Track Listing:

The Unease Of The Aurelian
Scorched Wing
July Highflyer
The Uncertain
Merveille du Jour

Released: 30th October, 2017

CD housed in a hand-made card ‘pouch’ and including professionally printed lyric insert.

‘I’ve been fascinated by lepidoptera for several years now and have harboured a notion to write some songs inspired by moths in particular. Chosen by Victorian enthusiasts, they have the most wonderfully descriptive names such as Barrett’s Marbled Coronet, Flounced Rustic, Annulet. The opening song refers to these collectors and their archaic practice of killing and pinning the insects, as well as doffing its hat to the film The Collector, with its theme of obsession taken to a deadly conclusion. The over-riding theme of the album is transformative states, suggested by the title Final Instar. An instar is a stage in a caterpillar’s life and the final instar is the stage immediately prior to metamorphosis. Scorched Wing describes the pursuit of alcohol-fuelled oblivion, July Highflyer uses migration as a metaphor for a restless lover, The Uncertain is about the painful final stages of a love affair and ending more positively Merveille du Jour (surely the most grandly titled moth!) references the curative properties of the natural world, being fully present amidst the marvels of the day.

I recorded the album mainly at home, with the Consolette piano being recorded at my partner’s flat in Aberdeen. There are guest appearances from Alan Davidson (Kitchen Cynics) on guitar, whistle and bowed bass and John Cavanagh (Phosphene) on VCS3. I made some field recordings at Wood of Cree in Dumfries and Galloway during the summer.

The artwork was designed by regular collaborator Mark Burnett, again using the theme of transformation. The design incorporates photographs of me, disguised and obliterated by projected patterns.

This is my 12th solo album. I am also half of Electroscope and Barrett’s Dottled Beauty and an occasional United Bible Student’.

bandcamp.com/pefkin

The music runs as a single piece with no track breaks.
Limited to 50 copies in full colour, hand-made, gatefold sleeve.

Released: 1st December, 2016

The haiku are as follows:

this road –
no one goes down it,
autumn evening

it would melt
in my hand –
the autumn frost

you could turn this way,
i’m also lonely
this autumn evening

cold night: the wild duck,
sick, falls from the sky
and sleeps awhile

this autumn –
why am i growing old?
bird disappearing among clouds

deep autumn –
my neighbour,
how does he live, i wonder?

sick on a journey,
my dreams wander
the withered fields

The cycle which comes after these is based upon shakespeare’s 73rd sonnet:

That time of year thou may’st in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin’d choirs, where late the sweet birds sang.
In me thou see’st the twilight of such day,
As after sunset fadeth in the west,
Which by-and-by black night doth take away,
Death’s second self, that seals up all in rest.
In me thou see’st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire
Consum’d with that which it was nourish’d by.
This thou perceivest, which makes thy love more strong,
To love that well which thou must leave ere long.

https://elizabethveldon.bandcamp.com

Limited to 50 copies in full colour, hand-made, gatefold sleeve.

Released: 1st September, 2016

‘Under the influence of the first quarter moon, March 2015, the Blue Tree (Matthew Shaw & Andrew Paine), immersed themselves within a darkened room, encircled by freak show paraphernalia and hammer house taxidermy. Drawing from the energy of Pleicides – while channeling fragmented LW radio signals, corrupting analog loops, cutting up poetry and riding on the crest of technically obsolete equipment – Dark Moon: Burn / Shine was conceived, to a deep Taurean groove.’

Limited to 50 copies in full colour hand-made gatefold sleeve, designed by Christophe Havot

Released: 31st December 2015

‘I do hope the nightmare that inspired this music will never happen’ C. Bailleau, 2015

’50 copies on soft coated white cardstock, inlay and a front image “remixed” by the print process. The actual image was so compressed the plate could not outline the image properly. According the memories buried in the music, a fitting concept’
Thorsten Soltau

Released: 31st December 2015

Photographs by Thorsten Soltau

For those without a cassette player there will be a digital release via bandcamp

Each limited to 50 copies in professionally printed sleeves

Released 12th August 2015

Order: ‘Those Days’ & ‘Blessed Light’ (special reduced price)

Limited to 50 copies in full colour hand-made gatefold sleeve

Released: Monday 10th February 2014

Order using the Paypal button (please select your postal destination then add to cart)

“48 cameras are known as an international project of variable geometry.f or now the collective includes 9 members coming from various countries, cultures & disciplines. some of them never met, and line-ups vary according to the projects requirements. so, for this special issue, 4 of them took part in the recordings”.

