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'The Simple Plan' (ICR 72) - Paul Bradley & Colin Potter

Recorded and completed at the end of 2008 and on into the first months of 2009, ´The Simple Plan´ offers a change in focus from previous collaborations between these two artists. Comprising five tracks, ´The Simple Plan´ is purely instrumental, recorded in real-time and subjected to only minimal digital processing.

'Above The Sky' (ICR 71) - Monos

'Trajectories' (ICR 70) - Phil Mouldycliff & Colin Potter

Phil Mouldycliff was contacted by Dave Carson with a view to making a work based on the unique wildlife of this very isolated island in the Pacific Ocean. This resulted in Phil visiting the island to absorb the environment & make many hours of field recordings. The final work will be an audio-visual show designed to be shown in domed structures & planetaria. The field recordings were taken back to IC Studio where Phil & Colin Potter processed them & mixed them with female voice and piano interpretations of birdsong. As unlikely a this sounds, the end result is an album which sounds simultaneously electronic/synthetic & natural. Hopefully this conveys the nature of the island from an unusual tangent.

'Man With The Woman Face' (ICR 69) - Nurse With Wound

A welcome re-issue of this classic Nurse With Wound album. Originally this was only available for a short period of time before World Serpent went bust and is often thought of as a ‘lost’ NWW work. There is also an extra CD with 3 tracks from the same sessions. The first is a remix of ‘African Mosquito’, the second an unreleased out-take and the third is a home demo of ‘White Light'. Both albums are available together or individually.

'Sprint Mill' (ICR 68) - APM

New CD by Chris Atkins, Colin Potter & Phil Mouldycliff.
Based on field recordings made at the site of the studio workshop of artist Edward Acland. As near to perfect production as you can find that captures the spirit of a person and a place. Sprint Mill, Edward Acland’s studio and workspace, stands at a southern gateway for the traveller who pauses before entering the paradigmatic terrain of the Lake District in Cumbria. The waters that start high in the upper fells of deepest Lakeland tumble and fall past the site of the nineteenth century mill and its environs before joining other rivers and flowing on through to the sea at Morecambe Bay.
The journey of the waters of the River Sprint stand opposed to the archaeology of Sprint Mill that breathes a melancholia of industry past. The intimacy of the mill living alongside its restless aquatic partner is best captured through a sonic landscape. This triple collaboration between Colin Potter, Phil Mouldycliff and Chris Atkins arises through site visits, field recording, ruminations and production works that come together to seamlessly evoke a land that time forgot, almost.

'The sights of the drowned fable' (ICR 67) - Colin Potter

A CDR of Colin's performance at the Resonator festival in July 2007.

'Far Black Furlong' (ICR 65/66) - Far Black Furlong

'Far Black Furlong' is a rapturous, symphonic work in six movements. The music describes tides - from the summer breeze through barley, to the shimmering stretch of a vast ocean extending to the shifting birth pangs of stars. Much of the music was recorded at outdoor locations - such as the barley fields of the Clun Forest - and is performed on acoustic instruments. FBF comprise of baroque oboist Mark Baigent, composer Richard Moult, dulcimer player John Letcher, the Candian flautist Amanda Votta (of the group The Floating World), Shropshire poet Bryony Lees, guitarist Ian Tengwall  & Andy Cotterill on electronics.

Limited edition (ICR 66) : ’Haidd 2’ a beautiful 34 minute remix/reworking of their previous album.

'Untitled Landscapes One' (ICR 64) - Stimulus

Drones with an edge.Organic with a synthetic envelope of hypertension.
On this release that dates from 2006, originally only available as self released,micro edition handmade CDRs, the band utilize a variety of live instruments including Cello, Accordion, Trombone, Drums, Cymbal, Electric Guitar, Bass and Organ and layer them along with studio equipment such as Samplers, Drum machines and Computer software plus field recordings, short wave radio and lots of effects pedals to produce some very interesting and unique sounding music Stimulus have been active since 1995 recording a variety of different styles of music ranging from highly programmed Electronica and Drum n Bass to live improvised experimental music.

