THIRD EAR BAND - 'THIRD EAR BAND'

Formats

• ASH104 - LP

  857661008605

Details

“For many bands, having all their gear stolen would be catastrophic. For Third Ear Band, this unfortunate 1968 incident opened a portal to beneficial change. Leader/percussionist Glen Sweeney viewed the heist as a sign to alter Third Ear Band’s approach, and they switched to exclusively using acoustic instruments. With electrified psychedelia in full bloom, Sweeney, Paul Minns (oboe, recorder, whistles, flutes) and Richard Coff (violin, viola) struck out on an individualistic path, blending Indian raga with chamber music—without plugging in. “Third Ear Band’s 1969 debut album, Alchemy, established them as a solemn, powerful force in the global underground. On Alchemy, Sweeney laid down a steady pulse on hand drums, while Minns and Coff wove in melismatic patterns on oboe, recorder, violin and viola. This approach carried over to Third Ear Band’s self-titled sophomore album, often called Elements due to its track titles being named after the four basic components of medieval European alchemists’ doctrines. “On this 1970 LP, Third Ear Band sounded at once ancient and contemporary, yet they turned on the hippies with their epic, trance-inducing jams that suggested secret knowledge of infinity. Although Third Ear Band flourished during the West’s countercultural zenith, they were peculiarly estranged from it on a sonic level. Even outré contemporaries such as Comus and Jan Dukes De Grey sounded like pop groups compared to TEB. Having no traditional front person or electric instruments, Third Ear Band forged a singular path that flowered most vividly on Elements. “The long songs here stream forth from their skilled hands, evoking a communal transcendence in sound—a hypnotic swirl that doesn’t swing, but rather wafts and undulates with cloistered beauty. TEB’s music exists in an eternal now, a perpetual wow. It is an ouroboros of organic textures, seemingly magicked into the air spontaneously, yet possessing a rigor that suggests long hours in the lab. Without electricity, it somehow burrowed deeper into your consciousness.” — Dave Segal (excerpt from the liner notes) 

Tracks

1. Air 2. Earth 3. Fire 4. Wind

Press

Originally release in 1970 on Harvest
Sophomore album by British experimental folk group
Recommended for fans of Popol Vuh, Trad, Gras Och Stenar and The Godz

Audio & Video

DEBRIS - 'S/T'

Formats

• SV137 - LP

  855985006376

Details

Chickasha, Oklahoma is not a place known for producing a lot of original proto-punk bands. In fact, there is, to our knowledge, only one: Debris’. Formed in 1975 by bassist Chuck Ivey, guitarist Oliver “Rectomo” Powers and drummer Johnny Gregg, the trio created some of the most art-damaged outsider rock ’n’ roll this side of MX-80 Sound. When a local studio offered the package deal of ten hours for recording and mixing as well as pressing 1,000 LPs and two-color jackets, Debris’ came in well-rehearsed—nailing all eleven of their songs in just one take. In April 1976, the same month as Ramones’ debut album, Debris’ would release their lone record onto the world. Opener “One Way Spit” could easily be mistaken for a lost KBD single—from Chuck’s bizarre count-in to the band’s trashy startstop rhythms, unfurling a Dadaist flag around Johnny’s visceral vocals. On “Tricia,” a reference to the then-current Patty Hearst trial, Oliver’s gruesome groans are sardonically juxtaposed with an electric saw. These LSD-tinged tunes are a potent mix of Beefheart-ian controlled chaos and the genuinely weird avant-rock associated with the mid-’70s Cleveland scene. Enhanced by analog synthesizers and electronic effects, the album sounds like Eno-era Roxy Music or Stooges’ Fun House buried deep in the red Oklahoma dirt. While punk would spark a handful of bands who boldly straddled the line between the primal and the experimental, the relatively unsung Debris’ were one of the first to do so. Debris’ had a standing invitation to play New York at Max’s Kansas City and CBGB in 1976, although they never made it out of Oklahoma. The private-press edition of their self-titled album (also known as Static Disposal, which was actually the label name printed on the original front cover) has since become a collector’s item and is even namechecked on the infamous NWW list.

