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  • He has brought a modern political and aesthetic sense to the music of his home- Cyprus. Kkismettin (fate- destiny- kismet) was made during the pandemic lockdown we have all lived with- and Antonis took this as an opportunity to create new songs that could speak in various ways about that loss of freedom- and its parallels in the rest of our lives.
  • Kobo Town: Carnival of the Ghosts Pledge $50

    Kobo Town continues to redefine calypso music and pushes the boundaries of the Caribbean sound with its fourth album. Behind the running social commentary and satirical mood, this is a collection of songs about the human condition – about our quirks and foibles, our anxieties and hopes, and the haunting sense of impermanence that imbues our every moment with its urgency and priceless worth. Named after the storied district in Port-of-Spain, Trinidad, where calypso was born, Kobo Town has been described as “an intoxicating blend of lilting calypsonian wit, dancehall reggae and trombone-heavy brass” (The Guardian) and a “unique, transnational composite of rhythm, poetry and activist journalism” (Exclaim!). “Kobo Town conjures an orphic force and reminds the listener of the vanity of all worldly things.” (RootsWorld) Since their founding in 2005, the group has brought their distinct calypso and ska-inspired sound to audiences across the world.
  • Back in 2019, we were introduced to Bâton Bleu's Weird and Wonderful Tales and their "hybrid of styles from France, Louisiana, Mongolia, and elsewhere” as David Cox wrote in his review. The France based duo of Maria Laurent and Gautier Degandt, and their quirky songs in French and English, were enchanting and sometimes disorienting. As we approach the end of 2023, Gautier Degandt returns with a new ensemble, with all the quirkiness, and a harder edge. En Gramma ("the trace that memory left”) is a trio of Degandt on lead voice, and kalimba here and there, with Oscar Philéas on guitars and chorus, and Pierre-Yves Dubois on percussion, chorus and occasional violin. Beau Brûlis (Burnt Beauty) is an adventure, a complex mixture of subtly, rawness and humor. It leans heavily on blues guitar structures, but I'll not call it blues, or rock. They call it 'trance rock,' but I am not sure if I am so much mesmerized as simply fascinated. - Cliff Furnald in RootsWorld    
  • After more than two decades together, the three members of Genticorum form one of the tightest units on the planet. In music from their native Québec (both traditional and original) they have found a rich seam that clearly has plenty of treasures to mine.... It crackles with gleeful energy. The interplay between the instruments and harmonies is sharp and adept, yet still a completely natural, high-octane conversation that constantly shifts from one player to another. Read a review and listen to the music.      
  • Polobi and the Gwo Ka Masters’ Abri Cyclonique is largely the production work of Irish-Parisian producer Doctor L – aka Liam Farrell. This record doesn’t sound anything like traditional Gwoka drumming and singing, which is what 69 year old Creole singer and drummer Moise Polobi, from Petit-Bourg, Guadeloupe, became obsessed with as a boy. Eventually, he became a master of toumblak, a prominent Gwoka rhythm; he also joined drum, vocal, and dance troupe Indestwas Ka, who have recorded multiple albums and toured France and Canada. Musically,  Gwoka demonstrates one more infectious, celebratory example of African musical tradition in the Caribbean.