Limited to 50 copies in full colour hand-made card ‘envelope’ style sleeve

Released: Monday 22nd July, 2013

(Somnia is)…a deep and dark soundscape piece that is an evocation of sleep and dream. As a borderline insomniac I have a love / hate relationship with sleep. I find it frustrating as it’s often slightly out of reach and so when I finally hit a point where sleep is easily attainable I sleep too deeply for the dreams to surface with me leaving them as vague and indistinct sensations that can then colour the rest of day.

Somnia is an interpretation of this; the flashes of emotion, the spasms of recollection, the glimpses of essence and the phantasms of memory. (Ian Holloway, July 2013)

“What would an ocean be without a monster lurking in the dark? It would be like sleep without dreams.” Werner Herzog

http://www.quietworld.com

Limited Edition of 50 copies each in a unique gatefold ‘collage’ sleeve handmade by Marianne Nowottny

Released: Monday 18th March, 2013

Marzanna is the brainchild of experimental, eclectic, pyschedelic musician Marianne Nowottny. Her first completely solo project since her early bedroom recordings. Described by Marianne as Psychedelic TexMex Country music, Marianne has created an amazing package of music and art. Each copy is entirely individual and handmade by the artist. Has to be seen to be believed!

Track Listing:
My Darling
Donnalia
Honey In A Goldmine
Cognac
Twenty Twenty
When I Sleep With You

‘…expect fake Country & Western/ Polka piano playing & primitive synth-pop electronic percussion supporting plenty of damaged vocals. The tracks reference everyone from Florence Foster Jenkins to an Amish girls – only church sing along. It’s all extremely melodic’
Mark Dagley, Abaton Book Company

Artwork by Marianne Nowottny

Marzanna at facebook: http://www.facebook.com/honeyinagoldmine?fref=ts
Marianne’s website: http://www.mariannenowottny.com/

Released: Wednesday 28th November, 2012

For this recording 48 Cameras were: Michael Begg, David Coulter, Nick Grey, Peter James, Jean M. Mathoul & Shri Bernard Petit Jr.

with: Julien Cortesi, Terry Edwards and Vesica Piscis

‘language is a virus’ W. S. Burroughs

http://www.myspace.com/fortyeightcameras

Limited signed and hand-numbered edition in beautiful professionally printed DVD size digipak. With printed booklet designed by Rainier.

Released: Wednesday 28th November, 2012

Released: Monday 10th September, 2012

“I had the original idea for “there is only now” in winter 2010, shortly after completing my album “memento”, but events transpired that forced me to put it on the back-burner – until now.

The main idea I had, was to try to create something that, at it’s core, had a kind of grounded still-ness, an earthy, and earthly, constant, but at the same time had the feeling of moving forwards, of some kind of motion, and, yes, emotion, but keeping, all the time, in the moment, with the feeling, while listening, hopefully, that “there is only now”.

I was lucky enough, this time, to be joined in this simple journey by an old friend, Saskia Dommisse, who sent me her, as always, amazing vocal work all those many many months ago, and a new friend, and co-conspirator, Jennifer Jo Oakley. Without their gracious and incredible contributions to this album it would not be what it has become. Which is everything I had hoped it would be.
Peter james – June 2012

Dedicated to Fugue Satori

Peter: http://soundcloud.com/pj08, http://www.facebook.com/alterethos, www.relaxedmachinery.com