'Written On Water' (ICR 63) - Phil Mouldycliff

Although his career as a multi-disciplinary artist spans over thirty years, Phil Mouldycliff is probably best known for his collaborative work with Colin Potter and Keith Rowe from 2003 to present. This is his first solo album of sound works and represents aspects of current working practice. “Nocturne”, “Kettleblack” and “Spirit of Place” are all single-take recordings based on an ongoing concern with “Conjectured Landscapes”. “The Stillness of Chinese Jars” and “The Groaner” are two examples of his fascination with the interface between traditional instrumentation and environmental sounds. “A Speculative Atlas” is a truncated version of a piece created in response to the sextet, which is featured in David Mitchell’s novel Cloud Atlas. These selected pieces are culled from a much larger body of works designed for use in found sound/object installations.

'It Was Like This...' (ICR 62A / 62B) - Colin Potter

Double CDR of live recordings from appearances in the UK & USA from 1999 to 2006. Released as two coloured discs in a clear double jewel case. There was an error with catalogue numbers with some of the copies. The yellow disc should be ICR 62A & the red disc ICR 62B

'Shipwreck Radio: Final Broadcasts' (ICR 61) - Nurse With Wound

Edition in wrap around card sleeve in plastic sleeve

'Husk' (ICR 57/58/59) - Jonathan Coleclough & Murmer

ICR 57 - Single disc edition

ICR 58 - Edition of 200 copies with bonus CD.

ICR 59 - Limited edition of 47 copies with bonus CD and exclusive CDR. Each of the 47 CDRs contains a unique five minute composition ('Nevill') in a unique sleeve. Only 25 of these copies are for sale.
Nevill recorded 19 & 20 April 2006 using sounds from Nevill Road, London.

'A Handjob From The Laughing Policeman' (ICR 56) - Nurse With Wound

Sold with the first 300 copies of Soundpooling

'Soundpooling' (ICR 55) - Nurse With Wound

Soundpooling #3 is an improvisation on Salt Marie Celeste and Echo Poeme. It was recorded live on the 5th May 2005 at the Narrentum, Vienna, Austria.

'Debris Field' (ICR 53) - Loren Chasse, Phil Mouldycliff, Colin Potter & Keith Rowe

Running from April 7th until June 3rd 2006 at Bolton Museums Art Gallery & Aquarium, 'Debris Field' was a unique exhibition bringing together an amazing collection of found objects and sounds by contemporary artists from the UK and abroad including Keith Rowe (amm), Tom Philips, Russell Mills, Colin Potter (nurse with wound etc), Max Eastley, Phil Mouldycliff, Loren Chasse (jewelled antler collective etc) & others. 42 page catalogue with info on all participants along with an exclusive cd with the rumbling 48.30 mins worth of 'debris field ambient wash' a collaboration between Chasse, Potter, Mouldycliff and Rowe.

'Gulls Just Wanna Have Fun' (ICR 52) - Nurse With Wound

Various Broadcasts and Audio Debris.
Available only with the first 250 copies of the Shipwreck Radio Volume Two 2xCD

'Shipwreck Radio Volume Two (Eight Enigmatic Episodes From Utvær)' (ICR 51) - Nurse With Wound

Between June & July 2004, as guests of Kunst I Nordland, NWW broadcast twenty four unexpected radio transmissions from the Arctic Lofoten Islands, eight of which are included here.

The first 250 copies came with the Gulls Just Want To Have Fun CD.

'The Little Dipper Minus Two (Echo Poeme Sequence 1)' (ICR 50) - Nurse With Wound

CD-R in a limited edition of only 200 copies - released by ICR and Klanggalerie - only available at the Vienna live shows featuring Steve Stapleton, Colin Potter, Andrew Liles, Matt Waldron and Diana Rogerson. The gigs were held on 6 & 7 May 2005 at The Anatomical Museum / Narrenturm, Vienna (Austria).

