MONOLORD - 'RUST'

Formats

• EZRDR081CD - CD

  603111719825

• EZRDR081X - 2xLPs

  603111719818

Details

*ORANGE VINYL* Gothenburg, Sweden trio Monolord is a rare breed: A band both encompassing and transcending genre; a vortex of heavy rock density that consumes all others. Their thunderous, tuneful heft has built a rabid international fanbase in short order since their 2014 debut. But Rust, the band’s third full length, truly exemplifies why some refer to them as the Nirvana of doom. Monolord’s enveloping, syrupy sludge is a vibe, it’s a state of mind. Not riffs for riffs sake, but a collective buzzing, rattling and rumbling that’s more total environment than collection of songs. Together, guitarist/vocalist Thomas Jäger, drummer Esben Willems and bassist Mika Häkki create a massive, dynamic sound with ultra-low frequencies serving as its fourth member. “We've always been inspired by great band musicians — as opposed to technical solo peacocks,” Willems says. “Because that force of a band really playing together as one single unit is incomparable. At its best, it's just unstoppable.” And, Monolord is truly unstoppable, on record and on stage. “A heavy groove that contains both bombastic overkill and a lot of dynamics is what we always aim for in Monolord; in playing, in song writing and arranging, in recording,” Willems says. Album opener “Where Death Meets the Sea” perfectly exemplifies their mastery of dynamics and hooks with a driving, infectious buzzsaw riff that lesser bands would ride off into the sunset, but Monolord uses subtly to spur the song’s skull rattling rhythmic core ever onward. Jäger’s watery vocals glide over ominously building verses that erupt with the song’s insistent refrain. Being such a tight rhythmic unit, it sounds almost like an early ZZ Top record played at half speed. “Dear Lucifer” squeals and hums with slow deliberation as Willems summons Dale Crover pummel with chasm like low-tuned toms and syncopated cymbal crashes. The album’s title track is also its centerpiece, opening with a dramatic, shimmering Hammond organ intro as Jäger sings, “you are the reason that I lied/ You are the reason that I cried/ Please don’t wait until tomorrow/ There’s only pain and grief and sorrow.” Suddenly, the band kicks in with a downtuned open-C line that nosedives down the guitar neck as the drums hammer down for the kill. Elsewhere, tastefully understated guitar harmonies elevate the behemoth churn of “Wormland” and apocalyptic album closer “At Niceae” simmers in a slow build of rumbling guitars and rolling drum triplets. Monolord formed in 2013, quickly recording their 2xLP debut Empress Rising, which RidingEasy Records released in April 1st, 2014. The second album, Vænir, followed April 28th, 2015. The 2-song Lord of Suffering / Die in Haze EP was issued in late 2016 amid the band’s relentless touring schedule in order to tide fans over until the next full length. Noisey calls Monolord "universally beloved" and "Swedish doom royalty”, while Consequence of Sound deems them, “a truly modern sound: recognizably doom, but with glistening production values and adventurous songcraft.” Vænir landed on countless Album of the Year lists in 2015, and Rust is poised to open an entirely new range of possibilities for Monolord. 

Tracks

1. Where Death Meets The Sea
2. Dear Lucifer
3. Rust
4. Wormland
5. Forgotten Lands
6. At Niceae

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THE AINTS! - 'PLAY THE SAINTS (73-78)'

Formats

• FATAL2 - LP

  0728238959166

• FATAL2CD - CD

  0740528992707

Details

**LTD COPIES RESTOCKED**On the 40th anniversary of the release of The Saints’ groundbreaking ‘(I’m) Stranded’ album; guitarist, songwriter and founding member Ed Kuepper took to the stage performing the material he had written for that seminal band ascoss their first three albums ‘(I’m) Stranded’ (1977), ‘Eternally Yours’ (1978), and ‘Prehistoric Sounds’ (1978). Joined by like-minded souls: bassist Peter Oxley (Sunnyboys), drummer Paul Larson (The Celibate Rifles) plus keyboard player Alister Spence and a guest brass section, The Aints! Play The Saints captures that energy of the original band delivering on a promise made 40 years ago and not heard since. Tracks include the incendiary (I’m) Stranded everybody’s favourite Know Your Product, the blistering cover of Ike & Tina Turner’s River Deep Mountain High, the epic Nights in Venice plus This Perfect Day, Messin With the Kid and more. Full tracklisting below. Ten tracks and 45 minutes in total. Available on CD and vinyl. Released on the Fatal label: home to The Saints original (I’m Stranded) 7” in September 1976. The Aints! Play The Saints (’73 – ’78) live (Fatal Records) 

