Limited Edition Japanese pressing of this album comes housed in a miniature LP sleeve. Universal. 2007.

The Licence To Interpret Dreams is as expansive as the wilds of North Wales from which it came, yet as delicate and intimate as a loved one’s breath upon your skin. Each song deploys a modest array of instruments and textures, giving them ample space to breathe and glow. The album’s scope is immediately apparent on breathtaking opener ‘The Slow Beginnings of a ‘A Fragile Acceptance’, where faint piano notes are overwhelmed by an aching surge of cellos, and the timeless, lingering chord progression of ‘The Siren, Hopelessly Lost’.

Black Country, New Road return today with the news of their signing to Ninja Tune, who will release their much-anticipated debut album "For the first time" on February 5th 2021.Recorded with Andy Savours (My Bloody Valentine) during the early part of this year and then finished at the end of the nationwide lock-down, the album is the perfect capturing of a new band and all the energy, ferocity and explosive charge that comes with that whilst also clearly the work of a group who have no interest in repetition, one-note approaches or letting creative stagnation set in. Featuring six new songs including reinterpretations of early tracks "Sunglasses" and "Athens, France", "For the first time" is a sonic time capsule that somehow manages to bottle the past, the present and the future.
“We wanted it to sound exactly how we love to sound live,” says saxophonist Lewis Evans. “This is basically representative of our first 18 months”, continues frontman Isaac Wood.
Indeed the band found they had to stop themselves running too far ahead in order to document this album in a way that felt as truthful as possible.
“We see this as being a stop in the road” explains Isaac. I've always been interested in a really honest portrayal of what a band is and what they've been working on. I think it's really nice if people can see an artist like: this was them in the early days, this was their next phase and that they're quite clear and honest about genuine progression as people and musicians.”
The band have today also shared the new track, "Science Fair", alongside an interview with The FADER.
Minimalist and foreboding, "Science Fair" opens around their rhythm section, precise percussion and bass locking in to allow a residual build from the rest of the band, viola and sax loop and layer over fits and squalls from dual guitars, a synth break and an ever-anxious narrative laid down by Isaac Wood. Climbing towards his desperate exclamation of - "it's black country out there!" - the song caves in on itself during a blistering, caustic final breakdown. Already a live favourite, "Science Fair" is paired to a video directed by Bart Price who said the following about its themes:
"When developing the music video for 'Science Fair', I was thinking about fictitious worlds that we visit through our screens, such as the American high school. Despite our lack of direct experience, these worlds become a universal means of communicating about and understanding things like what it means to grow up, or what it means to be in a friendship group, or to be in love. I wanted to create such a world around Black Country, New Road, placing their music at the heart of a small American town, that in a sense we’ve all been to and lived in."
Despite having just those two early singles to date, Black Country, New Road - their name originally found on a random Wikipedia generator - have made an impressive impact on fans and critics alike. Declared “the best band in the world” by The Quietus, with glowing reviews from The New York Times to The Guardian, a cover feature for Loud & Quiet, a live BBC 6 Music session, selling out shows across the country (including 1700 tickets in London), being invited to festivals around the world including Primavera and Glastonbury, and finding themselves on French TV sandwiched between Sonic Youth’s Kim Gordon and Radiohead’s Ed O’Brien.
Their live performances gaining legendary status among fans of the emerging scene that coalesced around vaunted south London venue The Windmill, and which gave rise to many of their peers and contemporaries such as Fat White Family, black midi and Squid, artists with whom they have variously supported, toured with and collaborated with over the years.

These four girls from Brighton, England recorded a monster rock album that pummels and soothes all at once. Previous releases include a full-length, "Rock It To The Moon", and three singles on their own label, Let's Rock Records. They also released singles on Skint sub-label, Indenial, and on the hip UK indie, Fierce Panda. This is their second album and first full-length for Too Pure.

Last Days' follow up to 2006’s “Sea” “These Places Are Now Ruins” is by the artist’s admission a personal journey about revisiting the past and accepting the present is something we can all truly identify with. The album tells, strictly through feelings, of expectations, disappointments, distance, and the futility of attempting to reclaim lost memories. “These Places Are Now Ruins” is not so much a concept as “Sea” but instead a loosely chronological album documenting thoughts and emotions experienced when returning home after having moved away. The result is often dark and abstract when recalling fears or memories we can't forget but also touching on moments when one explores hopes for the future and the impact loved ones and special times have had on our lives. Last Days' sound remains at times cinematic yet slightly lo-fi and now features more live instrumentation giving “These Places Are Now Ruins” a wider diversity and more fullness of sound. Few things stay the same and those things we wish would change never do. “These Places Are Now Ruins” examines theses themes and over its duration accepts that it's sometimes best for us all to leave the past where it is…

1997 EMI release, their fourth album (1988) digitally remastered. The album features six extended ambient tracks, including 'Desire', 'Eden' and 'I Believe In You'.