Tracks

Tracklist:
1. One Way Spit
2. Female Tracks
3. Witness
4. Tricia
5. Boy Friend
6. Leisurely Waiting
7. New Smooth Lunch
8. Manhattan
9. Flight Taken
10. Tell Me
11. Blue Girls

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Audio & Video

MYSTIC 100s - 'DOUBLE LIVE'

Formats

• LG-12 - 2xLPs

  711574974412

Details

MYSTIC 100’s , formally known as MILK MUSIC are an underground psychedelic rock group from Washington State. They’ve maintained a healthy cult following and underground existence since 2008. Double Live is their first live record, and features the band once again as a quartet (Alex Coxen, Abby Dahlquist, Joe Rutter, Charles Waring). It was captured in 2024 by two mysterious audience members at two separate shows (Oakland & Philadelphia), unaware to the band at the time. Inspired and heartfelt songs, playfully careless and expressive jamming. For fans of Neil Young, Velvet Underground, Grateful Dead, Trad Gras och Stenar, etc.). Limited pressing of 500. Pressed on 140g vinyl and housed in gatefold tip-on sleeves.

Tracks

Press

Audio & Video

ERROL BROWN & THE REVOLUTIONARIES - 'DUB EXPRESSION'

Formats

• ASH702 - LP

  857661008582

Details

Recorded and mixed at Duke Reid’s storied Treasure Isle studio by Duke’s nephew, young engineer Errol Brown, Dub Expression collects dubbed up treatments of seminal rockers rhythms crafted for Marcia Griffiths, John Holt, Dennis Brown and more. Propelled by the drums of Lowell “Sly” Dunbar, the appropriately named Revolutionaries (with their tough and radical sound) were the ideal group to reflect a turbulent period in Jamaican politics. While the band’s personnel remained fluid—depending on which players were available and frequently overlapping with other seminal sessions bands such as Joe Gibbs’ The Professionals and Bunny “Striker” Lee’s The Aggrovators—The Revolutionaries were most known as Channel One’s house band in the mid to late ’70s. The decision to top-bill The Revolutionaries, rather than feature an individual artist as was customary at the time, was made by Kingston’s most celebrated female producer, Sonia Pottinger who shrewdly determined that The Revolutionaries’ name alone would be a can’t miss selling point. One only needs to spend a minute with Dub Expression to hear why. Originally released in 1978 on Pottinger’s High Note label, Dub Expression represents the essence of dub in its purest form. An absolute classic. Liner notes by JR Gonne.

Tracks

1. The Gun Court Dub 2. Ital Stew 3. Super Tracks 4. Dread At The Controls 5. Ghetto Dub 6. Ranking Marshal 7. Down Town Ting 8. Bond Street Rock 9. Melodious Dub 10. Mark Dis Yah Dub

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Audio & Video

HORACE ANDY - 'GET WISE'

Formats

• ASH711 - LP

  857661008599

Details

With his honeyed falsetto, Horace Andy has long been considered one of roots reggae’s most inimitable voices. His signature tune, “Skylarking,” is one of a handful of songs that can be instantly recognized by even the most casual of reggae fans. Making his debut with producer and mentor Phil Pratt at the age of sixteen, Andy’s expressive vocal style is immediately distinctive, bearing the soulful influence of American artists Otis Redding and Smokey Robinson as well as fellow countryman Alton Ellis. 1975’s Get Wise collects a series of singles produced by Pratt including versions of hits “Money, Money” (“Root Of All Evil”) and “Zion Gate” (“I Don’t Want To Be Outside”). Recorded between 1972 and 1974, these sides were captured at legendary studios Channel One, Black Ark, Dynamic Sound and Randy’s Studio 17 with house engineers Ernest Hoo Kim, Lee Perry, Carlton Lee and Errol Thompson at the helm. Originally released on Pratt’s Sunshot label, the album doubles as a showcase for The Soul Syndicate Band, a typically ad-hoc session group which featured Sly & Robbie, Aston “Family Man” Barrett and Earl “Chinna” Smith, among others. Get Wise delivers ten tracks of Andy’s finest material and should be in the collection of any aficionado of the classic ’70s Kingston sound. Liner notes by JR Gonne.

