Burning Shed Label

Soon to be seen on a catwalk near you, the all-purpose Burning Shed apron makes for a stylish addition to any barbecue, kitchen, workplace or Dexter-esque torture chamber.

Programmed to believe it's a limited edition 200gm heavyweight vinyl reissue, the apron is black with a white Burning Shed logo on the front, and is a high quality made to order 'one size fits all' garment (65% polyester and 35% cotton).

Gloriously atmospheric and intense, 2004's 'The Stolen Hour' was a superb extension of Hugh Hopper's 'Jazzloops' series of explorations written to accompany the distinctive imagery of comic book artist, Matt Howarth.

Assisted by, amongst others, Robert Wyatt (cornet, voice), John Marshall and Didier Malherbe, Hopper updated the Jazz-tinged Minimalist looping he initially developed in the 1960s, evoking the innovative spirit of early Soft Machine, while simultaneously suggesting new possibilities for his music.

Roger Eno's 2004 release Fragile (Music) was his first album for four years and was perhaps the most uncompromising, personal and starkly beautiful of his career.

With echoes of the cool Minimalism of Erik Satie and Harold Budd, Fragile (Music) represented a supremely consistent and moving statement.

Intense, poetic, earthy and emotive, the astonishing 'Bootlace Johnnie and the Ninety-Nines' contained the first new recordings for nearly 30 years of songs by Terry Stamp and Jim Avery (the songwriters at the heart of uncompromisingly political 1970s cult band Third World War).

Sensitively guided by the inventive production and playing of Alistair Murphy, 'Bootlace Johnnie' was a potent reminder of Terry Stamp's highly individual voice and lyrical style.

Occasionally recalling the likes of Tom Waits, Kevin Coyne and Van Morrison, Stamp's songs carve a highly distinctive path of their own.

Terry Stamp followed his acclaimed Burning Shed debut 'Bootlace Johnnie and the Ninety-Nines' (Uncut's 'Americana Album Of The Month' and Daily Mirror's 'Album Of The Week') with 'Howling for the Highway Home', which featured twelve evocative narrative-driven songs from the former leader of 1970s cult band Third World War (TWW).

Along with covers and name-checks from Marc Almond and Paul Weller and an article in Classic Rock, 'Howling for the Highway Home' was yet another strong addition to the growing reputation of this underrated and influential singer-songwriter.

The Resonance Association returns with the wildly eclectic, dark progressive statement of intent, Clarity In Darkness.

"... a genre hopping exploration of sounds ..."
- Terrorizer

The 'lost' album from the UK's premier obscure electronic music collective, Globo, re-jigged and re-mastered for the 21st century.

Burning Shed CDRs are burnt to order and packaged in a stylish rubber stamped cardboard sleeve with card inlay.

Influenced by a wide range of artists including Bass Communion, Boards of Canada, Tortoise, and composers such as Reich, Glass and Arvo Pärt, Nunbient is an ambient/electro-acoustic collaboration between Joff Winks and Matt Baber.

Utilising both real instruments (including vibes, guitars and harmonium) and processed synthetic and ambient textures, Just Another Dark Age is an exploration in which field recording and sound design are the primary catalyst for a unique experience that can be described as a visually evocative and cinematic journey that swings between moments of luminous sound and intense aural collages.

Darkroom's latest album, Some Of These Numbers Mean Something - their 8th to date -marks the 10th anniversary of debut release, Daylight.

The original brief for the new album was, 'place guitar under microscope'. In places, it's the hardest hitting Darkroom album to date, but without doubt it's also the most accessible, combining 70's space rock, 80's Sheffield electronica, 60's guitar instrumentals and contemporary post rock.

From Santana & Tangerine Dream to Cocteau Twins & Tortoise, file under ambient stadium rock.

An exquisite companion piece to Fragile (Music), Roger Eno's Anatomy expands upon the spare, piano only, experiments of his previous album, with a series of instinctive and reflective keyboard instrumentals deploying delicate textures and his typically distinctive use of space.

