{"title":"Sale","description":"","products":[{"product_id":"living-gate-deathlust-12","title":"Living Gate - Deathlust 12\"","description":"\u003cp\u003e\u003cstrong\u003eOne sided 12\" with custom, b-side etching\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003e \u003cstrong\u003eLIVING GATE \u003c\/strong\u003emake their Relapse Records debut with the \u003cem\u003eDeathlust\u003c\/em\u003e EP. The band, Aaron Rieseberg (YOB) Lennart Bossu (Oathbreaker, Amenra) Wim Coppers (Oathbreaker, Wiegedood) and Levy Seynaeve (Amenra, Wiegedood) is an international group of critically acclaimed musicians that was spawned over a shared interest and sincere admiration for a bygone era of classic Death Metal. This bonding experience resulted in \u003cstrong\u003eLIVING GATE\u003c\/strong\u003e's deathly Metal. The band's ethos is wholly defined by the sounds of the underground - purposefully devoid of over-polished, meticulously edited music, and eschewing athletic, sterile musicianship in favor of break-neck riffs.\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003e\u003cstrong\u003eLIVING GATE\u003c\/strong\u003e puts their emphasis upon unrelenting, raw drums, encircled by menacing riffs and heaving guttural orations. While \u003cstrong\u003eLIVING GATE\u003c\/strong\u003e strictly adhere to Death Metal's ways of old, the face-ripping tracks such as \"Heaven Ablaze\" and the deathly title track cement the band in the here and now, and prove that the underground will never die. 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This collection, assembled by the band, features choice cuts from the bands 4 singles, and also includes a wealth of unreleased material that would have made up the bands debut LP had they survived the dramas of their speed driven youth.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227837673538,"sku":"","price":15.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a3118082361_16.jpg?v=1604350323"},{"product_id":"aepel-electronics-angelcynn","title":"Aepel Electronics - Angelcynn","description":"\u003cp\u003e\u003cspan\u003eOld English power electronics dealing with Middle Ages warfare and subsequent exile of the King alongside the mythological poetry of \u003c\/span\u003e\u003cu\u003eBeowulf\u003c\/u\u003e\u003cspan\u003e and, of course, the total and complete failure of modern-day society. Unpretentious in its visceral execution of high-pressure bass noise upholding doomsaying vocals from the streets recoiled at passersby as they do their best to move on quickly to safety. English Channel electronics. \u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eEdition of 250.\u003c\/span\u003e\u003c\/p\u003e","brand":"MIDHEAVEN","offers":[{"title":"Default Title","offer_id":32227838001218,"sku":"","price":10.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0114\/3432\/8130\/products\/a1572923243_10.jpg?v=1593379556"},{"product_id":"akitsa-au-crepuscule-de","title":"Akitsa - Au Crépuscule de l'Espérance","description":"\u003cp\u003e\u003cspan\u003eFaithfully restored for vinyl 20th anniversary edition of Akitsa’s fourth album. Double LP version giving the proper space for vinyl that it always deserved. 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Seeger had picked it up from an older source, an unattributed singer at an industrial school for women in western North Carolina. I like thinking of the song as a sort of resistance piece sung created by overworked and underpaid textile workers, which it is, but I also love the sardonic humor and imagery: an inscrutable floor manager who’d “take the nickels off a dead man’s eyes \/ To buy Coca-Colas and Eskimo Pies.”\u003cbr\u003e\u003cbr\u003eI first heard the Irish tragicomedy “Michael Was Hearty” via my pal Nathan Salsburg, guitar wizard and curator of the Alan Lomax Archive, who played me a YouTube video of an Irish Traveller and ballad singer named Thomas McCarthy, whose a cappella delivery of the song is striking and singular. I immediately wanted to commit the words to memory, but I had to come up with another way to perform it that worked for my way of singing, so I worked out a waltz arrangement on my guitar and taught it to my band. Some great imagery in there too: “High was the step in the jig that he sprung \/ He had good looks and soothering tongue”—don’t we all know somebody like that? This one dates to probably sometime around the end of the 1800s.\u003cbr\u003e\u003cbr\u003e“Oh Captain” is my bastardized reinterpretation of a beautiful deckhand’s song recorded by the singer, composer, and musicologist Willis Laurence James for Paramount Records in the early 1920s, with piano accompaniment. It’s a very unusual recording. James spent much of his life collecting and interpreting and writing about African American worksongs, yet few have recognized his short, obscure stint as a recording artist. Turns out he was a trained singer who taught in the music department for years at Spelman College, whose library still holds his archive. I became fascinated with him and his work, so this song is my little homage to Dr. James.\u003cbr\u003e\u003cbr\u003eIn the mid-2000s when I was living in Oxford, Mississippi, I went to an estate sale at an antebellum house in town and found a first edition of Carl Sandburg’s famous 1927 book The American Songbag, which contains “Three Ravens.” Inside was an index card with a charming calligraphed “If found, please return to,” written by the banjo player and singer John Hartford, along with his Tennessee address. I’d been listening a lot to the music of Ruth Crawford Seeger, a member of the Seeger family of folk music fame, but also an important and influential avant-garde composer. Her music resides in that interesting place where modern abstract forms and traditional abstract forms collide. Her collection 19 American Folk Songs for Piano includes a wonderful minute-long version of “Three Ravens.” I couldn’t get enough of it, so I went back to my Hartford copy of the Sandburg book (from whom Seeger herself got the tune) and learned it.\u003cbr\u003e\u003cbr\u003eThe great ballad singer and collector Bobby McMillon, of western North Carolina, has recorded a fine version of “The Rainbow Willow” under the title “Locks and Bolts,” the more common title. My friends Sally Anne Morgan and Sarah Louise (aka House and Land) have also recorded a beautiful rendering. I combined various versions from the Ozarks into the one that I sing, but the story is pretty much the same. Murder is so commonplace in old songs that I don’t know if the term “murder ballad” is very useful. Maybe we should be breaking it down to which type of murder, and what was the motive, and what sort of weapon was used, things like that. I’d say this is more of a love song than a death song, anyway.\u003cbr\u003e\u003cbr\u003e“The River St. Johns” comes straight from one of Stetson Kennedy’s Florida WPA recordings of a gentleman named Harden Stuckey doing his interpretation of a fishmonger’s cry, which he recalls from a childhood memory. What compelling imagery there: “I’ve got fresh fish this morning, ladies \/ They are gilded with gold, and you may find a diamond in their mouths.” I can’t help but believe him.\u003cbr\u003e\u003cbr\u003e“Jubilee” is from the great Jean Ritchie’s family tradition. Her father probably sang it as more of a play-party type piece, or at least that’s what Art Rosenbaum tells me, but it’s taken on different forms since. I’m not sure where I first heard it, but it’s been making the rounds in old-time music circles for decades now, and I’ve always appreciated its basic insight: “Swing and turn, live and learn.”\u003cbr\u003e\u003cbr\u003e“Drinking of the Wine” is a spiritual number, you might could say. The version to which I’m most faithful is one that was recorded by a group of Virginia menhaden fishermen singing it as a net-hauling shanty on a boat off the coast of New Jersey in the early 1950s. Clara Ward also recorded it, as have many gospel singers, as well as the great North Carolina banjo player and folk music promoter Bascom Lamar Lunsford.\u003cbr\u003e\u003cbr\u003e“16–20” is my very loose rearrangement of a tune that I’ve known for years. This was a popular dance piece among guitarists in the lower Chattahoochee River Valley of Georgia and Alabama, including my old friends George Daniel and Robert Thomas, from whom I learned it. 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