Tracks

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THIGH MASTER - 'NOW FOR EXAMPLE'

Formats

• 161GONEX - LP (COLOURED)

  767870658815

• 161GONE - LP

  767870657610

• 161GONECD - CD

  767870657627

Details

Here it is! Brisbane (via Melbourne), Australia-based quartet Thigh Master are back with the long awaited second album Now For Example—the follow up to their 2016 debut Early Times. Following a string of sold-out singles as well as tours of U.S., Japan and Europe, the guitar-pop-guardians of the Brisbane underground deliver this latest, a twelve song hook-laden exertion, filled with imperious string bends and riffage framing witty tales of lethargic social observation, concocted by band leader Matthew Ford. Now For Example sees the most compelling and virtuosic combination of Thigh Master members to date, with Innez Tulloch (guitar / keys), Dusty Anastassiou (drums) and Daniel Ford (bass) contributing heavily to its foundations and creating a bulk of their parts off-the-cuff during recording sessions, which took place in various houses between Melbourne and Brisbane. The intervals of ragged, jangly guitar riffs interspersed with waves of distorted sonic mischief recall the late ’80s / early ’90s Flying Nun sound of The Clean, Bats and 3Ds. GONER

Tracks

Press

? Australian guitar pop band return after
string of sold-out singles
? For fans of The Clean, The Bats, Verlaines,
3Ds, The Go-Betweens, The Cannanes,
H?sker D?, Polvo

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R.ELIZABETH - 'EVERY AND ALL WE VOYAGE ON'

Formats

• LSSN069 - LP

Details

R. Elizabeth is the recording name of London-based artist and academic Rachael Finney. Every And All We Voyage On is her solo recording project’s second full length and is a focused distillation of her practice in sound art and her knack for pop minimalism. It follows a long sold out release on Where To Now? Records and a prolonged period in which she concentrated on artist residencies exploring her interest in recorded sound and voice. Immediate and natural, Every And All We Voyage On manages to sound joyful while tackling complex themes, handling everything with an improvisatory touch. The songs are full of air and light; infectious, melodic and off-the-cuff. Recorded using a single 80s Casio keyboard, reel-to-reel tape manipulation, piano and vocal, Finney’s practice with R. Elizabeth belies a studious attention to detail. Her academic work is often focused on analysing sounds – particularly voice and language – divorced from meaning and R. Elizabeth challenges the listener with overtly emotional tropes: sweeping portmento lap-steel guitar keyboard tones on Back From Ten suggest a nostalgic melancholy when it intersects with the narrator closing her eyes, realising she has nothing left to give. The lilting vocal cloaked in reverb is disarming, with an almost child-like surrender to the undertow of the song. On Tragedy And Trade there’s a rough grace to the mixing with visceral, manipulated tape sounding like the artists’ hands are literally in the speakers wrenching the melodies in mid-air. When it intersects with chants about the “gaps and the silences” it has an eerie, hauntological effect. R. Elizabeth is constantly playing with sound and song: a Wonderland of perceived emotion, the listener’s perception of what they’re hearing constantly in flux, it’s deceptively simple and deserving of repetitive listening. Cut Piano opens the album and introduces a documentary-feel which the album upholds through-out. It’s the sound of the artist mangling a tape of her own piano recording, twisting it out of shape and suggesting a bend in reality. We’re listening to the artist becoming a ghost in her own machine, a 3rd or 4th generation copy of an emotion rendered a long time ago, chilling and playful at the same time. An Image Is Different bursts out of this with a sunny Casiotone beat, a melodic contrast that also introduces Finney’s vocal. It flitters between a gorgeous repetitive melody ruminating about the nature of reality and a seemingly careless, conversational tone. The effect is joyful, but you don’t really know why. The lyrics instruct someone (you? The artist?) to “go outside and break someone’s neck, make it feel so real” before ending with R. Elizabeth nonchalantly stating “I dunno, to be honest I don’t really care” as if on the phone to someone they’re bored with. It would be jarring if it wasn’t so catchy and uplifting. The title track is a slow-tempo meditation with droning synths providing the background to slow, dragging tape sounds and grounding, just-out-of-focus vocals bunkering down in the mix. The methodology suggests the work of Broadcast: there’s a loping bassline that propels the track forward but the duet/duel between Finney’s haunted vocal and the soloing tape warble provides aural snakes for the listener’s ear to follow. Spiritual To Symphony is the brightest, most unabashed example of what R.Elizabeth achieves on Every And All We Voyage On. It’s utopian, bright and hypnotic: over a repetitive hook, a double tracked vocal intones a kind of post-structuralist, feminist manifesto: “A different kind of intimacy, a kind of female masculinity, I sense how to be, from vision to visuality.” It’s the perfect example of a piece of music that can be taken on its own terms, enjoyed as pure sound massaging the receptors in the brain or as something that can be dissected, it’s a microcosm of the album as a whole. Effortless and endlessly playful, the album is constantly shifting in and out of focus, from airy imagination to earthy reality. R. Elizabeth invites you to take the sound however you want it. Maybe she doesn’t really care, maybe she does. Who really knows? 