Jenny Jo (Empty Vessel Music): http://emptyvesselmusic.bandcamp.com/

Saskia Dommisse: http://www.poetstotheirbeloved.com/

Released: 2nd July 2012

Reviews
‘Compositrice, pianiste, chanteuse, Delphine Dora, née en 1980, rejoint tout naturellement ces colonnes. N’a-t-elle pas sorti en 2010 un disque consacré à des fragments des Feuilles d’herbe de Walt Whitman, recueil également célébré par Kate Moore dans The Open Road, sujet de l’article précédent ?
A Stream of Consciousness, paru en 2011 chez Sirenwire Recordings, est un album de piano solo : de piano en liberté pure, quatorze plages d’oubli des cadres, des genres, dans une mouvance minimaliste très fluide. Le flot est rapide ou plus lent, toujours limpide, miroitant, léger. Il caresse, il dévale le temps, il caracole comme un cheval fou. C’est en effet un courant de conscience qui emporte, charrie à travers les espaces vides pour une ode démultipliée à l’infini – le premier morceau s’intitule “An Ode to Infinity”, le second “Crowd vs Empty Spaces”. Cette manière de grouper les notes en grappes serrées n’est pas sans évoquer à certains moments les musiques orientales, notamment la musique chinoise, le piano remplaçant la cithare qîn. Comment ne pas penser aussi à un musicien comme Lubomyr Melnyk et à son piano en mode continu ? On flotte sur un océan, dont la surface est constamment agitée par des bulles qui viennent éclore à la lumière. Les notes se mélangent, tissent un réseau serré d’harmoniques. C’est une musique de plénitude heureuse, une pluie qui tombe des étoiles. Lorsque le rythme ralentit, comme sur l’élégiaque “Fragments of Dreams Are Only Echos of Memories”, le piano chante un lieu inconnu, où les corps alanguis se reposent d’être dans l’oubli de tout, rafraîchis par ces notes qui clapotent, se vaporisent pour donner naissance au chant d’avant le temps. “Mysterious Meanderings”, comme son titre l’indique, sinue jusqu’à mimer une pamoison extatique : Narcisse se contemple et voit son image multipliée dans l’eau tremblante ; comment ne pas plonger, rejoindre cette perfection d’en bas, dont les ondes l’atteignent au fond de l’âme ? En un sens, cette musique est profondément d’essence baroque, tout en trompe-l’oreille, en “Obsessions” (titre 7) incantatoires : la simplicité est un leurre pour nous perdre dans les lacs serrés d’un jeu qui envahit notre “Psychic Mind”(titre 8). Nous courons à notre perte à dévaler ainsi les “Serious Conversations”(titre 9), emportés par la gravité impavide du piano, avec délices ! D’ailleurs, Delphine Dora ne joue pas du piano, elle déclenche des marées, arrange des syzygies pour réjouir nos oreilles encrassées par la laideur d’un quotidien mal irrigué’.
inactuelles.over-blog.com, Mardi 10 juillet 2012

‘Solo pianists can come across as dry and removed or playful and ebullient. When a single instrument plays for the length of an album, it’s better to be the latter. This is what we’ve come to expect from Delphine Dora, who has compiled a diverse discography that includes discs of vocal work, improvisations, and collaborations. All too often we hear the piano used more for percussion than composition: single notes struck, extended, and manipulated like cotton candy. And so it’s a true pleasure to hear someone who can really play, as evidenced immediately in “An Ode to Infinity”, which includes more notes in 3:13 than most ambient albums include in their entire span. But to be fair, this is not ambient, this is modern composition, the heir apparent to the classical throne, the genre in which jazz and rock often come to let out some steam.
A Stream of Consciousness is entirely instrumental and entirely solo. Over the course of 50 minutes and 14 tracks, Dora exercises her fingers to an amazing extent, with wave after wave of right-handed textures balanced by left-handed melodies. And yet, it’s not that simple. The left often delves into abstraction as well, wandering into vast fields of wheat-like notes, stretching to touch the tops of the stalks. These pieces are not the kind one hums or strums; instead, one allows the sounds to surround the ears like thousands of fireflies, all blinking at their own frequencies. As befits its title, A Stream of Consciousness is an impressionistic work, blurred and blue as the cover image implies. The titles may attempt to attach meaning to the sounds, but they tend to restrict one’s interpretation. Better to use the album as an opportunity for reflection, allowing the notes to direct the thoughts while their echoes provide a cushion. If “I Wish I Could” and “If We…” cause one to feel pangs of regret, so be it; but apart from nomenclature, they are just as likely to inspire holiness or contemplative calm.
The tracks grow slightly longer as the album unfolds, as if Dora wants to draw us deeper. Smartly placed at the album’s center, “Obsessions” slows the pace to a swoon. ”Freedom Is Not To Be Out Of Restraints” flirts with the avant-garde, as sprightly atonal flourishes intimate a barely-controlled madness. Not that Dora is mad; quite the contrary. Instead, the artist is capable of playing different characters, an attribute that serves her well. The hesitations of the aforementioned “I Wish I Could” bear this out, reflecting a simultaneous desire to move forward and to draw back. The seven-minute “Conclusion” stands in start contrast to the rapid pace of the opener; in this piece, even the lonely wooden rustles of the hammers and pedals operate as notes. After reaching for the stars, the song shifts to its second phase, a more earthbound section that seems to leave its aspirations behind until the brightness of its final thirty seconds: a sweet coda to an enchanting album’.
Richard Allen, A Closer Listen, July 2012

