafted songs and stunning production: from the euphoric "Go Dreaming," to the barbed wit of End of Night, the folky "Sitting On The Roof Of The World" to the dance-y-yet-dark "Blackbir" to the album's title track which Dido shares: "It's one of my favorite songs on the record," she says. "…but I guess it also sums up the last few years for me. Taking a step back from it all and going off to have the whole happy adventure of starting a family and making an album that I really am so proud of. And now I just can't wait for people to hear it."

It's true that Pram has shared the same bubbly, French-pop sound of Stereolab and Broadcast. But that's where the similarities end. A few cuts into The Museum of Imaginary Animals, the seven-piece band – which includes the recent addition of ex-Broadcast drummer Steve Perkins, no less – makes a beautiful departure into a surreal journey of sound. Rosie Cuckston's reserved vocals help, but it's Pram's original combination of devices (flute, trumpet, and theremin, to name a few) that occasionally evoke an aquatic atmosphere, not unlike Meddle-era Pink Floyd. Like the imaginary creature on the album's back cover, this fifth full-length from Pram is certainly mythical.

Stereolab's Switched On series is ingenious, one of the best services a band has performed for its fans. Since their inception, Stereolab have made it a practice to release non-LP singles, tour 7"s, split singles, special-edition EPs – recordings that were available in small quantities for a limited time. In every case, the limited-edition recordings become very valuable very quickly, often reaching ridiculously exorbitant prices that most fans could never afford. That's where the Switched On series comes in. It's where the group gathers the best of these rarities, leaving a couple of tracks on the original single for the sake of collectibility. Stereolab may do certain projects as a lark, but they rarely throw away tracks, as each EP and most singles have their own identity, offering a new spin on the group's trademark style.

2011 album from the Swedish singer/songwriter. Channeling the demise of The Shangri-La's 'Leader of the Pack', women under the influence, ladies and gentlemen of the canyon, a Kung-fu Marianne Faithful, and an armed Nancy Sinatra on peyote, Lykke Li has created an 11 song album that sounds like no other. The record is packed full of pounding, voodoo drums, girl group gang vocals, sparkling guitar lines, woozy keyboards, love unrequited, hope reignited and her own very powerful voice, sounding bigger and bolder than ever before. From the hazy 60's organ driving opener "Youth Knows No Pain" to the sparse toe-tapsolo- guitar-swing of "Unrequited Love" to rollicking single "Get Some" to the dense drums of the propulsive "Jerome," Wounded Rhymes is a testament to Lykke Li's brilliant musical voice, one unlike any other. Japanese edition includes 3 bonus tracks.

Exclusive Limited Edition Box Set (Edition of 2000); boxed in custom made deluxe hardbound book, embossed with band logo and album title, and featuring 8 specially designed pages of album art and lyric sheets. Autographed 6" x 8" lithograph artwork print; USB drive contains the full album in high fidelity 24bit digital audio and album artwork. Anastasis is a 2012 studio album by the British-Australian band Dead Can Dance. It is the eighth studio album by the band and the first after Brendan Perry and Lisa Gerrard disbanded in 1998. It was officially released on 13 August 2012 by PIAS Recordings, 16 years after the group's last album, Spiritchaser. It is also the band's first album since it left 4AD. "Anastasis" is the Greek word for "resurrection".

On Emperor Tomato Ketchup, Stereolab moved in two directions simultaneously – it explored funkier dance rhythms while increasing the complexity of its arrangements and compositions. For its follow-up, Dots and Loops, the group scaled back its rhythmic experiments and concentrated on layered compositions. Heavily influenced by bossa nova and swinging '60s pop, Dots and Loops is a deceptively light, breezy album that floats by with effortless grace. Even the segmented, 20-minute "Refractions in the Plastic Pulse" has a sunny, appealing surface – it's only upon later listens that the interlocking melodies and rhythms reveal their intricate interplay. In many ways, Dots and Loops is Stereolab's greatest musical accomplishment to date, demonstrating remarkable skill – their interaction is closer to jazz than rock, exploring all of the possibilities of any melodic phrase. Their affection for '60s pop keeps Dots and Loops accessible, even though that doesn't mean it is as immediate as Emperor Tomato Ketchup. In fact, the laid-back stylings of Dots and Loops makes it a little difficult to assimilate upon first listen, but after a few repeated plays, its charms unfold as gracefully as any other Stereolab record.