Tracks

1. Cut Piano
2. An Image Is Different
3. Back From Ten
4. Every And All We Voyage On
5. Spiritual To Symphony
6. Tragedy And Trade
7. Piano Cut

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BRIAN CROOK W. THE RENDERERS - 'THE WORLD JUST EATS ME UP ALIVE'

Formats

• BING151 - LP

  600197015117

Details

While recording a group of songs that would end up being part of This World Just Eats Me Up Alive, Brian Crook took a break outside with his bandmates. A small girl nearby ran up to a woman saying “Mommy, mommy! There’s a vampire here!” The mother asked how the girl knew it was a vampire, and the girl said, “He talks like this,” and proceeded to do a growling impression of a New Zealand accent. At the time, Brian was in a dark suit and had super long hair, and was playing badminton…. Crook’s new solo album comprises eight years of recording, so perhaps his undead appearance is not surprising; it comprises a span of inspiration that seems almost vampiric, with themes suggested by Greek mythology, a favorite 1960s author, to the abstract electronics of Aphex Twin and Arca as influences. The album came together in parts, slowly assembled with various contributors and recording locations, the earliest trace having lyrical origins from 1991, and was done during during sessions for The Terminals, Crook’s other band (you can also add NZ legends Scorched Earth Policy and Flies Inside The Sun to that list). A near decade provides a lot of material for reflective songwriting. In Crook’s revelations about life in New Zealand and his tenebrous lyrical style there is more than a touch of comedy, albeit of a blackly humorous, “South Island New Zealand” nature. The lyrics and music come from a similar place as New Zealand painters Bill Hammond and Tony de Latour, evoking a kind of ceremonial primitivism. ***NO VINYL RETURNS

Tracks

1. Black Mariah
2. Dragged Both Ways
3. This World Just Eats Me Up
4. The Smoking Singularity
5. Sissyphus
6. Poisoning The Well
7. Joyce Carol Oates

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PETER JEFFERIES - 'LAST TICKET HOME'

Formats

• GY9-1 - LP

  600197679111

Details

Peter Jefferies, a living legend of New Zealand underground music, from his seminal bands Nocturnal Projections and This Kind Of Punishment, to his collaborative efforts in bands such as Plagal Grind and Two Foot Flame, is perhaps best known for his solo work on masterpieces such as The Last Great Challenge In A Dull World (1990) and Electricity (1994), as well as numerous other albums of his singular songcraft. Grapefruit is proud to be releasing Jefferies’ latest, Last Ticket Home, which leaves the station early in his career when The Last Great Challenge In A Dull World left off and takes us on a guided tour of a fascinating side street via rare singles, both released and unreleased, radical live interpretations, and a wealth of never released material dating from 1991-2019. Last Ticket Home redefines Jefferies’ artistic journey, giving us a song cycle narrative which scorches, blisters and eventually heals on its relentless, ragged way home.