One’s first exposure to A Stream Of Consciousness might prompt one to think that all of Delphine Dora’s recordings have been solo piano collections, but such an assumption would be far wrong. The France-based, classically trained pianist and sometime vocalist has issued a large number of recordings of a broad stylistic character since 2005, some of them collaborations (with Salvatore Borrelli aka Harps Of Fuschia Kalmia and Valérie Leclercq aka Half Asleep). Recent projects include an album of piano-and-vocal songs based on Walt Whitman’s Leaves of Grass (Multitudes), a concept album with Half Asleep featuring songs inspired by fictional characters such as Beckett’s Molloy and Zelda Fitzgerald (You’re not mad, you’re just lonely), and a set of jazz-related improvisations recorded with double-bassist Bruno Duplant and clarinetist Paulo Chagas (Onion Petals As Candle Light).

Available in a limited run of fifty, hand-numbered copies, the fifty-minute A Stream Of Consciousness is very much a homemade recording, though evidence of such is only audible in the creaks and ambient noise that occasionally appear before or after the playing of the pieces themselves. The fourteen settings often feature sparkling cascades and clusters of sound that are so dense, they suggest Dora’s used multi-tracking to create the impression of two pianists playing together, though that well may be an illusion perpetrated by her playing style. Typically harmonious in character and impressionistic in design, the pieces encompass many moods, from ruminative (“An Ode to Infinity,” “I Wish I Could”) and insistent (“Idle Persistence”) to fragile (“Fragments of Dreams Are Only Echoes of Memories”) and stately (“Obsessions”)—and in the case of “Conclusion,” a plethora of moods in a single setting. An experimental and improvisatory feel characterizes the somewhat bluesy splashes that make up “Freedom is Not to be Out of Constraints,” but, despite the album title, the material generally creates at least the impression of being formally structured rather than purely the product of stream-of-consciousness playing. Listeners with an appetite for elegant solo piano playing should obviously find Dora’s recording much to their liking.
textura.org, September 2012

I’m not quite sure what the aggregate audience for music which falls into the “modern” classical and minimalist genres, but I assume this would include mainly more contemplative types or those in search of a respite from our increasingly Iphone/multimedia/socially mediated world. This new full length album on the relatively new offshoot of the Siren Wire Label entitled A Stream of Consciousness allows us to peer into a window of a peculiar subset of outsider classical; an appropriately quiet label releasing limited edition works on the CDr format.

While the minimalist tag may bring to mind most often the works of Phillip Glass, this new work by Delphine Dora is certainly no exercise in repetitive simplicity. Instead, the minimal quality is delivered by the strict limitation in the way of use of staccato piano notes, and then again of the note sets themselves. Rather than cyclical melodies per se, instead the melodic content is conveyed in a style more akin to a pointillist portrait. Much of the album indulges luxuriantly in its similarities to a summer rainstorm: the wax and wane of sound density, the tightening and relaxing of note frequency, the plaintive quality of the beauty in simplicity. A few tracks (most notably on Obsessions) do however charge ahead with traditional melodic structure.