Tracks

1. I Will Forgive You 2. Root Of All Evil 3. Holy Mount Zion 4. Sexy Jean 5. Let The Teardrops Fall 6. I Don?t Want To Be Outside 7. Eighty Percent Badness 8. Get Wise 9. Youth Of Today 10. Feel Good

Press

Originally released in 1975 on Sunshot

Collection of singles from 1972-74

Audio & Video

PAULINE OLIVEROS - 'THE WELL & THE GENTLE'

Formats

• IMPREC459 - LP

  0793447545912

Details

The Well & The Gentle, two of the major works of Pauline Oliveros, are presented here in a first time reissue on double vinyl in a gatefold sleeve with extensive liner notes...If Oliveros had followed a more conventional path she may have, all social obstacles aside, been considered among the major composers of her time. However, Oliveros approached composition in a more egalitarian manner. She wrote music for musicians to interact with or, in the composers words, she wished to create "an inclusive and interdependent and unfolding world of relationships." Oliveros' propensity towards inclusion is part of what makes this work so remarkably distinctive. The Well & The Gentle is carefully crafted, allowing performers to participate in the creation of the work. Players are asked to collaborate, focus, react and make imaginative choices. Only then can the performers "pass through stages of awakening to the possibilities inherent in making music, working together, leading to the essence of what can shape musical impulses and individual freedom simultaneously." Unlike most major composers of the era, Oliveros' work focuses on collaboration and improvisation. For Oliveros, the processes involved in making music are as fundamental as the music itself. Oliveros creates, as Arthur Sabatini put it so eloquently in the liner notes, "A world in which sound and the practices entailed in making music merge; become, at once, source and atmosphere, energy and essence, presence and dynamic." Pauline Oliveros was an electronic music pioneer, accordionist, composer and educator who resided in Kingston, New York. Her instrument was tuned in Just Intonation and she often included it in her meditative improvisational music. Her music is not meditative in the sense that it is intended for listening to while meditating, rather each piece is a form of meditation, such as her aptly titled Sonic Meditations. A central figure in post-war electronic art music, Oliveros is one of the original members of the San Francisco Tape Music Center (along with Morton Subotnick, Ramon Sender, Terry Riley, Steve Reich and Anthony Martin), which was the resource on the U.S. West coast for electronic music during the 1960s. The Center later moved to Mills College, where she was its first director, and is now called the Center for Contemporary Music. Oliveros often improvised with the Expanded Instrument System, an electronic signal processing system she designed, in her performances and recordings. notes......

Tracks

Press

Audio & Video

PAULINE OLIVEROS - 'REVERBERATIONS: TAPE & ELECTRONIC MUSIC 1961-1970'

Formats

• IMPREC352CD - BOXSET

  0793447535210

Details

* 2022 Edition * - 11 CD set adapted from 12 CD edition. All tracks included. - Clamshell style box w/ single pocket disc sleeves similar to the Bertoia box *2022 Edition Signed* - Signed edition available. We will include a jewel box insert signed by Pauline from the original 2012 edition * 2012 Edition Signed * - 7 original boxes are still available signed by Pauline "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." ~ John Rockwell "Through Pauline Oliveros and Deep Listening, I now know what harmony is. It's about the pleasure of making music." ~ John Cage "This monumental box set collects the work of the 80-year-old composer, teacher, and electronic music pioneer: Reverberations fills a dozen discs in almost as many hours, laying substantial groundwork for every electronic drone artist and harsh noise terrorist to come." Pitchfork (2012) This dense 11 disc retrospective of Pauline Oliveros’ early and unreleased electronic work includes her very first piece made for tape in 1959. Organized chronologically, this set not only documents Pauline's earliest electronic music but it also functions as an early history of electronic music itself. Follow as she participates in the establishment of the legendary San Francisco Tape Music Center and then moves to University Of Toronto Electronic Music Studio, Mills Tape Music Center and University of California San Diego Electronic Music Center. This 10th anniversary edition is packaged in a clamshell-style box containing all the tracks from the 2012 edition spread out over 11 CDs each housed in single pocket sleeves. A 36 page booklet includes extensive liner notes and essays from Pauline Oliveros, Alex Chechile, Ramon Sender, David Bernstein, Corey Arcangel. Pauline Oliveros was a composer, performer, humanitarian and an important pioneer in American Music. Acclaimed internationally, she forged new ground for herself and others. Through improvisation, electronic music, sonic philosophy, teaching and meditation she created a body of work with such breadth of vision that it profoundly affects those who experience it and eludes many who try to write about it. "On some level, music, sound consciousness and religion are all one, and she would seem to be very close to that level." John Rockwell Pauline Oliveros built a loyal following through her concerts, recordings, publications and musical compositions written for soloists and ensembles in music, dance, theater and inter-arts companies. She provided leadership within the music community from her early years as the first Director of the Center for Contemporary Music (formerly the Tape Music Center at Mills), director of the Center for Music Experiment during her 14 year tenure as professor of music at the University of California at San Diego to acting in an advisory capacity for organizations such as The National Endowment for the Arts, The New York State Council for the Arts, and many private foundations. She served as Distinguished Research Professor of Music at Rensselaer Polytechnic Institute and Darius Milhaud Composer in Residence at Mills College. Oliveros was vocal about representing the needs of individual artists, about the need for diversity and experimentation in the arts, and promoting cooperation and good will among people. She was honored with awards, grants and concerts internationally. Whether performing at the John F. Kennedy Center in Washington D.C., in an underground cavern, or in the studios of West German Radio, Oliveros' commitment to interaction with the moment went unchanged. Oliveros passed away peacefully on November 24, 2016 but her sonic legacy and philosophy continues to grow and inspire.

