The exquisite standout of the Virus Meadow album and easily And Also the Trees's best song from its early years, "Gone�Like the Swallows" steers away from the sometimes frenetic vocal intensity found elsewhere on the record it comes from for a more reflective but still passionate approach. Simon Jones delivers his lyric with all the deep-voiced intensity of a student of Wordsworth and Shelley reciting on the hillside to nature (which in some respects is pretty much the point of the song). But Jones isn't explicitly anti-modern � consider the mention of the aeroplane in the sky at various points � while the music is equally ancient and up-to-date in feel. Digital delay on the guitars turns them into rolling, darkly chiming flows and waves of sound, dramatically crashing behind the steady rhythm section and Jones' increasingly intense words. Bass and drums alone wrap everything up on a brief, spare note.
(AMG)

Adolfo and Gaspar strike again with one of their biggest hits, this time performed by their own band, a sort of home-grown space-age answer to Brasil '66, with an early Fender Rhodes providing counterpoint to the two female vocalists' ethereal and spacy tones. Irresistibly catchy and with an intriguing overall sound, this sounds like the music the Jetsons would be listening to if they were Brazilian.

One of Antonio Carlos Jobim’s greatest songs here performed as a incredibly soothing and rich instrumental with guitar and strings, produced by the great Claus Ogerman.

Maria Taylor and Orenda Fink's voices blend in perfectly, in an almost ethereal way. This song lulls you to a hazy state of mind, almost like their voices cast a spell on you. It's beautiful.

A very ethereal song that is perfect for the lilting girlish voice of Blossom Dearie. She is also an accomplished pianist and plays on every song she sings. She is backed by a standard jazz trio on this track and they play in a wonderfully subdued manor that allows her voice and the words to be the focal point of this song. Originally written by a french songwriter, Blossom Dearie heard the song while living and performing in France in the mid-1950's. Upon her return to the United States, she asked her friend, songwriter Johnny Mercer, to write english lyrics to the wonderful melody. The words he wrote tell a beautiful story of love lost, but fondly remembered thru a familiar smell or sound. A standout track from the marvelous LP of the same name. Give it a listen the next time you go to your local music store.

This great ethereal brasilian pop number is from the portuguese language version of Chico Buarque's 'lost' 1970 album, recorded in Rome with Ennio Morricone, while he was in exile from Brasil. While Buarque's vocals are excellent, it's Morricone who really shines here, providing exquisite sweeping arrangements, and some great backing vocals from his protege Edda Dell'Orso.

An exquisite and much-sampled version of this nice tune from the Valley of the Dolls soundtrack. The slow, funky beat is simply one of the sweetest you will ever hear, and the harp melody is ethereal and beautiful.

This is an extremely atmospheric soundtrack piece, with a wordless vocal melody from Edda Del Orso. Strings, electric harpsichord and some subtle electronic effects set the scene. There are also some beautiful Bacharach-style twists with brass. Overall it's a deadly serious and delicate number, incredibly intense, while still sounding very 'cool' (whatever that means...).

Ethereal, cinematic soundscape, which builds to a predictable, but still thrilling climax.

A friend suggested that it sounds a bit like a classic James Bond theme, and I can see what they mean - it has got those gorgeous Barry-esque strings that come sweeping in at the 3 minute mark that just carry you away, shaken AND stirred!

The 9:52 long track immediately blasts you off your feet with a ethereally heavy series of riffs and Aaron Turner's rough vocals. Keeping it interesting, the structure continues to evolve, and drifts downward into a more dreamy movement which stays dense and builds the tension for the following verses. About halfway in, the song reaches the first climax that (I think) embodies the "Threshold" in the song title. After which, it moves into a more contemplative section, smoothing out the turmoil and tension brought on by the first half, while building its own. Beautifully, it succeeds in building yet another crescendo, only to end in free fall, with guitar and bass fantastically accenting the mood. The bass in this song is truly something to behold, wavering and powerful in its tone.

What I like about this song reflects on why I like Isis' music in general: it's complex, atmospheric, emotional, intricate, and smart. It truly is "thinking man's metal." Isis is all about themes and atmospheres, emotions and vibes, rather than clear ideas and lyrics. It's visceral, raw, and transcendent. And in some ways, I think this song embodies everything that makes them great.