  • In his lovely, soulful second album as the collaborative Too Sad for the Public, composer Dick Connette reverently and sometimes irreverently takes the roughhewn spirit of American folk music and refines it like a hunk of whale bone etched into an elaborate, beautiful scrimshaw.  Over the years, Connette has irregularly skimmed across the music-industry firmament like a comet, as a producer of others and then with his ensemble Last Forever, where he carefully designed his exquisitely wrought chamber-folk songs and assembled talented musicians to perform them.... On his latest, Too Sad for the Public: Vol. 2: Yet and Still, Connette mostly turns to Canadian-born and Brooklyn-based Ana Egge as the vocal focus of the songs with lyrics. Her bluesy drawl – reminiscent of the laidback, late-night, jazz-hipster singing of Rickie Lee Jones - gives the songs a sardonic, wry sensibility. On “G. Burns in the Bottom,” which takes off from an old string-band song, Egge sings with the darkest of humor: “It’s the awful truth in a world of hurt; Nobody’s smarter than the dirt.”     Though known as a musical composer, Connette also shines as a lyricist. His sung stories have the resonance of folk wisdom, but he seasons his wisdom with wry touches of absurdist wit. “I can tell time but I can’t tell it much,” says one narrator. Connette is able to evoke the struggles of his hapless townspeople while still leavening it with a deadpan sense of humor. - Marty Lipp in RootsWorld Magazine    
  • Trust me? Really trust me? I'll pick out a bigger selection of CDs from who knows where, of who knows what - the kind of music you hear on my show all the time. It's a grab bag - no special requests, just the chance to hear things you might never have heard before.    
  • Trust me? I'll pick out a nice selection of CDs from who knows where, of who knows what - the kind of music you hear on my show all the time. It's a grab bag - no special requests, just the chance to hear things you might never have heard before.    
  • If you’ve heard any maloya music from the Indian Ocean island of Réunion, the chances are it brings to mind a characteristic rhythm played on percussion, and probably an image of today’s best-known maloya musician internationally, Danyel Waro, energetically shaking his rectangular flat kayamb shaker. Ann O’aro’s third recording isn’t at all like that, even though she’s toured with Waro, and his son Bino is the percussionist in her band, along with trombone player Teddy Doris and electronic manipulations by Brice Nauroy. Bleu is an album far from the usual, far from what’s generally thought of as maloya, and indeed music that wouldn’t immediately be identified as from Réunion. For both Ann O’aro and the music of Réunion, it’s quite a step, and an interesting one.   Read Andrew Cronshaw's review and listen to some of the music.
  • Salvant’s ability to sing in multiple languages is, in part, due to her being the child of a French mother and Haitian father. She began classical piano studies at 5, sang in a children’s choir at 8, and started classical voice lessons as a teenager. She emerged with a vocal range and talent that one might expect from a performer with significantly more life experience. Yet this old soul, who generally surrounds herself with performers in their 30s, brings a layered depth to her music that comes from historical research and an ability to unearth forgotten songs and make them her own. The story of Mélusine has a common theme of imagining women as witches, mermaids and other transformative creatures from Greek mythology. It conjures a European folklore legend sung in French, Occitan and Haitian Creole, with her own compositions, and selections dating from the 12th Century. She uses these songs and stories in part to convey a character she often plays in her work - an intelligent coquette who is more interested in playing with men’s affection than seeking it out. - Lisa Sahulka
         
  • "With advanced degrees in musical performance and voice, and captured by the culture, spirituality and music of Candomblé, Bahia-born Irma Ferreira began a profound investigation of her Afro-Brazilian roots...  (her) first solo album release, Ém Cantos de Orisá, bears the fruit of her investigation, borrowing both chants and melodies from Candomblé’s trove of devotional works. The chants have a more liturgical sound, while the songs suggest more secular themes. Pronounced percussion, typically expressive of the the more bellicose orisás, such as Sango, the spirit of thunder and lightning, and Ogúm, the warrior lord of iron and steel, yields to a more melody driven sound in Ferreira’s interpretations. The instrumentation, a blend of Western and Afro Brazilian, provides a felicitous, understated backdrop for her vocals." - RootsWorld
  • Omar Sosa and Paolo Fresu have a three album trilogy, Eros and Alma, and now their latest, Food, takes on another layer of their cross cultural musical exploration. What elevates Omar Sosa's playing is that his improvisational muse is grounded by the clave and montuno of Afro-Cuban music. Sosa may go farther afield but he always comes back to the invisible scaffolding of Cuban music. These parameters are joyous constraints that make him so interesting to listen to. Paolo Fresu is an Italian trumpeter from Sardinia Italy, who is often compared to the moody atmospheres Miles Davis and Chet Baker conjured. On Food, Sosa and Fresu have created a beautiful album that channels the joy of food, the communal table life, and also the implications of climate change, in an emotional and intimate album. Read Lisa Sahulka's review and listen.