I have heretofore been unfamiliar with Dora’s work, but I find this piece may yield further secrets in comparison to the preceding albums. This may be a daunting task being that she tends to flit from one obscure label to the next, and also her personal website has not been updated since 2006. Regardless, a definite talent and unique take on a very old (perhaps even… tired) instrument is a refreshing change of pace from uncompromising noise works, the endless mire of mediocre synthesizer drone albums and, overblown technicality (this washed the nasty residue of the newest The Faceless album out of my ears).
Scott W, Musique Machine, August 2012

‘Born in 1980, Delphine Dora is a pianist, improviser, singer, and songwriter from France. She did many solo or collaboration recordings in the past and now, released on micro independent labels or available by free download, of weird, unclassifiable or intimate music more or less structured. Drawing inspirations from diverse musical influences, her music defies categorization’

www.delphinedora.com

Limited hand-numbered edition of 50 in a professionally printed fold out sleeve with obi (sleeve constructed and hand-numbered by Olivier Prieur)

Released: 3rd July 2012

www.thedeadmauriacs.com

Limited hand-numbered edition of 50 in a full colour, hand made card sleeve

Released: 16th January 2012

REVIEW:
‘Another newie on Sirenwire. This time by Empty Vessel Music which is Jennifer Jo Oakley…this is her musical project which is a folky affair with accordions, pianos, and a variety of stringed things. Then Jennifer sings as well and on the opener her breathy vocals and sparse arrangements are delightful. Essentially it’s very beautiful music which will get the old heart strings moving. The tracks tend to be on the darker more sombre side and I’m reminded a little of Current 93 or maybe a bit of Diamanda Galas, Carla Bozulich or that kind of earthy woman in there too’
4 out of 5 stars, Phil, Norman Records, Jan 2012

Jennifer Jo Oakley is a painter and musician from the Pacific Northwest. In addition to creating fine art paintings, Jenny is also a successful pet portrait artist, and has had many portraits commissions worldwide. She has participated in art demonstrations in museums and donated art to charitable events such as moveon.org, fund raisers for horse shows and the American Humane Society. Jennifer has also been a sculpture and drawing tutor for students in college. Jennifer writes and performs music with her own personal music project, ‘Empty Vessel Music’, and in collaboration with Davide Landini of Morose (Italy) with their joint project, ‘Dead Bird Flower’.

www.emptyvesselmusic.bandcamp.com

Limited hand-numbered edition of 50 in a full colour, hand made card sleeve

Released: 16th January 2012

REVIEW:
Matthew Shaw continues his tour of darn sarf where he goes to a place, soaks in the vibe and then creates a piece of music based on his experiences there. Nice idea actually, and I did thoroughly enjoy his Lanreath CD. Seatown is a tiny place just south of Chideock in West Dorset and there Matthew spent a week in a cottage eating pasties, playing with fossils and making this lovely thing. Bowed guitar and phonography (whatever that is… I hope it’s not rude…) are the sounds on offer and you end up with a very nautical sounding album. The bowed guitar sounds lush over the drones and waves of blustery sea noises and wind sounds. It is just one 33 minute track and the bowed guitar makes it quite mantra-like as it’s very repetitive but it helps take you on your journey to Seatown. Hand numbered of 50 copies! Lovely!!
4 out of 5 stars, Phil, Norman Records, Jan 2012

“Seatown” was recorded exactly one year ago on the day of release. The music and sounds we’re all conceived at the place that gives the album it’s name, Seatown a very small but incredible place by the sea just south of Chideock in West Dorset. I spent the week there living in a cottage and recording by day and night both in the cottage and by the sea, walking along underneath the magnificent presence of Golden Cap, picking up fossils on the beach and even spending time in the very cold water, literally lost for a time in their currents.
Matthew Shaw

www.texlahoma.com

Limited hand-numbered edition of 50 in a full colour, hand made card sleeve

Released: 10th October 2011

“On 23rd April 2010, Andrew Paine and Alistair Crosbie met at the Mitchell Library in Glasgow, walked to the 4th floor and requested a piano carrell each. They had done this before, both separately and together. As their previous joint visit had birthed “Treenails” – fondly regarded by both – they did this in good spirits. After an hour or so’s playing, they exchanged recordings and set to work on what each other had done. Mr Crosbie considered some processes and looked fondly at his dictaphone. Mr Paine considered his guitar and wrote some words.