This is a sixties kids show theme tune. Its a dreamy, girl song. It sometimes reminds me of Walking in the Air, and maybe Nancy Sinatra. Who said 'writing about music' is like 'dancing about architecture'? I think I'd be better at the latter

This is an absolutely magical song! Juana Molina is a singer/songwriter from Argentina. I first heard her on KCRW (Santa Monica radio station) when I was living in Los Angeles. Her music is totally captivating; it's melodic, ethereal, quirky, whimsical, a little melancholy sometimes, very very sweet. She often uses acoustic instruments (guitar, piano), but what makes her music unique is her use of electronic elements. It often sounds like she is recording in the middle of the rainforest. Tres Cosas, from the album of the same name, is a very up-beat, sparkly little song. Her live performances are archived on the KCRW website: http://www.kcrw.com/ (do a search for Juana Molina in the "Find it!" feature), and you can purchase her music at:
Gourmet Musical http://www.gourmetmusical.com

A key track from Julian Cope's fragmentary second solo album, 1984's Fried, "Bill Drummond Said" is the only song on the album that resembles the swirling psych-pop of his old band the Teardrop Explodes. This is no doubt intentional, as the lyrics take aim at the group's former manager, Bill Drummond (later half of the Timelords, the KLF, and the JAMS), albeit in a typically vague way. The lyrics are skeletal enough that several interpretations might be brought to them, but they seem to recount a dream in which Cope witnesses his former manager in the act of strangling an unidentified woman to death. In contrast to the vaguely unpleasant lyrics, this is by far the catchiest and sweetest tune on Fried, with a dreamy folk-rock sound to its ringing 12-string guitar riffs and breathy harmonies. Coming between more disjointed and edgy tracks like the bizarre fairy tale "Reynard the Fox" and the Syd Barrett-like ramble "Laughing Boy," "Bill Drummond Said" sounds downright bubblegummy. Unsurprisingly, the always combative Drummond got in the last word with his answer song, "Julian Cope Is Dead," a sarcastically folky acoustic tune from his odd 1986 solo album The Man in which Drummond claims that in the waning days of the Teardrop Explodes, he had suggested that Cope commit suicide to make the band famous and laments that the singer didn't take him up on it.
(AMG)

I can't find enough words to express what I think of this stunning track.

The lead vocals, harmonies and arrangements are as close as you are likely to get to perfection.

Lyrically, it is both cleverly written and emotive, and combined with the beautifully simple melody and Hayward's ethereal vocals, totally heart-rending.

Very very few songs have instantly reduced me to tears (for the right reasons at least!) but this is one of them.

Has a heavy sound, ethereal and complex rhythm. Guitar, bass guitar, violin, 2 drummers. I like it because it is insanely groovy.

A beautiful, lush masterpiece with a bossa nova beat (hmm, is there a pattern to the songs I'm submitting?), 'how to open...' is one of my top tracks ever. It opens quietly with a slightly cheesy flute sound over a gentle guitar. A great wordless vocal then comes in coupled with strings. Superb. If you never listen to music like this, what I'm saying probably doesn't exactly make it sound cool. But it really is cool, very very cool indeed.

This is one of Baxters best songs, although there are many incredible Les Baxter pieces, this one really stands out from the rest. The title 'Sunken City' is perfect, you really feel like you are floating in the bright blue ocean, searching for a lost city. The instruments Baxter chose for this song are interesting; oboes, a haunting choir along with some vibraphones and piano chords, the result is however amazing.
Listen to this song late at night with the lights dimmed.

Energetic, hyper post-punk...
Les Savy Fav manages to create an ethereal feel within their Fugazi/Sunny Day Real Estate/[insert emo pioneer here] influenced cocoon of rock. It's a great tune to get you bouncy and riled up, shking your head and shouting whatever it is you think the lyrics are...

These Canary Islands boys try their best to disguise their accents on this snarling proto-Stooges number with almost militaristic drumming and ethereal backing vocals. The flip to the club classic "Get on Your Knees".

The vocalization of a persistent daydream delivered with a truly ethereal sound. I find this song hauntingly beautiful. I was also lucky enough to come across a promotional-only CD single that features two great house mixes by Jonathan Peters although sadly, they are both edits that clock in around 4 minutes each.

I could have chosen any Morrissey/Smiths song as a good recomendation, Morrissey is simply our greatest living lyricist. He also happens to have a rare throat that sings with so much emotion one is left speechless. When I hear the sound of his voice I find my own soul. There is no better example of this ethereal angel than in the live version of "Seasick yet still Docked." Mozzer is a rare creature and when you hear this song you will understand that perhaps what your hearing, may not be altogether "human".

Clocking in at around 2 minutes, this B-side is very simple, but beautiful. It was something of a 'holy grail' to me as a young Smiths fan, hidden as it was on the rare 'Suedehead' single (cassette and CD singles only!). I managed to procure a tape of it via my brother, and was instantly entranced. Morrissey has recorded many songs which are catchier and more intense than this, yet it has a unique power. The lyrics are entertaining - 'I found the fountain of youth and I fell in', and the accompaniment is delicate and sparse, with some great guitar playing from Vini Reilly. It ends with something rather lovely - it's nothing really, but it's one of those little details which when I was young, I used to pick on in songs - as Morrissey repeats 'I'll never learn', a spooky, echoey sound comes in and envelopes the entire song. Such little things used to please me...