简介
2001年的第三张专辑《Music of the Spheres》作为Ian Brown最为成熟的作品，巧妙的平衡了摇滚时代
的Ian Brown和电音时代的Ian Brown，有机的架构了极为丰富的音色和层次，“F.E.A.R”也是Ian
Brown最为迷人的作品之一。去年年底，Ian Brown推出了新专辑《Solarized》，除了让Noel Gallagher
参与“Keep What Ya Got”使其像一首更细腻更迷幻的Oasis作品之外，还用管乐将“Time is My
Everything”改造成一首被时髦化了的西部片配乐。除了从这四张个人专辑中各选取三首代表作之外，
这张精选辑还收录两首Ian Brown演绎人声的UNKLE作品以及一首最新单曲“All Ablaze”，UNKLE为“Be
There”和“Reign”带来的Breakbeat远比Ian Brown个人在电音上的尝试走得更远更流畅，而且在空间
感的营造上更为Stone Roses式的迷幻摇滚延伸出别具一格的想象力。
歌手简介：
正当英国音乐将在沉闷中从80年代进入90年代的时候，一支叫做“石玫瑰”(The Stone Roses)的乐
队出现了。1989年，他们第一张专辑的出版，使英国“独立摇滚”进入了崭新的时代。自从The Stone
Roses成为“曼彻斯特音乐潮流”名义上的领袖之后，吉他流行乐与独立摇滚乐相融合的现象仿佛加足了
燃料并且进一步刺激了跳舞文化的发展。
The Stone Roses在1996年的一场演出之后各奔东西，但乐队主唱Ian Brown并没有因此放弃对音乐的热
爱，这个音乐开拓者采取的是以退为攻的手法，先是把自己“与世隔绝”起来，在原乐团队友的帮助下
，Ian Brown也开始尝试编曲及演奏，接着以一张单飞专辑《Unfinished Monkey Business》重新杀回音
乐世界。
1998年1月, Ian的首支单曲“My Star”登上英国排行榜第五的位置，而之后接着发行的两支单曲也
同样取得了傲人的成绩，UMB这张专辑也很快成为白金唱片。
在发行单曲的同时，Ian也展开了英国和欧洲的巡演。1999年全年他几乎都在路上巡演，一天五场演
出，从威尔士到苏格兰，演出的收入全部都捐给了当地的青年俱乐部。而这期间他也没有停下准备新专
辑的脚步。
1999年11月，Ian推出了他的第二张专辑《Golden Greats》，引起了巨大的反响。这张专辑是Ian和
他的乐队的一张转型之作。里面加入了更多的吉他和更多的舞曲风格。接下来的一年时间，Ian继续展开
巡演，足迹踏遍英国、欧洲、美国和日本。
2001年初，Ian停下了一切活动开始潜心制作第三张专辑《Music Of The Spheres》。这张专辑也展
现了Ian不同往日的一面。他与电台和评论界始终存在着矛盾，但这丝毫不影响唱片的销量，可以看出
Ian的拥护者们对他的无限忠诚。
2003年，Ian除了制作新的专辑以外，还在风靡全球的电影《哈利·波特和阿兹卡班的囚徒》中客串
了一个小角色。
2004年12月，Ian Brown终于带来了他的最新专辑，那就是这张曝光人生轨迹的《Solarized》，被
一致公认为Ian Brown最棒的一张单飞专辑。Ian从来没有制作过有如此丰富的音乐元素的专辑，新专辑
《Solarized》不只是Ian Brown的个人专辑，它也应当算作Oasis主将Noel Gallagher的作品，其中Noel
Gallagher担当了制作人和很多乐器的演奏，但是专辑却并没有属于Oasis的那种浮躁感，同时Ian Brown
也说他汲取了很多The Stone Roses时期的灵感。整张专辑巧妙的融合了各式经典风格，令人振奋。
Ian Brown让我们体会到，解散并不代表着永远的伤心，只要音乐不死，就还有奋斗者在，而我们也
就永远拥有好的音乐。
所出专辑：
1998-2 《Unfinished Monkey Business》
1999-11 《Golden greats》
2001-10 《Music of the Spheres》
2003-9 《Under the Influence》
2004-11 《Solarized》

UK reissue of the influential British folk artist's 1966 album with John Renbourn, remastered from the original tapes. 12 tracks including, 'East Wind', 'Piano Tune', 'Goodbye Pork Pie Hat' & 'Soho'. Standard jewel case in a slipcase.

专辑封面：
无，仅仅一张白纸。
这张专辑与其说有封面不如说没有，因为他们都奉行简约主意，封面就是一张白纸，里面也没有任何图片可看，甚至连背面也没有歌曲的名称，整张唱片做得很简单，碟面也没有任何修饰····
专辑曲目：
无，唱片根本没有，
这一英国最著名的实验乐队是电子音乐大家庭的一员。他们的音乐非常电子化，并不刺耳，显示出Kraftwerk和早期电子乐的痕迹。除发表了一些实验形式和扭曲音响的作品外，他们还在舞曲爱好者和独立摇滚乐迷中发掘了大批狂热的追随者。初听他们的音乐会觉得随意或杂乱，听多了就会发现那些都是经过精心构思的。
他们也作为神秘的Gescom的一部分发过唱片，同时也曾为Skinny Puppy, Tortoise, Stereolab, DJ Food, 和 Scor等乐队做过混音。