On 22nd April 2011, Andrew Paine and Alistair Crosbie met at Alistair’s flat in Glasgow. They compared recordings, discussed things, decided they didn’t need everything they’d recorded, discussed other things and assembled “Headwaters”.

They hope you enjoy it”

Released Monday 5th September 2011

Fictions was created for The Dead Mauriacs concert & exhibition in Le Havre, May 2011

‘There are 7 tracks. The three first are dealing with insects and include field recordings and concrete sounds. The second part is about contact from beyond and EVP. It is based on the fact that after the death of Houdini, his wife each year at the deathday asked to a medium for contacting Houdini. And it never worked but it was recorded. I have used the last recording for a track. The tracks will be on air during the exhibition and the pictures are connected with them’

Limited hand-numbered edition of 50 in a full colour, hand made card sleeve

Released: 1st August 2011

fugue satori has been receiving weird musical messages since 1984 from a big source; she caved from her hippie, puritan & acoustic piano ways to discover electronics in 2004, where the sounds grew bigger under the moniker Shiver Skin. she nervously resides in Seattle, Washington with many dark cords, knobs, memories, messy things like emotions and Rowland S. the Fantom G8 newfangled workstation. thanks for listening

Limited hand numbered edition of 50 in a full colour, hand made card sleeve

Released Monday 23rd May 2011

Matthew Shaw – Voices, Korg Monotron
Andrew Paine – Piano

Andrew: sonicoysterrecords.blogspot.com
Matthew: www.texlahoma.com

Limited hand numbered edition of 50 in a black & white hand made card gatefold sleeve

Released Monday 23rd May 2011

Limited hand numbered edition of 50 in a full colour, hand made card sleeve

Released Monday 25th April 2011

5 star review from Norman Records:
‘Must say a few words about this lovely piece, a 30 minute track recorded in Edinburgh last February. It invokes little pleasures through merely channelling the mysterious spirit of dawn through the sounds of digitized gurgling, splashing and dripping married with eerie dark ambient tones that hover amorphously. Well it sounds like dawn if you woke up in a misty quarry full of the spectres of long deceased radiators or came to lying amongst a pile of old freezers defrosting in a chilly woodland glade!! For such a minimal recording I’m surprised that there’s so much happening to keep me intently interested, it really is quite beautiful with portions of rustling, breezy field recording being dropped into the mix on occasion. A half hour in time, suspended somewhere forbidden and weirdly alluring…’
Brian, Norman Records, 23 September 2011

Brian Lavelle has been recording electronic music for nearly two decades now, and his more recent output of the last 5 or 6 years has focused on longer, dreamlike, often sinister narratives in sound. These frequently draw inspiration from unusual strands of literature, and are comprised of synthesizer, electronics and a variety of field recordings: Speculative Soundscapes, perhaps.

Hyperboreans is one soundscape from a series of Unimagined Landscapes, a loose collection of recordings that attempts to create in the mind of the listener visible soundworlds of a long-distance, slightly out-of-focus nature, rather than pieces which concentrate on points of detail. The album comprises a single, minimal track of 30 minutes’ duration.

Brian has recently released music on Diophantine Discs, Sonic Oyster Records, Apollolaan, Hooker Vision and Tranquility Tapes; and, in addition to Hyperboreans, he has forthcoming works on Overland Shark (Kansas) and cae-sur-a (New York). He runs the Dust, Unsettled label and is a member of Fougou, with Matthew Shaw, and is one third of Space Weather, with Alistair Crosbie and Andrew Paine.

www.brianlavelle.org

Recorded live in Le Harve, December 2010

Limited hand numbered edition of 50 in plastic slipcase with full colour, hand cut inserts

Released Monday 28th February 2011

The Dead Mauriacs are a prolific musical collective conceived in 2009 during a summer talk in a garden in France. Un Hiver, Dans Les Rapides was recorded live in Le Havre in December 2010. They are currently preparing an exhibition of sounds, images and live performance for May 2011 in their home town of Le Havre

www.thedeadmauriacs.com

Track Listing:

• Petite Monnaire
• Coeur Neuf
• Grand Aigle
• Tu Te Caches
• Coyote
• Mirage
• Conductance
• Lamento

Les Heures Creuses is Hoel Kenven (aka Hoel le Quenven)

