Nowhere seems to hold consensus as the second-best record of the shoegaze era, and with very good reason. All of the common words, phrases, and adjectives commonly used with the short-lived subgenre fit properly here, and they're all positive, every one of them. Whir, whoosh, haze, swirl, ad nauseum -- this record holds all of these elements at their most exciting and mastered. But in the end, great pop records necessitate quality songs, which Nowhere delivers throughout. Undeniably, it's Ride's zenith -- dense, tight, hypnotic. "Seagull" serves as a dynamic opener; after a couple seconds of light feedback, bassist Steve Queralt kicks in with a rubbery, elliptical line (reminiscent of a certain Beatles song), which is soon followed by Andy Bell and Mark Gardener's guitar twists and Loz Colbert's alternately gentle and punishing drumming. After the upbeat "Kaleidoscope," the record falls into a tempo lull that initially seems impenetrable and meandering. However, patience reveals a five-song suite of sorts, full of lovely instrumental passages that are punctuated with violent jabs of manic guitars. The endlessly escalating "Polar Bear" is a high point, featuring expertly placed tom rolls from Colbert. The tempo picks up for the closing "Vapour Trail," a wistful pop song with chiming background guitars galore and mournful strings to close it out. The U.S. version was bolstered significantly with the remainder of the Fall EP ("Dreams Burn Down" having reappeared earlier in the record). "Taste" is one of their finest pure pop numbers; the moody/driving "Here and Now" rates well, and the five-minute "Nowhere" is a nasty distorto-freakout. [Nowhere was remastered and reissued by Ignition U.K. in 2001. Added to the 11 tracks featured on Sire's U.S. edition are the four selections from the equally wondrous Today Forever.]

羅伯特·威廉·蓋瑞·摩爾是一個北愛爾蘭的音樂家。他作為一名歌手和吉他彈奏家得到廣泛認可。 在20世紀60年代，摩爾與其他音樂家Phil Lynott和Brian Downey同台演奏，使得他成為愛爾蘭樂隊Skid Row和Thin Lizzy、英國樂隊Colosseum II的成員。摩爾也與藍調和搖滾樂音樂家演出。

Zuma is the seventh studio album by Canadian musician Neil Young, released on Reprise Records in 1975. Co-credited to Crazy Horse, it includes "Cortez the Killer," one of Young's best-known songs. It peaked at #25 on the Billboard 200, and has been certified a gold record by the RIAA.

Cocteau Twins 在這張專輯中，決定轉而嘗試更具親和力的風格，開篇的《Cherry-Coloured Funk》，Guthrie 無與倫比的結他引領著鈴鼓聲令人耳目一新。專輯節奏低調而清爽，Bass 手 Raymonde 的重低音有力地托起了整個氣氛，主唱 Fraser 清晰直接的歌聲使人入迷，柔和中蘊含著能量和生命力。此外，《Fifty-Fifty Clown》和《Iceblink Luck》等許多歌曲，也都給有令人出乎意料的驚喜。這張專輯被認為是樂隊最好的作品，Cocteau Twins 運用 Dream Pop 迷離的色彩，營造夢幻的國度。

When they first hit the underground scene, the Pixies were like an exotic drink that hid its sweetness behind a ferocious bite. The album's production is like a crude explosion: every strum and clang comes down with the subtlety of a sledgehammer. English and Spanish lyrics collide as singer Black Francis (later Frank Black) shouts in a hoarse monotone and Mrs. John Murphy (later Kim Deal of the Breeders) backs him up with throaty wails. Yet somehow the clash of these bruising titans makes for tracks that print indelibly upon your consciousness--once let in. Kurt Cobain is their most famous student. He grafted the Pixies' time-honored craft of the big bang theory onto Nirvana's biggest hits. (You start with a quiet verse and then explode for catharsis in the chorus--evidenced best here with "I've Been Fired.") The Pixies themselves have served quietly, attaining post-punk godfather status not by tooting their own horns, but through the praise of a steady stream of genuflecting admirers whose word of mouth continues to increase the band's deserved critical standing. --Rob O'Connor

Sonic Youth's sixth album.

1986年，Johnette Napolitano（贝司兼主唱）和吉他手James mankey,鼓手Harry Rushakoff一起离开了家乡洛杉矶，来到好莱坞，他们在这里签了I.R.S.唱片公司，并在R.E.M乐队主唱Michael Stipe的建议下把队名由Dream 6改为Concrete blonde，七年之内，他们出了5张专辑，后解散，1997年重组。之后，又有他们不同版本的精选辑和现场专辑面世.他们的音乐以主唱Johnette Napolitano孤傲强硬的的嗓音和Jim Markey炽热的弗拉门戈吉他构成特色。他们是1990年代初美国另类摇滚乐潮流中别致而出色的一支。