This is a truly unique song, from a beyond unique band. Mr. Bungle has a rabid, almost cult-like following, and songs like this are the reason why.
This band has always drawn on many different, widely varying influences, including ska, grindcore, jazz, and funky beats, to name just a few.
This track displays a whole new direction for the band, with dreamy, ethereal bass and piano interplay, retro-vocal harmonies, and an almost rapturous climactic sequence, followed by a melancholy fade-out.
This is a work composed by Bassist Trevor Dunn, (a true talent) and I feel it is more than worthy of a place on this list.
The album is a classic, I highly recommend it for people with just about any kind of musical taste.
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HERE

I was immediately captivated by the tropical beat that begins this 6 minute tune. The track simultaneously induces a melancholic yet inspired feeling. Kevin Wright's delicate voice, like many fine things in life, is an aquired taste. His mournful voice tells of ethereal objects"the moon..the stars..the milky way.."and his longing to be with the one he "holds dear."

This song is an IDM - slash - trip-hop, ethereal vocals, nice melody, but very melancholic.

Nick Cave is one of those musicians that cannot be put into any one category in a musical sense. This song is the epitome of that. This song sounds nothing like anything else of his that I have ever listened to, yet it is distinctly Nick Cave the same way that Tom Waits is inimitably Tom Waits, even if he were to be singing "Hit Me Baby One More Time."

First of all, this song is a hidden track. You have to go looking for it. It's actually a "0" track that you have to rewind backwards from song #1 in order to find. Computers will not play this song. Many cd players will not, either. So it's fun to track down...

Then there's the music. The best description of I ever heard of The Dirty Three is that their music "sounds like music that belongs to a spaghetti western directed by David Lynch." The wailing backgroung strings evoke a sense of forlorn longing and desperate wanting, evoking an image of fallen angels reaching towards heaven...

"We were searching for the secrets of the universe
and we rounded up Demons and forced them to tell
us what it all meant.

We tied them to trees and broke them down one by one.
On a scrap of paper it wrote these words,
as we read them the sun broke through the trees.

'Dread the passage of Jesus for he will not return.' "

Look for it. The Curious and eclectic side of you won't be disappointed.

Soft-rock magic. This song is breathy, light, and perversely sad-sounding. Maybe wistful is the word. The album is in the finest Free Design-sounding tradition, including covers of Beatles, Bacharach, Paul Simon, "Sally Go Round The Roses," and such top-shelf originals as this. Truly splendid.

'Fault Lines' is a beautiful, slow melodic number from Radiogram's debut album 'Unbetween'.

After listening to 'Fault Lines' and 'Unbetween' it came as no great surprise to discover that this band has enjoyed great success in roots music circles in Canada and the UK.

Strangely, the 'ethereal' sound achieved by the producer [Chon] reminds me of Jane Siberry's 'When I Was a Boy'.

This instrumental version of sophisticated lady is unlike any other I have ever heard. The harp is used alongside some strange instrumentation and recording techniques to create a unique other worldly sound. There is also a Richard Maxwell trademark - an incongruous, rasping 50s style sax solo in the middle. He was a pretty interesting guy, all in all; his Decca albums pretty much all seem to be interesting.

If you like Tori Amos, you'll love this new pianist named Shauna Burns. To hear Pink Girl, go to www.myspace.com/shaunaburns

holy monk. ethereal. just ethereal.

this is perhaps my favorite jazz ballad. maybe the most romantic song you'll ever here. stan getz's saxaphone sounds like it came down from the clouds. it sounds so soft and warm. it's often so subtle that you here just air passing across the reed. and cal tjader's vibraphone adds just the right punctuation. the song is ethereal. romantic and ethereal are hardly words i use often, but they seem to be the best i could think of to describe this song.

a wee lush love song that makes me turn into a puddle without fail. very dreamy and ethereal, and it has a gorgeous melody too... so if you're into that brand of guitar pop, you'll dig this.

Almost ethereal in delivery, The Love Parade or The Dream Academy for that matter, never fit into the period it was happening in. Too early for the sixties revival, too different from new wave and MTV pop, the Dream Academy found fame with R.E.M. and college fans... just a little bit.
This is a very emotional piece of soft pop from 1986.

The Kings of Convenience have often been described as Norway's answer to Nick Drake. They blend lyrics of nature and love with sensational flowing acoustic guitars. Erlend Oye and Erik Glambek Boe have the most hauntingly beautiful voices you may ever hear, and expertly incorporate harmonies that drift perfectly through the notes of their guitars. This is my absolute number one favorite song of all times. Listen closely on the bridge for this incredible arpeggio that just catapults the song into ethereal territory.