Though it was the group's major-label debut, Stereolab's Transient Random-Noise Bursts With Announcements showed no signs of selling out. If anything, it's one of the most eclectic and experimental releases in Stereolab's early career, emphasizing the group's elongated Krautrock jams, instrumentals, and harsh, noisy moments. The album begins and ends with smooth, sensual washes of sound like "Tone Burst" and "Lock-Groove Lullaby" and smoothly bouncy pop songs like "I'm Going Out of My Way." These softer, more accessible moments surround complex and varied compositions such as "Analogue Rock," "Our Trinitone Blast," and "Golden Ball," which, with its distorted vocals and shifting tempos, serves as an appetizer for "Jenny Ondioline." A hypnotic, 18-minute epic encompassing dreamy yet driving pop, a Krautrock groove, forceful, churning guitars, and a furious climax, it's the most ambitious – and definitive – moment of Stereolab's early years.

Released in 1993, Space Age Bachelor Pad Music refined Stereolab's sound further and also showcased the increasingly experimental focus of the band's music. Split into two sides – the gentle, intricate "Easy Listening" and the more upbeat "New Wave" – this eight-song EP ranges from the bubbly keyboard piece "Space Age Bachelor Pad Music (Foamy)" to the defiant, driving groove of "We're Not Adult Orientated." The sweet, close harmonies on "Ronco Symphony" and "The Groop Play Chord X" edge closer to the sophisticated, lounge pop-inspired sound explored during the rest of Stereolab's career, while the vibes of "Avant Garde M.O.R." and the fizzy keyboards of "Space Age Bachelor Pad Music (Mellow)" spotlight the band's more texturally complex arrangements. However, the immediacy of "We're Not Adult Orientated (Neu Wave Live)" and the hypnotic, fuzzy guitars on "U.H.F. - MFP" prove that while Stereolab gained more polish and ambition on Space Age Bachelor Pad Music, the band didn't lose any of its kinetic edge.

By the time of 1994's Mars Audiac Quintet, Stereolab had already highlighted the rock and experimental sides of its music; now the band concentrated on perfecting its space-age pop. Sweetly bouncy songs like "Ping Pong" and "L' Enfer des Formes" streamline the band's sound without sacrificing its essence; track for track, this may be the group's most accessible, tightly written album. The groove-driven "Outer Accelerator," "Wow and Flutter," and "Transona Five" (which sounds strangely like Canned Heat's "Goin' Up the Country") reaffirm Stereolab's Krautrock roots, but the band's sweet synth melodies and vocal arrangements give it a pop patina. Even extended pieces like "Anamorphose" and "Nihilist Assault Group" – which could have appeared on Transient Random Noise-Bursts With Announcements if they had a rawer production – are more sensual and voluptuous than edgy and challenging. It's equally apparent on layered, complex songs such as "New Orthophony" and "The Stars Our Destination," as well as spare, minimal tracks like "Des Etoiles Electroniques," that the members of Stereolab focused their experimental energies on production tricks, vocal interplay, and increasingly electronic-based arrangements.

Stereolab was poised for a breakthrough release with Emperor Tomato Ketchup, their fourth full-length album. Not only was their influence becoming apparent throughout alternative rock, but Mars Audiac Quintet and Music for the Amorphous Body Center indicated they were moving closer to distinct pop melodies. The group certainly hasn't backed away from pop melodies on Emperor Tomato Ketchup, but just as their hooks are becoming catchier, they bring in more avant-garde and experimental influences, as well. Consequently, the album is Stereolab's most complex, multi-layered record. It lacks the raw, amateurish textures of their early singles, but the music is far more ambitious, melding electronic drones and singsong melodies with string sections, slight hip-hop and dub influences, and scores of interweaving counter melodies. Even when Stereolab appears to be creating a one-chord trance, there is a lot going on beneath the surface. Furthermore, the group's love for easy listening and pop melodies means that the music never feels cold or inaccessible. In fact, pop singles like "Cybele's Reverie" and "The Noise of Carpet" help ease listeners into the group's more experimental tendencies.