         
  • Sarah Aroeste - Monastir The album "reveals a panoply of styles, sounds, languages and vocalists, all impeccably arranged and produced." - Andrew Cronshaw in his review in RootsWorld Ladino singer/songwriter, author and activist Sarah Aroeste reconnects with the legacy of her Sephardic homeland of Monastir, a Balkan city at the commercial crossroads between Turkey and Western Europe in what is now North Macedonia. For centuries, this Jewish community flourished alongside its neighbors, enjoying a unique history with its own customs, religious observances, linguistic patterns, and songs, until it was destroyed by the Nazis in 1943. The predominantly Macedonian Orthodox and Muslim population of Monastir/Bitola welcomed Aroeste to help her record 10 songs that give an inside look into the life of Jewish Monastir before WWII wiped it out. From kantikas to romances, and from centuries-old melodies to originals, each song in this album has a story, told by over thirty singers and musicians from Israel, Macedonia, Spain, Germany and the USA.
  • The music on this collection- recorded during the 1970s and early 1980s, arguably Nigeria’s most musically fertile and innovative period- is highlife getting a much needed makeover. Like the bigger names from eastern Igboland such as Celestine Ukwu, Chief Stephen Osita Osadebe, or Ali Chukwuma, Alhaji Waziri Oshomah and his bands de-emphasized the jazzy swing and large horn sections of highlife’s outdated past, and instead, brought local rhythms to the foreground, allowing electric guitars and keyboards to drive languorous, unhurried melodies for extended grooves. Luaka Bop’s latest in its 'World Spirituality Classics' series demonstrates Waziri’s leisurely approach with a collection of 7 songs anywhere from 8 to 17 minutes long.
  • "Sometimes it can be better to accept and not examine things too deeply. Let it flow and enjoy it. Take Tranquebar's music. In many ways, what the Danish band creates shouldn't work. The mix of banjo, voice, accordion, and percussion is beautifully ramshackle (at least on the surface). Yet it succeeds, and it does it in a fashion that's quite mesmerizing. Ø is actually a collection of four EPs, each recorded on a different Danish island (hence the title, as Ø means island). And each island exerts a subtle influence on the shading of the music." Chris Nickson, in his review in RootsWorld.
  • Aire posts Magos Herrera at the summit of her creativity and her agency. For the first time she holds the reins of vocalist, lyricist, composer, co-arranger, and executive producer, even artistic director, crafting, with an impressive supporting cast, a work all her own. Among the A-list players to join her are: Jacques Morelenbaum; Gonzalo Grau; Diego Schissi; Dori Caymmi; and her frequent collaborators, the Knights... Aire is a wide-ranging album musically, serving especially well Herrera’s luxuriant voice. And it is a thoughtful and thought-provoking work, a ballet of sound that closes the gap between elegance and feeling. - Carolina Amoruso in RootsWorld Magazine
  • WPKN Record Logo Cork Turntable Mat
  • A practical and comprehensive guide to surviving the greatest disaster of our time, from New York Times bestselling self-help author and beloved CBS Sunday Morning science and technology correspondent David Pogue. You might not realize it, but we’re already living through the beginnings of climate chaos. In Arizona, laborers now start their day at 3 a.m. because it’s too hot to work past noon. Chinese investors are snapping up real estate in Canada. Millennials have evacuation plans. Moguls are building bunkers. Retirees in Miami are moving inland. In How to Prepare for Climate Change, bestselling self-help author David Pogue offers sensible, deeply researched advice for how the rest of us should start to ready ourselves for the years ahead. Pogue walks readers through what to grow, what to eat, how to build, how to insure, where to invest, how to prepare your children and pets, and even where to consider relocating when the time comes. (Two areas of the country, in particular, have the requisite cool temperatures, good hospitals, reliable access to water, and resilient infrastructure to serve as climate havens in the years ahead.) He also provides wise tips for managing your anxiety, as well as action plans for riding out every climate catastrophe, from superstorms and wildfires to ticks and epidemics. Timely and enlightening, How to Prepare for Climate Change is an indispensable guide for anyone who read The Uninhabitable Earth or The Sixth Extinction and wants to know how to make smart choices for the upheaval ahead.