'Mother Goose's Melody Or Sonnets For The Cradle' (ICR 47) - Andrew Liles

Almost a "concept album" by UK composer Andrew Liles featuring the voice of Lord Bath and the musical talent of Sion Orgon of Thighpaulsandra's band. If you want to compare Liles´ music, think of Colin Potter, Steve Stapleton or Jonathan Coleclough. Liles might be the last alchemist in electronic music who manages to provoke an eerie atmosphere alongside a lot of dark humour.

‘Long Heat’ (ICR 43/44) - Jonathan Coleclough & Lethe

Long Heat

Special edition includes a 2nd CD 'Long Heat Second Part'

‘Lofoten Deadhead’ (ICR 42) - Nurse With Wound

Limited edition CDR that came with the special edition of Shipwreck Radio Vol 1

‘Shipwreck Radio Vol One’ (ICR 41) - Nurse With Wound

‘Makruna Minya’ (ICR 40) - Jonathan Coleclough

‘Self Titled ’ (ICR 39) - JC BC CP

Coleclough and Potter’s remix ‘Drugged IV’ appeared on the Bass Communion remix CD in early 2003. But they recorded far more material. This release includes much of that music, along with a Bass Communion mix of some of Coleclough and Potter’s material.

‘After Rainfall ’ (ICR 38) - Ora

When 'Final' (ICR32) was released it was originally meant to be a double album to include these previously unreleased pieces, but unfortunately the masters could not be located. Eventually they were found, so here, 'finally' is the last chapter of the ORA project. Five environmental / electronic pieces from the years 1995-1999.

‘Behind Your Very Eyes’ (ICR 37) - Colin Potter & Paul Bradley

A collaboration between Colin Potter and Paul Bradley (another Preston-based composer, who manipulates sound with his computer in a most un-computer like way). Over 68 minutes the four tracks visit different soundscapes, exploring organic and electronic sources, sometimes peaceful, sometimes unsettling. Well worth a visit.

‘Shellfish in kettleblack’ (ICR 36) - Phil Mouldycliff & Colin Potter

Originally broadcast as One Hour as Starfish in Kettleblack on Ben Green's Resonance FM programme. This is the full 73 minutes, in three parts. Very difficult to describe, radio static, buzzing squalls, samples manipulated and used way outside of their normal ranges, disembodied voices (including somebody very famous we hope will not be recognised).

‘Twenty Hertz’ (ICR 35) - Paul Bradley

Debut album from this talented young composer. To quote the Anomalous Records catalogue: Cavernous rumbles and speaker-shaking bass tones characterize this debut release from the very talented Paul Bradley. Beautiful slow-moving tracks, evoking the elements of the underworld. Although the low-end dominates, there is delicacy and subtlety to be found here. I am reminded alternately of ships lost at sea, subterranean caverns filled with mysterious activity, menacing night-time forests, and the powerful majesty of summer storms. A striking first release, in handmade cover with vinyl sleeve.

‘Window’ (ICR 34) - Monos

Another in the series of Colin Potter processing the field recordings of Darren Tate. You can almost tell what it is, but it has been changed to another dimension.

‘Low Ground ’ (ICR 33) - Jonathan Coleclough & Colin Potter

Some duo and solo pieces. Shaking, shuddering, floating and flying. Yet another journey into a strange world of mystery. Highly recommended.Come in.

‘Final’ (ICR 32) - Ora

A compilation of tracks from the deleted Gnome CDRs plus three previously unreleased pieces. With Darren Tate, Colin Potter, Andrew Chalk, Lol Coxhill and Daisuke Suzuki.

‘And Then’ (ICR 31) - Colin Potter

62 minutes long. There are drones. There are slithering drums. There are sounds that were never meant to be. Steam engines lost in space. Galleons passing in electronic fog. Static in flowers. Come in.

‘Sumac’ (ICR 30) - Andrew Chalk and Jonathan Coleclough

A vast 71 minute monolith of sound. A constant yet ever-changing landscape that will suck you into its world. Very calming at lower volumes and extremely stimulating at maximum loudness. Beautifully packaged.

Further information on ICR releases can be found here . We cannot however vouch for its accuracy.