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IT SHIPS DECEMBER\u003c\/p\u003e\n\u003cp\u003eAny orders containing a \"Pre-Order\" item will ship together when the pre-order ships. Please make a separate order if you wish to receive non pre-order items before the pre-order ship date.\u003c\/p\u003e\n\u003cp\u003eVan Zandt's subject matter had not changed much in the seven years between recordings, as was apparent only a few lines into the leadoff track, 'A Song For,' when Van Zandt spoke-sang, 'I'm weak and I'm weary of sorrow.' In fact, he wasn't weary of enumerating the causes of sorrow, as was proven especially in 'Marie,' sung in the voice of a derelict whose life gets worse and worse until his pregnant girlfriend dies. Songs like that were typical of Van Zandt, but this time he also displayed an unusual range, from the scary, calypso-like song of temptation 'The Hole' to the weird tall tale of 'Billy, Boney and Ma' in which a man and a skeleton turn to a life of crime, demonstrating Van Zandt's humorous side. Van Zandt even found room for two lullabies. Musically, the album, which was recorded in Ireland and produced by Philip Donnelly, who also played guitar, benefited from an unusually varied group of styles, from the Chicago blues of 'Goin' Down to Memphis' to the Memphis rockabilly of 'Gone Too Long,' with a strong complement of Irish-flavored tunes played on such traditional instruments as uilleann pipes and tin whistle. The diverse musical styles made the album Van Zandt's most listenable, even when the lyrics were at their most desperate. By 1994, after a stream of live re-recordings of his older material, Van Zandt had begun to seem like a songwriter whose best songs, good as they were, were behind him. No Deeper Blue demonstrated that the muse was still with him.\"—AllMusic. 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A move south from Amarillo to Lubbock in 2020 put a spark to the powder keg of his creativity. “It’s even more flat, desolate, windy and dirty – like being on Mars,” Pedigo observes. “It’s pushed me to create more because there’s not really much to distract.” The move produced not only The Happiest Times and its predecessor Letting Go, but also an Internet presence that showcases a panoply of ever-more outlandish outfits and an effortless deadpan wit. Both the former and the latter helped parlay him into the fashion world, too, having walked the runway for Gucci and been photographed by Hedi Slimane.\u003c\/p\u003e\n\u003cp\u003eInspired by the tragicomedic legacy of National Lampoon co-founder Doug Kenney (in whose notes the line ‘These last few days are amongst the happiest I’ve ever ignored’ was found following his mysterious and untimely death), Pedigo embarked upon The Happiest Times with a no-shit aim: to create “the best instrumental acoustic guitar album of the past twenty years.” Though canonical works of comedy and music show their influence—the mournful beauty of Nick Drake, the puckish abandon of John Fahey—Pedigo by no means places their creators on pedestals; if anything pulling them from their plinths, smashing the alabasters, pocketing some pieces, gluing others back together upside down, or leaving them floating free.\u003c\/p\u003e\n\u003cp\u003eHow might Fahey have played in a Midwest emo band? Pedigo posits on “Nearer, Nearer,” while the specters of Bert Jansch and John Renbourn float somewhere above “Signal of Hope” – “the most British-sounding thing I’ve ever written;” an echo in an empty church. Pedigo flits through the cycle of songs, coiling and uncoiling like the mechanism of a clockwork bird on “When It’s Clear;” rambling, a tiny speck in the landscape, on “Elsewhere.” “Then It’s Gone” stands as stark as a leafless tree, guitar spilling a somber tale in its truest voice – and nowhere more than on the title track is Pedigo’s playing more affecting: regret and optimism balanced on intimate, intricate arrangement, as carefully poised as raindrops on guitar strings.\u003c\/p\u003e\n\u003cp\u003eCiting a “rigid relationship with guitar” in which he has only slices of time to adequately express himself (“I have a five minute window to do something meaningful, and if it doesn’t come within five minutes, then it goes back in the case”), Pedigo wrote each song separately, start to finish, one by one. When an album’s worth of songs had been written, he undertook an intense regime of rehearsal, playing and replaying The Happiest Times on a loop, testing his technical ability, always striving for tighter, purer and more concise iterations.\u003c\/p\u003e\n\u003cp\u003eIn June 2022, Pedigo transported the limbered-up record to Pulp Arts in Gainesville, Florida, where the relentless practice paid off: he played the core acoustic compositions in track order, beginning to end, and by the evening of the first day, realized he’d essentially nailed the record in one go. After tracking the main narrative of the guitar, a studio team of producer Trayer Tryon (Hundred Waters, Moses Sumney) on synths and bass, Luke Schneider (Margo Price, Orville Peck) on pedal steel, and Robert Edmondson on electric bass and piano painted in a sunset of sound behind the acoustic parts, lighting them with a warm glow while allowing them to remain front and center of the scene.\u003c\/p\u003e\n\u003cp\u003eIf the rolling strings of Letting Go planted and germinated the seeds, then The Happiest Times sees Hayden grow the flowers, admire their ruffles, and take newly sharpened scissors to the stems; turmoil and perfectionism and the gods of chaos driving the hand that holds the shears. “I want to create something very melodic, and then put it behind a barbed wire fence,” Hayden reflects. “If you’re gonna get this pretty thing, then you might get cut up trying to get to it.”