Tracks

1. Crossover
2. Lassitude
3. Guided Tour
4. Wined Up
5. Westgate Exit
6. Ghostwriter
7. Electricity (Live)
8. World In A Blanket (Live)
9. Cyclone Dawn
10. Fallaway
11. Last Ticket Home

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Audio & Video

FIREBREATHER - 'UNDER A BLOOD MOON'

Formats

• EZRDR109B - 2xLPs

  603111735214

• EZRDR109CD - CD

  603111735221

Details

**Double LP, Gatefold, D Side Etching**Fire is what happens when a carbon based object is consumed by oxygen. That chemical reaction is fitting to the sound of Firebreather: The riffs are suffocating, the rhythms fast moving and all-consuming. It’s so blindingly and deafeningly monolithic, don’t be surprised to find yourself gasping for air while listening. The Gothenburg, Sweden trio has a streamlined focus on driving, symphonic riffs in the vein of High on Fire, Inter Arma and their tour- and label-mates Monolord. The guitar and bass tones are, quite simply, entrancing. Like watching flames engulf a forest, the billowing guitar tones are simultaneously beautiful and destructive, while the rhythms sway and lunge with vicious precision. “It’s riff based, heavy as fuck, but with a groove to it,” explains vocalist/guitarist Mattias Nööjd, formerly of popular Swedish doom merchants Galvano. “We had gotten off a tour with Monolord in February of 2018 and by that time we had the song ‘Firebreather’ done,” but soon thereafter new drummer Axel Wittbeck joined the fold. “Once Axel had joined, it was like the flood gates opened,” says bassist Kyle Pitcher. “The rest of the album just came together.” Under a Blood Moon was recorded at Elementstudion in Gothenburg with engineer Oskar Karlsson, who also recorded the band’s lauded 2017 self-titled debut on Suicide Records. Album opener “Dancing Flames” sets the stage for the onslaught to come with a slinking, serpentine riff over slow churning rhythms. Nööjd’s hushed, gravelly vocals sink into the mix, more like a baritone guitar than a human voice. “Our Souls, They Burn” nicely exemplifies the band’s furious grind that makes even faster tempo songs sound impossibly heavy, like a slow motion stampede. Elsewhere, “We Bleed” perfectly sums up the band’s focus on the riff and groove, honing in on the power of hypnotic attrition. Closing epic, “The Siren” opens with lugubrious, slightly swinging drums and rumbling bass building tension over delay- and phaser-soaked guitar harmonics, until a massive, sliding riff crashes headlong into the proceedings. The song seems to cleverly shape shift across several harmonic and rhythmic parts, without losing the core groove underneath. A short pause for breath, then it’s off to the races with a galloping crescendo for succinct closure. 

Tracks

Track List
A1: Dancing Flames
A2:Our Souls They Burn
B1: Closed Gate
B2: Firebreather
C1: We Bleed
C2: The Siren

Press

FFO - High On Fire, Inter Arma, Monolord, Black Breath, Swedish Heavy Metal

Audio & Video

BIBI AHMED - 'ADGHAH'

Formats

• SOSLP193 - LP

  4260016921935

• SOSCD194 - CD

  4260016921942

Details

Bibi Ahmed, head and bandleader of Group Inerane, is from Agadez, Niger, which is one of the most volatile, unbridled and dangerous parts of the world. Bibi was soon confronted with the oppression and marginalization of the Tuareg by the national governments of Mali and Niger. Just as early awakened his love for music. As a child, Bibi Ahmed taught himself to play the guitar before receiving his education from the great master and father of the Tuareg blues, Abdallah ag Oumbadougou. Marked by the experiences in the Libyan refugee camps during the Tuareg uprising, Bibi Ahmed and his band Group Inerane gave the rebellion its own musical voice, while at the same time making the rich tradition of Tamachek guitar singing accessible to a new generation of listeners. In February 2019 and in collaboration with Sounds of Subterrania and Lotte Lindenberg Studio, Bibi recorded his first solo album on which he played all of the instruments himself. This reduction opened up a whole new view on this quite extraordinary mix of Tuareg blues, electrified Tamachek folk and psychedelic Sahara rock. The listener literally feels the shimmer of the heat and, once one embarks on the path of listening, the differences between spiritual trance and hypnotic psychedelic blues become indistinct.