Tracks

2022 Edition track listing:

Disc 1:

1961 Pauline Oliveros Home Studio
Time Perspectives

1964-1966 San Francisco Tape Music Center
Mnemonics I
Mnemonics II
Mnemonics III


Disc 2:
1964-1966 San Francisco Tape Music Center

Mnemonics IV
Mnemonics V


Disc 3:
1966 University Of Toronto Electronic Music Studio

II Of IV
III Of IV
IV Of IV
V OF IV
III


Disc 4:
1966 University Of Toronto Electronic Music Studio
Team And Desecrations Improvisation
The Day I Disconnected The Erase Head And Forgot To Reconnect It
Jar Piece

Disc 5:
1966 University Of Toronto Electronic Music Studio

Another Big Mother
Fed Back 1
Fed Back 2

Disc 6:
1966 University Of Toronto Electronic Music Studio
5000 Miles
Angel Fix

Disc 7:
1966 University Of Toronto Electronic Music Studio
Bottoms Up 1
Nite
Ringing The Mods 1 Heads
Ringing The Mods 2 Tails
Three Pieces I
Three Pieces II
Three Pieces III

Disc 8:
1966-1967 Mills Tape Music Center
Big Slow Bog
Boone Bog

Disc 9:
1966-1967 Mills Tape Music Center
Bog Bog
Mind Bog

Disc 10:
1966-1967 Mills Tape Music Center
Mewsack

1967-1970
University Of California San Diego Electronic Music Studio
50/50 Heads(Buchla Piece head out)
50/50 Tails (Buchla Piece tails out)


Disc 11:
1967-1970 University Of California San Diego Electronic Music Studio
A Little Noise In The System
Red Horse Headache

Press

Audio & Video

JAMES BLACKSHAW - 'LOVE IS THE PLAN, THE PLAN IS DEATH'

Formats

• IMPREC355CD - CD

  0793447535524

Details

"One of the best and most original instrumentalists in the new, acoustic renaissance." ~ David Fricke, Rolling Stone Yellow and/or white vinyl available for the first 200 mailorder customers. Important is proud to welcome back James Blackshaw for his first full length on Important since his breakthrough album O True Believers was released in 2006. James has since forged a remarkable career achieving critical praise for his dexterity, his deep, connected songwriting and his beautiful arrangement. Love Is the Plan, the Plan Is Death is available on CD & LP. The LP pressed in a on a color vinyl limited edition of 1000 for mailorder customers. Written at a time of great emotional disquiet, the hauntingly beautiful and bittersweet ninth full-length studio album, Love Is the Plan, the Plan Is Death, from British guitarist-composer James Blackshaw was recorded at Soma Electronic Music Studios, Chicago in December 2011 by engineer Andrew Hernandez (Balmorhea). The six original pieces contained on the album (whose titles are lovingly misappropriated from those of short stories by the late, great science fiction author James Tiptree, Jr., AKA Alice B. Sheldon) are based alternately around nylon-string classical guitar and grand piano, with spare and subtle vibraphone and B3 organ parts overdubbed by Blackshaw himself. Geneviève Beaulieu (Menace Ruine/Preterite) adds her stunning and powerful voice and words to track And I Have Come Upon This Place By Lost Ways. Love Is the Plan... is an incredibly warm and intimate recording and perhaps Blackshaw's most concise, consistent and overtly melodic to date.