The musical evolution of Zoe Mead, aka Wyldest, has been a slow but steady one – a mix of deliberate exploration, a natural shifting in taste, and a certain virus twisting her arm. After recording drums for 20 songs touted for her second album - Monthly Friend - last February, the impending lockdown then took studio time off the table.
“Firstly I entertained the idea of mixing it myself and then sort of laughed it off,” Zoe reflects. After spending the isolated summer of 2020 mixing music for some friends confidence then came, empowering her to finish the album herself, completing her bloom into an entirely self-sufficient musician, songwriter, producer and mixer.
Wyldest’s debut album Dream Chaos, released in 2019, was a swirl of dream-pop and shoegaze, with sweet melodies bathed in reverb, recalling the likes of Warpaint and, on the heavier end, My Bloody Valentine. The album was then re-worked for a stripped-back version - Redream Chaos - last March, and this aesthetic carries through to Monthly Friend while being pushed further along. “I was hell-bent on removing the reverb,” Zoe says of her approach to Monthly Friend - her sophomore record due 28th May via Hand In Hive (A.O. Gerber, Blackaby, Swimming Tapes), longing for a more intimate sound akin to her influences at the time, such as the tender songwriting of Elliott Smith and Phoebe Bridgers.
While Monthly Friend is a self-contained concept album about the joys, woes and confusion of femininity and womanhood, it’s also a next step in the growth of a singer-songwriter who refuses to be pinned down by genre labels or traditional categorisation. While the lockdowns have taught her how to mould a slick, affecting indie rock album from start to finish and become a self-sustainable artist, it’s also stripped her of any artistic facade, leaving behind just an honest approach and an unyielding desire to explore. No-one - least of all Zoe - knows where she might travel next, but the excitement lies therein.

Portico Quartet announce Terrain, a three-part suite drawing on American minimalism and ambient music alongside their own rich heritage as they explore new musical vistas
When Duncan Bellamy and Jack Wyllie – the driving force behind Portico Quartet got together in their East London studio in May 2020 and started work on the music that would become their new album, the world, or most of it, was in the midst of the first lockdown. The unique impact of the events of 2020 became the backdrop to their time composing and recording; causing them to take stock, re-think, and plot a new musical path.
Indian novelist Arundhati Roy expressed the sense of grief and rupture from the pandemic as "a portal, a gateway between one world and the next", and as they created the music that would become Terrain they were drawn towards longer, slowly unfolding pieces, which are perhaps the most artistically free and also the most beautiful they have ever made.
These are compositions more in the lineage of Line and Shed Song (Isla/2009), Rubidium (Portico Quartet/2012) and Immediately Visible (Memory Streams/2019). Wyllie expands: "We've always had this side of the band in some form. The core of it is having a repeated... pattern, around which other parts move in and out, and start to form a narrative. We used to do longer improvisations not dissimilar to this around the time of our second record Isla. On Terrain we've really dug into it and explored that form. I suppose there are obvious influences such as American minimalism, but I was particularly inspired by the work of Japanese composer Midori Takada. Her approach, particularly on 'Through the Looking Glass', where she moves through different worlds incorporating elements of minimalism with non-Western instruments and melodies were at the front of my mind when writing this music".
Terrain I, II & III are all subtly different, but a short rhythmic motif that repeats is the starting point in all three movements. There is a sense of a shared journey to all these pieces, they move through different worlds, with a sense of horizontal movement that lends the music real momentum. Terrain I was the first piece they worked on and it started with a hang drum pattern, improvised by Bellamy, who added cymbals and synthesiser. From there on it grew, Wyllie adding saxophone, another synthesiser section, strings. For Bellamy "It felt more like filmmaking than music making, a bricolage of conflicting, shifting signs, subtle tension and multiple narratives. Andrei Tarkovsky's 'Mirror' and British artist John Akomfrah's incredible 'Handsworth Songs' were pivotal points of reference for me." Wyllie expands the point. "There is a sense of conversation between us both, in that someone presents a musical idea, the other person responds to it with something else, which would then be responded to again... until it feels finished. These responses are often consonant with each other but there is also a dissonance to some of this work. The music slowly evolves through these shared conversations."
It is this sense of dialogue, both between the composers, and between tranquillity and a subtly unsettling melancholy, that makes Terrain such a powerful statement. One that speaks to both our interior and exterior worlds, to our own personal landscape, to our Terrain. more

The unmistakably dramatic pop singer seeks the divine feminine, embracing a bold yet soft aesthetic that’s more effective than some of her lyrics.

2009 digitally remastered collection from these truly great, but unsung heroes of the '70s containing 20 dazzling Rickenbacker-riddled chunks of classic British Pop/Rock. This release brings together SE&L's 45s and best album tracks from their career-spanning time with CBS. Also contains two non-album Flo & Eddie-produced A-sides and two worldwide debuts of a couple of fantastic Dylan/Byrds covers! A generously jingly-jangly 77 minutes playing time, all of it lovingly remastered. Broadside.

Bananarama are an English female pop music vocal duo, originally formed as a trio in London in 1979 by friends Sara Dallin, Siobhan Fahey and Keren Woodward.