Tracks

Press

'Meditative flowing African folk, truly exceptional Tamacheck guitar art, Tuareg Blues with a voice belonging to, and making the oppressed heard' RIYL: Mdou Moctar, Tinawiren, Imarhan

Audio & Video

THE HAND OF DOOM - 'POISONOISE'

Formats

• OTD002 - LP

  7350107320055

• OTD002CD - CD

  7350107320062

Details

Originally released in 1979 with only 500 numbered copies. Nowadays it usually goes for $700+ at Discogs, Ebay and similar. When hearing The Hand Of Doom it’s easy to understand why. It’s like The Stooges fronted by Count Dracula with a pinch of Roky Erickson ”The Evil One”-era thrown in for good measure. Think the most punky and brutal NWOBHM-singles that has ever been recorded. A maximum rock’n’roll guitar riff-a-rama. It’s a DIY punk-metal masterpiece most likely to blow the minds off everyone into any form of truly great music. The Hand Of Doom came from a small town called Bad-Hersfield located by the border between former east and west-Germany. Frustrated by the boredom and absence of anything interesting happening they recorded and released ”Poisonoise” all by themselves. Brutal & primitive hard rock metal aggression at its finest with killer riffs guaranteed to appeal to all punk and metal fans, but also to garagerock-maniacs and DIY-lovers. In early 2019 On The Dole Records went to Germany and found the bandmembers still hanging around the small village of Bad-Hersfield. The original mastertapes were restored and remastered. The band members were interviewed and this reissue is fully authorized by the band. Remastered and restored sound. Extensive liner notes and interviews with the band by Kieron Tyler (Mojo Magazine). Richly illustrated with many rare photos.

Tracks

Side A.
1. There Ain?t No Running Away
2. They Who?ll Creep At Night
3. Rock?n?Roll Close To The End Of The World
4. Heavy Mad Head
5. Dead Man?s Dream
Side B
1. The Meanest Man
2. Doom Power
3. Poisonoise
4. The Hound
5. The Lights Of Blind

Press

Genre: Punk, DIY, NWOBHM, Metal, Alternative,
' Incredible rare euro-punk/metal, DIY masterpiece originally released in 1979
' Sourced from the original mastertape.
' Carefully restored and remastered sound.
? Extensive liner notes by Kieron Tyler (Mojo Magazine)
'Deluxe gatefold sleeve
'Illustrated with photos from bandmembers? private photoalbums.

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GUIDED BY VOICES - 'HEAVY LIKE THE WORLD'

Formats

• GBVI94 - 7"

  767870659478

Details

In stock!! We got 25 of the super limited taster for the new GBV LP!! "Heavy Like The World" is the subliminally seductive single from the forthcoming Guided By Voices album Sweating The Plague. “Silent Army” is a non-lp b-side. Guided By Voices is an unlikely candidate for the most perfect rock band of all time, while at the same time being a thoughtful reflection on what a rock band is, a fantasy that becomes a fact.

Tracks

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SKULL PRACTITIONERS - 'DEATH BUY EP'

Formats

• ITR345 - MLP

  759718534511

Details

(***LAST MINUTE DROP!! INSTOCK NOW!!!)“Massive slab of debut vinyl by a Brooklyn New York trio whose guitarist, Jason Victor, knows more than a little about the potential of psych-gush overload. In his position as the current guitarist of the Dream Syndicate, one might suppose that, by stepping into shoes formerly occupied by Karl Precoda, Mr. Victor was granted some sort of special legacy connection to the ur-root of string-excess in the post-punk era. But Jason seems to have been blowing the tops of people’s heads off with pure raunch vomona since before he ever met Steve Wynn. “The Skull Practitioners have been active since 2013, garnering a reputation for bodacious live skronk, although the only graspable evidence of their existence has been a 2014 cassette, which was not widely distributed. Now, with the mighty In The Red empire behind them, only a sucker would think they won’t go far. “Victor’s explosive guitar shards are the most obvious element of the trio’s sound, but bassist Ken Kenneth Levine can conjure up a throb as thick as Al Feedtime’s, and Alex Baker’s drumming mixes propulsion and motorik circularity with reckless grace. There are only vocals on half the tracks here— Gun Club-seasoned blow-outs called “The Beacon” and “Grey No More”—but I didn’t miss them on their other two tunes. The richness of the band’s psychedelic inventions obviates the need for overt human lingo. The music here communicates on a molecular level. “Remember when Tim Leary said Peter Walker was ‘playing celestial strings on the DNA of musical being’? It’s the same here. I’ve never heard much of Jason’s studio work (often with pop engines like the Silos or Matthew Sweet), but if he plays this great, I might have to check them out. In the meantime, these four songs will be enough. For me. For you. Even for the late Tim ‘Fuckin’ Leary. C’est la.” —Byron Coley

Tracks

Press

Brooklyn psych-skronk trio featuring
Jason Victor, current guitarist of the
Dream Syndicate
? For fans of Daydream Nation-era Sonic
Youth, Live Skull, Gun Club, the Stooges?
Metallic KO
***we got 50 OF THE 300!!!