Tracks

1. Love Is the Plan, the Plan Is Death

2. Her Smoke Rose Up Forever

3. And I Have Come Upon This Place By Lost Ways

4. A Momentary Taste of Being

5. We Who Stole the Dream

6. The Snows Are Melted, the Snows Are Gone

Press

Audio & Video

SILVER APPLES & MAKOTO KAWABATA - 'MIRAGE'

Formats

• IMPREC512 - LP

  0793447551227

Details

Mirage is a cosmic collaboration between the Silver Apples and Makoto Kawabata of Japan's Acid Mothers Temple. Packaged in a deluxe jacket printed with metallic silver ink. Dragonfly's First Flight, taking up the full side A, features Simeon Coxe and Kawabata Makoto jamming over familiar Silver Apples hypnotic rhythms. Fans of both groups will delight in the interplay between Simeon's keyboard and Makoto's drone guitar feedback soloing. Side B ranges from free-form freakouts to ambient poetry readings by Simeon with Japanese translation spoken by Makoto. Future Reminiscence, which closes side B, is a song that sounds like a long-lost Silver Apples track. Mirage is dedicated to the memory of Simeone Coxe who died September 8, 2020 while this project was being assembled.

Tracks

Press

Audio & Video

MEREDITH YOUNG-SOWERS - 'AGARTHA: PERSONAL MEDITATION MUSIC'

Formats

• IMPREC538CD - BOXSET

  0793447553825

Details

7 CD BOXSET RIYL: Eliane Radigue, Pauline Oliveros, Eleh, Duane Pitre, La Monte Young, Eno, Larajji, Iasos....."One of the best reissues we've heard this year." Boomkat "It's easy to get distracted by the circumstances surrounding the release but the music remains engaging, immersive and even wise." Uncut "This astounding body of almost entirely unknown electronic music is an absolute revelation and blows the lid off of countless preconceptions relating to the music of the New Age movement, as it drenches the ear in truly engrossing sounds.” Sound Ohm Agartha, Personal Meditation Music is a 7 CD boxed set, originally released on cassette in 1986, at the height of New Age, as an aid for meditation and alignment. Bringing to mind 20th century composers like Eliane Radigue, La Monte Young or even Brian Eno's Shutov Assembly, the time-stopping, enveloping, electronic music contained in this series sounds eerily modern, mysterious and moving. Characterized by deep analog drones, rising overtones, floating frequencies surfing on sine-waves and intervals with mystic modulation, this is truly moving, vibrational music. In Agartha, the individual notes of each Harmonic Triad proceed in a fashion that is neither improvisational nor chance-based, nor is it generative. Instead the music flows outward as if being transmitted— or channeled — from a place outside human consciousness. There is a profound sense of cosmic depth expanding ever outward as the music fills the listener with waves of emotion, and a palpable somatic response is felt, although there are subtle differences with each unique Triad. Each disc is individually packaged in original replica sleeves and housed in a heavy dutycardboard clamshell box. Digitized and remastered by Jessica Thompson. Liner notes include extensive instructions for use from the original text and an essay by library music scholar David Hollander. The original edition of Agartha, Personal Meditation Music, featured one track 30 minute track per tape repeated on both sides. Subsequent editions had unique Side B tracks on all but two of the 7 volumes. We have included all tracks in this boxed set.

Tracks

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Audio & Video

THE LO YO YO - 'THE LO YO YO'

Formats

• CC011 - LP

  657628455912

Details

London’s The Lo Yo Yo was conceptualized by John “Alig” Pearce in 1984 after his primary group, the deservedly legendary Family Fodder, went dormant. Soon enough a few others were enlisted to round out the quartet, including Mick Hobbs of The Work and Officer! fame, alongside friends Joey Stack and Carrie Brooks. The Lo Yo Yo took elements from their other groups and, in the tradition of somewhat like-minded acts like The Raincoats, Naffi and Amos & Sara, added a strong dub / reggae element. Shortly before their lone studio LP, which was recorded by Charles Bullen of This Heat fame, the band self-recorded a demo tape at home on an eight track reel to reel, reissued here on vinyl for the first time by Concentric Circles. It is a wonder of DIY production with a rich and layered sound that belies their humble means. Although about half of the songs on the demo would wind up being re-recorded for the studio LP, the demo versions are radically different from what is heard on their proper album. There is a feeling of intensity to the demo that was missing from the LP, which had a noticeably cleaner fidelity and more subdued playing. Here the band plays with true force and determination, with Stack’s socialist leaning lyrics taking on an extra sharp bite. Unafraid to show off their skills at writing irresistibly catchy pop songs, things are carried on by Alig’s big bass sound and a barrage of polyrhythmic dueling drums and percussion. The Lo Yo Yo tapped into a truly special sound, perfectly exemplified on these recordings. Just when you think you’ve completed the puzzle of arty, dubby ’80s post-punk, a stray piece is found on the proverbial floor, just waiting to be picked up. If you aren’t dancing around the room by the end of this album, you need to visit the foot doctor. Concentric Circles is delighted to bring this barely heard, infectious album from The Lo Yo Yo to modern audiences for the first time.