\u003c\/p\u003e\n\u003cp\u003ePedigo’s particular brand of barb comes in a variety of shapes: the carousel of internet personas that prod and jest (one day a 1970s car salesman, the next perhaps a Burger King attendant or gogo-booted knight); beautiful yet uneasy technicolor album artworks that place him incongruously corpse-painted at a gas station or glowing in ultraviolet on the parking lot of a flaming Walmart; or, in the music itself, pauses which verge on the uncomfortably long while the well-mannered audience member shuffles in their seat, trying to work out whether to clap yet or not.\u003c\/p\u003e\n\u003cp\u003eAt their most profound, Pedigo’s spacious, pristine soundscapes communicate an essential truth about the pursuit of artistic perfection. 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Sonically, this is Abronia's most ambitious and compositionally daring record to date -- the album moves with a strange gravitational pull, layering grief, haunted memory, and flashes of transcendence into something emotionally expansive and structurally bold. Moments of crushing weight give way to eerie stillness, held together by an urgency that feels vital, not calculated. It's a record that doesn't politely wait for your attention; it pulls you into its orbit whether you're ready or not. Listeners' first glimpse into Shapes Unravel is the single \"New Imposition.\" The track opens with echoing guitar plucking and eerie pedal steel and unfolds quickly into a cinematic score, transporting you instantly into the world of Abronia. 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In 1965 Fairytale was released, his second studio album which planted the seed of what was yet to come. It foreshadowed the jazzy feel and descriptions of life in urban London that Donovan would continue to explore over the next two years. 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For centuries, it sat at the hub of ancient trade routes that connected the Silk Road to India, Tibet, and Kashmir. Each year, once the winter snows had melted from the high passes surrounding Ladakh, its markets would buzz with merchants from throughout central Asia. They brought spices, wool, salt, and silk. They also brought their instruments and their folks songs. Over time, these diverse musical influences laid the foundation of Ladakh’s unique folk traditions. Folk music became central to the daily life of the Ladakhis with song serving as an essential form of communication, documentation, and entertainment.\u003c\/p\u003e\n\u003cp\u003eThis collection of songs is intended to offer a sampling of the range of Ladakh’s folk music. These songs also celebrate one of the great folk artists of Ladakh, Morup Namgyal. Morup is an avid preservationist and during his 30-year career working at Ladakh’s only radio station (All India Radio, Leh) he recorded a vast archive of Ladakhi folk songs. This collection of over 1,000 recordings was unlike anything else in Ladakh and formed a crucial link to a dying folk tradition. Tragically, it burned to the ground in 2002 when a fire raged through the old wooden radio station building. The loss was devastating, but Morup immediately set about recreating the archive. Five of the songs on this album, recorded in 1992, are among the handful of tracks to have been spared by the fire.\u003c\/p\u003e\n\u003cp\u003eToday, Ladakh’s marketplaces bear little resemblance to the buzzing markets of old. Gone are the camel trains and merchants, replaced instead by Indian trucks belching smoke. Seemingly vanished too are the folk musicians, pushed aside by the synthetic beats of the latest Bollywood hit. But the folk artists have not vanished entirely, and if you wander beyond the blare of the latest pop song, you’ll discover a folk tradition that, thanks to the efforts of Morup Namgyal and others like him, is alive, evolving, and poised to endure the challenges of modernization. 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The choir that gathers all singers at the same time is considered to be a very unique style of vocal polyphony or heterophony. 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Therefore, the driest. Italian-Rwandan photographer, Marilena Umuhoza Delli and I had come to record with possibly the most photographed people on earth, the Himba— to listen rather than gaze at them as if on display. To share their voices as a counter to their visual objectification, particularly the inappropriate eroticization of the women who customarily go topless throughout daily life.\u003c\/p\u003e\n\u003cp\u003eWe had to stress multiple times that we did not want the musicians to don touristic tribal costumes— quite possibly the first music project in history that urged performers to cover-up rather than pleading with artists to expose more flesh. But it was to no avail. When the assigned hour arrived, the men all ditched the baseball caps and soccer jerseys that they routinely wear. And for the women, the reality is that they almost without exception keep their torsos bare, even in winter. We had to acquiesce. 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Crafting handmade music on homemade guitars throughout the 1970s, Mataja taught himself to play in order to pay homage to his ancestral home of Yugoslavia, a place he would never return to except through these guitar meditations. \u003c\/p\u003e\n\u003cp\u003eThe sequel to Pastor Barrett's landmark 1971 masterpiece Like A Ship, Do Not Pass Me By finds the young Chicago preacher and his Youth for Christ Choir continuing their genre-bending spiritual journey. Heavy drums, soaring falsettos, euphoric tambourines, sharp horns, and Barrett's unwavering devotion dance around a 40-piece choir, working together to form sanctified slab of gospel funk. Pressed in a minuscule quantity in 1973, Do Not Pass Me By was sold primarily from the pulpit of Barrett's Mt. Zion Baptist Church, disappearing into Chicago's south side for 45 years before Numero's excavation. The ten-song album has been remastered, it's generic album cover updated to match Barrett's vision. 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