Audio & Video

THE DYING SHAMES - 'RE-INTRODUCING THE SHAMES'

Formats

• RWR22 - CD

  809651901625

Details

The Dying Shames create a playful garage sunshine punk style with all the downbeat emotions of young love and hate. Their primitive unpretentious storm of naïve melodies, groovy 60s beats and sunglasses illuminated the dying days of an Old London scuzz amidst the post-Olympic malaise. The Dying Shames were one of a flock of London bands that were around in the wake of the 2008 crash that seem to have slipped between the cracks, consumed like much of the hotbed of talent that created a scene of ebulliant escapism in the face of rising austerity, zero hours wages, expensive rent and food as the austerity politics kickied in. Inevitably, as that world unravelled many great bands disappeared too. This set contains their legendary rare first 7”EP as well as the full album plus three bonus cuts. All tracks were recorded in 2014 at the analogue Gizzard Studio in East London by the band’s original line up of Jay Winters (vocals & harmonica), Jimmy Jones (guitar & vocals), Rory Clark (guitar), Sam Hall, (Bass), Shaun Clark (drums), Kris Smart (keyboards). Regulars at dives both home and abroad for their tenure, their shows were a trip into a youthfully decadent and authentic quest for pure joy, or as they put it themselves, ‘grooving to well-endowed (in their dreams!) blokes with fantastic cheekbones and musical pants in a dodgy looking venue with terrible toilets’. Good times eh? In another time, their melancholy tinged upbeat style would have been happily at home in the heady world of the early 80s scenes like The Living Room/ Creation Records/ Thames Poly/ Sarah Records/ The Falcon/ Sausage Machine etc. or they could have just been the new Monkees!

Tracks

01 White Horses
02 Runnin? Around
03 Wise About You
04 Ain?t That A Shame
05 Marquess
06 The Bitch
07 Lazer Lady
08 Three Questions
09 Modern Love
10 You Found Out
11 Blackstock Blues
12 Not Any More
13 Time Call
14 You Know It?s True
15 Carburetor
16 Runnin? Around (1st Mix)
17 Take My Leave

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KNONE - 'RITUAL & CEREMONY'

Formats

• RWR23 - CD

  809651901823

Details

KNONE explores many texts, avenues and backwaters through its mission to reach the bottom of the soul of English music. The lost legacy of urban folk music funnelled and perverted through a modern filter. Knone is fronted by Andrea Croce, of Ye Nuns and formerly Mambo Taxi, using a range of higly stylized intrusive vocal practices, summoning the ghosts of the spiritual fanatacism of bygone times. This ‘force majeure’ is backed by the sonic primal energy created by Ashley Davies, no stranger to Far Out-sider musical experiments with the likes of Project Dark, Headbutt, Apeiron, Blood Tub Orchestra et al. Unlike the parasitic clinging sentimetality and the quaint whiff of the pastoral pastimes of days gone by used in much modern folk influenced music, on this album, KNONE’s exploration picks at the cloying scabs of heritage, habit, ritual and ceremonial music with seared rhythmic poundings that evoke pre-Christian customs, punctuated with sharp spears of electronic pulse and glass daggers of disturbance which raise the sinister spectre of the lost future now. The album collection is a field study of songs taken from texts taken from rituals and ceremonies dated 1600-1800 and is intended to be listened to as one continual liturgy. AN EXORCISM. Latin exorcism, (origin uncredited). AN ANCIENT CALL. Call to the spirits, (origin unknown). AN INVOKATION. To raise the spirit of Herne, Green Man of England’s vast oak forests of yore, (origin unknown). A CHRISTMAS CAROL. Rendition of Christina Rosetti’s poem harking back to darker times. A BELTANE RITUAL. A small fraction of the text, (origin unknown). 

Tracks

1 An Exorcism
2 An Ancient Call
3 An Invokation (To Herne)
4 A Christmas Carol
5 A Beltane Ritual

Press

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