Burning Shed Label

A fascinating collection of eclectic guitar pieces, Industrial Blue is an ideal introduction to the unique talents of GP Hall.
Taking a tasteful, Blues player's instincts into the realms of looping, atmospheric processing and introspective improvs, Industrial Blue showcases a rare UK equivalent to the likes of Steve Tibbetts and Bill Frissell.

A companion release to 2002s critically regarded 'California, Norfolk', 'Overstrand' is a collection of remixes, live performances and rare outtakes. Containing six fresh interpretations of songs from 'California, Norfolk' and 'World Of Bright Futures' in addition to two previously unreleased tracks, 'Overstrand' is a gem of understated beauty.

In 2003, ex-Soft Machine 'fuzz-bass' innovator Hugh Hopper gifted Burning Shed one of the albums of his long and distinguished career.

A computer manipulated collage of live and studio performances, 'Jazzloops' possessed the fizz and energy of classic Soft Machine along with an astute awareness the possibilities of contemporary technology that occasionally brought to mind the jazzier extremes of post-Trip-Hoppers DJ Shadow and Koop.

Featuring mangled contributions from Robert Wyatt, Elton Dean and John Marshall (amongst many others).

Cardiacs member Drake, assisted by Tim Smith, Terry Pitt and Jo Spratley, makes a winning case for himself as the ultimate 21st Century English eccentric.

Harmoniums, trumpets and arcane vocal harmonies inform an enchanted musicallandscape littered with references to Barrett, Ayers, Lennon, English Music Hall and Baroque Classical.

Madder and more beautiful than a box of hair and then some.

Recorded live in 1998 onto an ageing 4 track cassette machine and subsequently digitally mixed and mastered, Everything Is Hear comprises a balanced selection of compositions and improvisations.

Core members Geoff Leigh (sax/flute/electronics/vocals) and Colin Edwin (fretless bass/guimbri) are joined by multi-percussionist Julian Franks, whose Middle Eastern/Indian influenced style enhances the band's sparse, lean and powerfully direct sound.

Raw and spontaneous, but inviting nonetheless.

Live Archive Volume Two comprises The Way We Used To Live plus six extra tracks.

A direct to CD recording of a performance from December 2nd 1999, this expanded edition of the highly regarded album by the less than smiley Smiles features a fascinating excerpt of the No-Man classic, Days In The Trees, and a glorious, previously unreleased, rendition of Sorry Looking Soldier.

Originally released in 1999, Seethrough is the most dynamic, twisted and song-orientated release in the band's career.

Seven slices of electronica-driven aural assaults (occasionally recalling the more extreme experiments of Underworld or Wild Opera-era No-Man), find Messrs Bearpark, Bowness and Os maniacally playing with the possibilities of the turn of the century pop song.

How S Club 8 should sound in 2003!

Recorded direct to DAT in a single hour-long session on 4th January 1996, Thin Air is a graceful and meditative loops album that finds Michael Bearpark and Peter Chilvers stepping outside of their usual Samuel Smiles and Darkroom personas and confidently drifting through the Ambient ether..

Fripp and Eno for the Starbucks generation.