Tracks

A1. China Blue A2. Extra Weapons A3. You Never Know A4. Can?t Keep Me Down A5. My Volcano B1. More To Come B2. Petroleum B3. Gawping B4. No Answers B5. Bad Intentions

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Audio & Video

BILL ORCUTT - 'HOW TO RESCUE THINGS'

Formats

• PAL079 - LP

  843563181850

Details

"Charlie Parker's first album with a string section landed in 1950, ten years after his debut recordings. Although the overtly lush arrangements of Charlie Parker with Strings were Parker's idea, the record must've been something of a relief to producer Norman Granz, especially when the sides went on to become Bird's best-seller, by a long shot. The record (and its follow-up) sparked something of a jazz-strings virus, infecting Nina Simone, Paul Desmond, Clifford Brown, and (later) Miles and Trane. And while the latter entries in that list were clearly bending their arrangements into space-age forms (and the arrangers—Gil Evans, Eric Dolphy—were becoming much hipper), these ubiquitous strings albums established a jazz cliché of sorts. They were a shot for the charts at worst, an attempted reinvigoration of tired easy-listening ear candy at best. How to Rescue Things, landing 15 years into Bill Orcutt's 'rediscovery' years, marks a somewhat tardy entry into the string- sweetening sweepstakes. In a post-chart, post-irony world, no one is going to mistake this as a bid for mainstream ears—nor are too many pop-gobblers going to paste this into their 'Chillax' playlist. With loops of dulcet, birdsong choruses, syrupy strings, and plucked harps clipped from an RCA easy-listening disc, the zombie strings conjure not red leather couches, cotton slankets, and yuzu martinis, but rather a clockwork mortuary, an undead Who-ville and a cigarette butt drowned in bottom-shelf scotch. In contrast to Orcutt's previous reanimation of yesterday's hit parade, How to Rescue Things instead takes as its foundation the oily underbelly of the American songbook, the relentless gears that churn melody into newly consumable and marketable forms—simultaneously ersatz, soothing, and funereal. It's easy to use saccharine, easy-listening settings to deconstruct the romanticism of the past. Yet How to Rescue Things is not an ironic record. True to its title, the transparently corny strings serve not as a meditation on cultural vacuity, but as an attempt to rehabilitate the clichés of the past, 'rescuing' them as improvisational grist for new melodic content. They serve as a harmonic substrate for some of Orcutt's most complex playing, and free him to explore the solo-as-such without the need to imply an underlying tune (unlike Orcutt's previous acoustic explorations of nostalgic song). Orcutt's razor-sharp Fender slices through the satiny settings in angular and unexpected ways, particularly in the final tracks 'Requiem in Dust' and 'The Wild Psalms,' where his double picking swerves into almost Sharrock-ian territory. But ultimately, true to the Parker records that started this whole trope in the first place, Orcutt sticks to a complex yet tonal path throughout, imbuing tracks like 'Not Reconciled' (with its crooned 'Oh my god' and a cheeky 'amen' tacked to the end) with wide-eyed romantic optimism that goes down strange in a deathbed ballad. But ultimately, it's not strange at all. Rather, this palliative track celebrates a necessary, death-defying joy in the face of darkness—whether genuine or performative is unimportant. And what's more genuinely American than whistling past the graveyard? Just ask Judy Garland."—Tom Carter

Tracks

1 Sanctuary
2 Not Reconciled
3 How to Rescue Things
4 Old Hamlet
5 Pylon Pylon!
6 Requiem in Dust
7 The Wild Psalms

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