Lose yourself in the intoxicating sounds of OPIUM HEAD.

This aural narcotic is an experiment in structure and sound, designed without regard for genre. The songs contained herein are not compositions, but rather arrangements of various Indian Bhangra and Bollywood samples demodulated from their organic forms, modified, then arranged in a rhythmic/melodic mix. The parameter prescribed for this project was to create an organic mix laced with minimal electronica, as compared to an over-the-counter electronic mix dosed with minimal organic sounds.

Music is our drug, take a listen and join us in our addiction.

This album is a continuation of recurring themes that have been interwoven into the entire recorded output of Rapoon (now almost 20 years and 40 odd albums). Oblique and transitory the little stories and spoken words form connections across time and space. This is about those who disappear in strange circumstances and those who just disappear. The passage of time and change. Ghosts from the past and ghosts from the future.

This stunning new album with mezzo-soprano Jennifer Lane commemorates the 250th anniversary of George Frideric Handel's passing (1685-1759). It contains lesser known vocal and instrumental gems from throughout Handel's career. From the much adored but rarely performed cantata: "Udite il mio consiglio," composed at the court of Cardinal Ruspoli in Rome during the Vatican's ban on opera, to glorious excerpts from the English oratorios Jephtha, Hercules and Saul, composed during a similar ban on Italian opera in England, these works of genius are unjustly overshadowed by Handel's new testament sacred works, particularly Messiah, and those few of his operas regularly offered by the world's opera houses. Also included on this album is the rapturous Sonata in D Major for Violin and Continuo two arias from the opera Atalanta, and an aria from one of Handel's earliest Italian operas, Rodrigo. For many years, it was believed that the cantata: "Udite il mio consiglio," the centerpiece of this recording, ended with the Rodrigo aria "Allor che sorge." Handel's 19th century editor, Karl Friedrich Chrysander, found ending the cantata with a recitative too radical and was certain an aria had to be missing. This recording allows the listener to hear the cantata either way. You be the judge!

Some of Handel's most complex women are portrayed here as well as some of his most endearing boys, according to the 18th century tradition in which sopranos and mezzos took leading roles of both genders: Hercules' wife Dejaneira's jealousy; Jephtha's faithful wife Storge's shock at the news of their daughter's impending sacrifice; David's love for Jonathan; and Meleagro's youthful love and passion for Atalanta.

Full texts and translations for the album are included in the artwork documentation that accompanies the download.

Inner Sunset was all about me stretching my musical wings, exploring different underlying contexts for electronic music. I'm quite proud of this one, even if it isn't as accessible as the first one was. The last three tracks are all acoustic, very personal songs. Friday on Thursday (track 9) was the processional to my wedding. Paddington Bear (track 10) was written for my friend Githa Ong, who sadly passed away after a long battle with Leukemia.

A stunning collection of love songs and instrumental dances from 12th to 15th century Europe. The album includes passionate Spanish ballads by the Troubadour Martin Codax about a woman who waits on the sea shore for her lover. There are mysterious magical songs which describe meetings with the Fairy Queen, songs of women who are spurned by untrue lovers by the female troubadour Comtesse de Die, and an anonymous song of a woman who escapes the cruelties of the cloistered life for the outside world of earthly pleasures. There are also two courtly love songs by Jehan de Lescurel a priest from Notre Dame who was later hanged for debauchery.

The majority of the songs on this album come from monophonic melodic lines, sometimes accompanied by text, which the band have interpreted using a stunning array of early instruments which include gothic harp, hammered dulcimer, recorder, bass viol, bagpipes, hurdy gurdy, percussion, pipe and tabor with the beautiful voices of leading early music singers Jennie Cassidy and Sophia Brumfitt. The album concludes with 'Galdrbok' a Norse word meaning 'book of sung spells' which is an original compostition by director and bagpipe player Katy Marchant and hurdy-gurdy player Steve Tyler - so linking the medieval past with our lives in the modern age.