  • Award-winning journalist and CNN chief climate correspondent Bill Weir draws on his years of immersive travel and reporting to share the best ideas and stories of hope and positivity from the people and communities around the world who are thriving in the wake of climate change, and what we can learn from them to build a more promising future.
  • In this new book, Douglas W. Tallamy takes the next step and outlines his vision for a grassroots approach to conservation. Nature’s Best Hope shows how homeowners everywhere can turn their yards into conservation corridors that provide wildlife habitats. Because this approach relies on the initiatives of private individuals, it is immune from the whims of government policy. Even more important, it’s practical, effective, and easy — you will walk away with specific suggestions you can incorporate into your own yard. If you’re concerned about doing something good for the environment, Nature’s Best Hope is the blueprint you need. By acting now, you can help preserve our precious wildlife — and the planet — for future generations.
  • A radically new understanding of and practical approach to climate change by noted environmentalist Paul Hawken, creator of the New York Times bestseller Drawdown Regeneration offers a visionary new approach to climate change, one that weaves justice, climate, biodiversity, equity, and human dignity into a seamless tapestry of action, policy, and transformation that can end the climate crisis in one generation. It is the first book to describe and define the burgeoning regeneration movement spreading rapidly throughout the world. Regeneration describes how an inclusive movement can engage the majority of humanity to save the world from the threat of global warming, with climate solutions that directly serve our children, the poor, and the excluded. This means we must address current human needs, not future existential threats, real as they are, with initiatives that include but go well beyond solar, electric vehicles, and tree planting to include such solutions as the fifteen-minute city, bioregions, azolla fern, food localization, fire ecology, decommodification, forests as farms, and the number one solution for the world: electrifying everything. Paul Hawken and the nonprofit Regeneration Organization are launching a series of initiatives to accompany the book, including a streaming video series, curriculum, podcasts, teaching videos, and climate action software. Regeneration is the inspiring and necessary guide to inform the rapidly spreading climate movement.
  • Be a part of history with your pledge of only $89.50! Put your name or the name of a loved one on one of our 177 high-density LP storage shelves.  Enter your dedication text in the "Additional information Order notes (optional)" during checkout. It can be your name, your family name, a friend's name... anyone you want to remember!
  • The Complete Annotated Grateful Dead Lyrics is an authoritative text, providing standard versions of all the original songs you thought you knew forwards and backwards. These are some of the best-loved songs in the modern American songbook. They are hummed and spoken among thousands as counterculture code and recorded by musicians of all stripes for their inimitable singability and obscure accessibility. How do they do all this? To provide a context for this formidable body of work, of which his part is primary, Robert Hunter has written a foreword that goes to the heart of the matter. And the annotations on sources provide a gloss on the lyrics, which goes to the roots of Western culture as they are incorporated into them. An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective’s love of following a clue as far as it will take him. Including essays by Dead lyricists Robert Hunter and John Perry and Jim Carpenter’s original illustrations, whimsical elements in the lyrics are brought to light, showcasing the American legend that is present in so many songs. A gorgeous keepsake edition of the Dead’s official annotated lyrics,    The Complete Annotated Grateful Dead Lyrics is an absolute must-have for the fiftieth anniversary—you won’t think of this cultural icon the same way again. In fact, founding band member Bob Weir said: “This book is great. Now I’ll never have to explain myself.”    
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