Limited Edition of 50 copies hand made by Hoel

Released: Monday 24th January 2011

“An interior voice, a murmur that rises like a wail in a night of imagery and clatter. The song leads us astray to create a passage through musical dreams while suggesting a memory of reality”

  “Une voix intérieure, un murmure qui s’élève telle une plainte dans la nuit des images et des fracas. Le chant brouille les pistes pour se créer un passage au travers de rêves sonores et s’écrit, se rappelant au souvenir d’une réalité” (Hoel Kenven, 2011)

www.myspace.com/lesheurescreuses

Track Listing:

• Timea
• Blue Salt
• Hare
• Chair
• Dolldrums
• Bare
• The Pruning Remedy

Beed and Fascia is Clint Newton: All instruments, processing and live recording.

Limited hand numbered edition of 50 in full colour, hand cut, gatefold sleeve

Released 10th January 2011

“Realized over a 5 day period in late December 2010, The Pruning Remedy emerges from the uneven seams between nostalgia and anticipation and memory and momentum. Acoustic elements without a grounding compass. Meticulous composition deconstructed, crumbled and scattered. Nature as synthesis and synthesis as nature: a snapshot series of vice-versa in an hours time.”

beedandfascia.bandcamp.com

“The Sun arises from his dewy bed & the fresh airs Play in his smiling beams giving the seeds of life to grow And the fresh Earth beams forth ten thousand thousand springs of life ”
William Blake

Track Listing:

• Tharmas
• Urizen
• Luvah
• Urthona
• The Daughters Of Albion

Created October & November 2010 in Dorset, England

Limited hand numbered edition of 50 in full colour, hand cut, gatefold sleeve

Released 6th December 2010

From UNCUT Magazine, April 2011
(‘Thank you’ to Jon Dale for the wonderful review and to Tom Bristow for the photo)

4 star review from Norman Records:
I know a little about William Blake, enough to know the late artist, poet, engraver and philosopher has enough fanatical devotees to keep him on the front line of seminal, legendary visionaries for centuries to come. If anyone makes a great majority of us look like hopeless under-achievers it’s this intense madhead. Matthew Shaw is probably a devotee, he’s been inspired by one of Blake’s unfinished late 18th century “prophetic” books, otherwise known as ‘Vala’. Blake’s was dark, dream-like and powerful writing with a real sense of the foreboding, this five track recording indeed has a suitably sinister ambient drone profile but at one point has a simultaneously innocent folk-esque beauty. It’s centrepiece ‘Luvah’ with its birdsong, wistful acoustic guitar and balmy field recordings threatened from the wings by tormented dark ambient wails and other unnameable terrors that I dig the most. Like dense, charcoal-grey thunderclouds interrupting a beautiful summer’s morning in a park! ‘Urthona’ startles with the wailing of trapped souls in limbo and the finale is a deep, heady rush of druid-like drone. Good creepy vibe throughout with some beautifully layered production!
Brian, Norman Records, 22 September 2011

www.texlahoma.com

i) The Earth Remains Unshattered
ii) Matter & Space
iii) Forsake the Sky
iv) So Long As My Pincers Hold
v) Sceadu
vi) A Pulse Around A Circle
vii) Brilliant White
viii) The Storm is Overpast

Recorded in Glasgow, July – September 2010

Limited hand numbered edition of 50 in plastic slipcase with full colour card inserts.

This CDr was released Monday 8th November 2010

“Quietly and without fuss, Andrew Paine has established himself as one of the UK underground’s most progressive thinkers and most diverse operators, his modes ranging from solo voice, through layered howling guitars, gentle piano interludes, oblique electronics and wherever he likes in between. He initially broke cover collaborating with Richard Youngs in their progressive rock group project Ilk. Following their second album “Canticle” (VHF, 2005), he became particularly prolific, releasing many collaborative titles both with Youngs and with fellow Glasgow resident Alistair Crosbie as well as several solo titles. He founded his own Sonic Oyster Records in 2006 to release much of his work and has recently co-founded, Blue Tree, with Matthew Shaw (Tex La Homa, Fougou) and progressive kraut-rock power trio, Space Weather, with Alistair Crosbie and Brian Lavelle.”

www.sonicoysterrecords.blogspot.com