Flood was constructed by Roger Eno for the 2008 Salthouse Art Festival in North Norfolk.

Utilising birdsong, bells, sparse keyboard melodies, vocal textures, and bass notes in an intentionally random way, the album is an attempt to emulate a soundtrack, or atmospheric musical backdrop as opposed to creating a specific musical focal point.

'Failure Of The Grand Design' is The Resonance Association's debut album for Burning Shed.

Clocking in at just under 55 minutes, the album consists of nine dark and ambitious instrumentals (described by the band as being an 'ambient-techno-goth-prog crossover') , and includes a new version of live favourite 'Electrolyte'.

Echoes of Porcupine Tree, Coil, Kraftwerk, Pink Floyd, King Crimson, Sunn O))) and Neu! grace the album's powerful mixture of electronic atmospherics, soaring guitar solos and fractured motorik rhythms.

'Blue Dawn' is the latest collection by acclaimed British composer, Andrew Keeling.

Andrew's second release on Burning Shed (following 'Reclaiming Eros'), 'Blue Dawn' represents the more meditative and spiritual side of Andrew's work and includes performances by Holland's 3-Orm, Scottish-based ensemble TripleSec, theorboist Matthew Wadsworth and pianist Steven Wray.

A piece from 1992, 'Distant Skies, Mountains and Shadows', is placed alongside more recent works: 'Mirare for theorbo', 'Petit Requiem pour Basil' for narrator, flute and piano and 'Blue Dawn' for solo piano.

Read new review at Billys Bunker

Burning Shed's third label sampler is perhaps it's most eclectic and accomplished.

Featuring contributions from, amongst others, Hugh Hopper (with Robert Wyatt), William D Drake (North Sea Orchestra, Cardiacs), Tim Bowness (No-Man), Roger Eno, and Cipher (Theo Travis and Dave Sturt), the music seamlessly moves from electronic soundscapes through jazz-tinged experiments via evocative singer-songwriter melodicism and skewed English eccentricity.

OSI's debut release on Burning Shed is a vinyl EP featuring three radical remixes of tracks taken from the band's recent Free album.
The Go remix is provided by Martin Gretschmann, AKA Console, the highly respected keyboardist and programmer from influential German electronica outfit, the Notwist. OSI's Kevin Moore is responsible for the new mixes of Kicking and Home Was Good.

Containing almost half an hour of material, re: free is a fascinating, alternative glimpse into the sonic possibilities of one of the most unique and challenging rock groups to emerge in the last half decade.

Cipher's third album Elemental Forces finds the core duo of Theo Travis and Dave Sturt working alongside versatile percussionist Steve Hubback.

Augmenting the band's trademark fusion of ingeniously looped compositional structures and highly melodic improvisations with a more pronounced Eastern meditative influence, Elemental Forces is an exquisite and accessible blend of accident and intention, intensity and beauty.

Echoing the powerful and ambitious 1970s solo piano suites by the likes of Keith Jarrett and Chick Corea, Peter Chilvers' 'Piano' represents a return to the influences and improvisations that marked Peter's introduction to music.

The album's highlights include 'Ghost Town Suite', a linked sequence of seven atmospherically downbeat pieces recorded in a single half hour session.

Treated textures collide with ascending Minimalist pulses to create an unexpected and highly atmospheric collaboration between Burning Shed’s innovative guitarist-in-residence, Michael Bearpark, and German Swiss looping guitarist Bernhard Wagner. The album is packaged in a stunning Carl Glover sleeve.

Written between 2000 - 2004 and including performances by highly respected ensembles and musicians such as Gothic Voices, Yukimi Kambe Viol Consort, Stor Quartet, Jacob Heringman, Catherine King, Susanna Pell and Abigail James, 'Reclaiming Eros' represents the second recorded collection of chamber, solo instrumental and vocal works by composer Andrew Keeling (known for his acclaimed orchestral re-workings of Robert Fripp and King Crimson material).