Remastered reissue of the bands third full-length originally released in 1995, includes 4 bonus tracks 'The Sexuality of Bereavement' and 3 tracks live at Dynamo '95, 'Your River', 'A Sea to Suffer In' & 'The Forever People'. Digipak. 2003.

Foxtrot is the fourth studio album from the English rock band Genesis, released in October 1972 on Charisma Records. The album was recorded following the tour in support of their previous album, Nursery Cryme (1971). Side two features "Supper's Ready", a 23-minute track that is considered a key work in progressive rock and has been described by AllMusic as the band's "undisputed masterpiece".
Foxtrot was the band's greatest commercial and critical success at the time of its release, reaching number 12 in the UK and receiving largely positive reviews. As with their previous two albums, Foxtrot initially failed to chart in the United States. A single from the album, "Watcher of the Skies", was released as a single in October 1972. Foxtrot was reissued with a new stereo and 5.1 surround sound mix as part of their 2008 Genesis 1970–1975 box set.

Portico Quartet has always been an impossible band to pin down. Sending out echoes of jazz, electronica, ambient music and minimalism, the group have created their own singular sound.And while their new music mixes dense layers and textures with electronic and acoustic instruments the sound remains uniquely, recognisably their own.
In 2017 they released their fourth studio album in a decade, Art in the Age of Automation, on Gondwana Records. Released to a chorus of acclaim, the album marked a triumphant return for the Quartet after a brief hiatus as the three-piece, Portico, and marked a welcome return to the stage for the foursome with sold-out shows across Europe including the Roundhouse, London earlier this year.
Untitled (AITAOA #2) was largely recorded at the same sessions as Art in the Age of Automation at Fish Factory Studios in London and Portico Quartet's own studio in East London. Like it's predecessor, the album was mixed at Voxton in Berlin. It is intended as a companion piece to last year's AITAOA. But works equally as well as a stand-alone album and explores similar areas of enigmatic, widescreen minimalism alongside the more hard-hitting sounds that have become a notable part of their live shows. There is no lessening of quality here, album opener, Double Space, Index, View From A Satellite and Berlin were all originally slated for AITAOA, before being held back as the band's vision of that album came into sharper focus. The insistent groove of Unrest and cinematic beauty of Celestial Wife were enhanced with further recording sessions till the band felt they wer

2008年的初期是受世人注目的Goldfrapp季节，在11月份就公布了乐队第4张专辑《Seventh Tree》的发行消息，引来歌迷的一阵期待呼喊声与兴奋浪潮。Goldfrapp的第4张专辑《Seventh Tree》即将在2008年的2月25号由所属签约公司Mute来发行。但是网络就是这么的另人疯狂，第4张专辑《Seventh Tree》专辑提前3个多月泄露了，不知道Goldfrapp的美女主唱Allison Goldfrapp看到后有何感想？她和Will Gregory把Goldfrapp乐队整的太受欢迎了。新专辑一共10首歌曲，关于Goldfrapp的风格，许多人都把她们归入Trip-Hop团体中去，个人觉得有些不妥。国外和国内关于这一点网上许多人也都讨论，研究过。这里我也就不重复了，之所以加上在风格上面加上Trit-Hop，照顾咱们国内的同学，因为在国内她们几乎成了Trip-Hop的带名词。另外，主唱Allison Goldfrapp 接受媒体采访时对专辑的风格这样说“《Seventh Tree》是英式浪漫主义加上加州阳光。”而成员Will Gregory则说是“将心痛的事情加上阴沉的包装”。其实俩人说的都没有错，有悲，有喜。关于编曲配乐仍然是重戏，Will Gregory拿手的交响乐依然出现在专辑中。而Allison Goldfrapp的演唱的功力丝毫未减，依然是那样的引人入胜，美不胜收。

Basket of Light is a 1969 album by the folk rock group Pentangle. It reached #5 on the UK charts largely on the basis of the single "Light Flight" (#43 UK), the theme from BBC1's first colour drama series Take Three Girls. Another single from the album, "Once I Had a Sweetheart", reached number 46 in the charts.

The Incredible String Band were a British psychedelic folk band formed by Clive Palmer, Robin Williamson and Mike Heron in Edinburgh in 1966

The last, outstanding release of the London based experimental duo (Tom Relleen and Valentina Magaletti), accomplished just before Tom’s passing in August 2020, is the distillate of two years of new creative enhancement.
Mostly recorded at Tom’s “Bunker” – as he called his house in London – during the days off from live performances and challenging collaborations throughout the world, Intimate Immensity collects ten intense tracks that outline a breath-taking epiphanic journey revisiting the multifaceted worlds explored by the band in seven years of non-stop and mostly live activity.
The wonderful blue artwork especially created by the acclaimed artists Icinori is a perfect match with the gist of Tomaga’s aesthetics of intimacy that is well expressed by a few lines in the gatefold:
“I just foundan interesting book by Gaston Bachelard called The Poeticsof Space, with chapters on ‘house as universe’, nests, shells, ‘intimate immensity’, ‘the phenomenology of roundness’... I think it ties in with our feelings about bunkers and the urge to partition the universeto create our own spaces, vs cleansing or colonising the everyday to make it empty of anyone else's taste. I think Tomaga tracks with their individual micro worlds are a bit... like that…" – in this way Relleen introduces us into Tomaga’s pulsing universe where space and meaning, articulated by sound, acquire breath and character as an expressive place where you can feel at home.
It is a quite similar aesthetics that could be perceived through Derek Jarman’s quotation from Blue (1993) used in the video of Intimate Immensity realised by Noriko Okaku together with some of Tom’s favourite stones collected from different places throughout his life.
Blue protects white from innocence
Blue drags black with it
Blue is darkness made visible
Blue protects white from innocence
Blue drags black with it
Blue is darkness made visible.
The dialogical richness of musical influences, that has always been a peculiarity of all Tomaga’s performances, finds its peak here. The sonic spectrum is really wide, ranging from modern composers such as Laurie Spiegel and Pauline Anna Strom who has recently passed away, to the British refined dance aesthetics of Muslimgauze and Ossia.
The somewhat deceitful approachability of the ten tracks, their crystal clear and elegant surface, is in fact the outcome of the deep process of transformation that has personally and musically involved the duo during the last two years. more

Ever precocious singer-songwriter Laura Marling has reached the ripe old age of 19 and to show her added maturity has stripped off the peroxide and will be releasing not one but two albums this year. Plucked from second album I Speak Because I Can, the new single is carved from the same cloth as Marling’s previous material; continuing with older-than-her-years lyrics and earthy folkisms. There will no doubt be grumbles, not just about the hair, but about the expansive production values on display courtesy of Kings of Leon’s old pal Ethan Johns. While it’s not a total departure from debut Alas I Cannot Swim, if ‘Devil’s Spoke’ is anything to go by, Marling’s more mature sound displays enough promise to prove that her debut wasn’t a once-off.

Roger the Engineer (original UK title: Yardbirds, US, German, and French title: Over Under Sideways Down) is an album by the English blues rock band The Yardbirds, released in 1966. It was produced by bassist Paul Samwell-Smith and Simon Napier-Bell. It was the only Yardbirds album with all original material. Although the record was officially titled Yardbirds (and still is in authoritative chart sources, such as The Guinness Book of British Hit Albums), it has since been referred to, first colloquially, then semi-officially, as Roger the Engineer, a title stemming from the cover drawing of the record's audio engineer Roger Cameron by band member Chris Dreja. Due to the influence of Jeff Beck's experimentation with guitar distortion, the album is considered a precursor to heavy metal.