Drive Copy 14

Drive-By Truckers’ 12th studio album and first new LP in more than three years – the longest gap between new DBT albums – The Unraveling was recorded at the legendary Sam Phillips Recording Service in Memphis, TN by GRAMMY® Award-winning engineer Matt Ross-Spang (Jason Isbell, Margo Price) and longtime DBT producer David Barbe. Co-founding singer/songwriter/guitarists Mike Cooley and Patterson Hood both spent much of the time prior doing battle with deep pools of writer’s block. “How do you put these day to day things we’re all living through into the form of a song that we (much less anybody else) would ever want to listen to?” says Hood. “How do you write about the daily absurdities when you can’t even wrap your head around them in the first place? I think our response was to focus at the core emotional level. More heart and less cerebral perhaps.”

Welcome 2 Club XIII, DBT’s 14th studio album, marks a sharp departure from the trenchant political commentary of their last three records. A reckoning with the dualities of the things that make you alive and how they sometimes can kill you. A life affirming flashlight for the dark nights of one’s soul. The title track is a tongue in cheek homage to a local dive that founding members Cooley and Hood played in the early days. As they say in the song “Our glory days did kinda suck”.

In the kitchen of the Byron Bay home of Winston McCall stands a refrigerator, adorned on one side by a quote from Tom Waits: "I want beautiful melodies telling me terrible things." This, the Parkway Drive vocalist says, is a pretty good summation of himself. It holds true, too, as one of the guiding principles behind Darker Still, the seventh full-length album to be born of this picturesque and serene corner of north-eastern NSW, Australia, and the defining musical statement to date from one of modern metal's most revered bands. While Darker Still remains irrefutably Parkway Drive, it finds the band sonically standing shoulder to shoulder with rock and metal's greats - Metallica, Pantera, Machine Head, Guns N' Roses - as much as it does their metalcore contemporaries.

At the Drive-In have plans for a worldwide reissue of their 1996 debut Acrobatic Tenement and 2000’s Relationship of Command, the band’s final album before breaking-up in 2001. Of course, Australia already received its reissues last year, with the new edition of Relationship of Command featuring songs from their 2001 triple j Live at the Wireless. For the rest of the world, both albums will be rereleased on CD, digital and vinyl with a limited run of colour vinyl for Relationship of Command to be issued for Record Store Day on 20th April, 2013.

DBT released The Unraveling on Jan. 31st 2020 and set out for what was supposed to be a full year of touring. We completed the first leg of the tour at DC’s beloved 9:30 Club on Feb. 29th. We all went home for a brief break before resuming at Vogue in Indianapolis on March 12th. We were two songs into the soundcheck for that show when we were told that the entire tour was to be postponed indefinitely due to the Covid-19 pandemic. We packed up the trailer and headed home where we’ve pretty much been ever since.

At the Drive-In have plans for a worldwide reissue of their 1996 debut Acrobatic Tenement and 2000’s Relationship of Command, the band’s final album before breaking-up in 2001. Of course, Australia already received its reissues last year, with the new edition of Relationship of Command featuring songs from their 2001 triple j Live at the Wireless. For the rest of the world, both albums will be rereleased on CD, digital and vinyl with a limited run of colour vinyl for Relationship of Command to be issued for Record Store Day on 20th April, 2013.

Ensemble Micrologus - Carnivalesque. Sex, lies and… musical tales in 16th-century Venice (2014) {Baryton 0027.14.1}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 435 Mb | MP3 @320 -> 167 Mb
Full Artwork @ 600 dpi (jpg) -> 41 Mb | 5% repair rar
© 2014 Baryton | 0027.14.1
Classical / Renaissance / Early Music

This Venetian Carnival repertoire seems ideally suited to the versatility and forthright presentational style of Ensemble Micrologus, and indeed most of it is highly engaging and irresistibly evocative of the seamier side of Renaissance Venice. Only a couple of times in the more decorous part-music are there moments of uncomfortable intonation – it is hard to imagine that even in their unguardedly raucous moments the citizens of the Pearl of the Adriatic would have sung out of tune! Elsewhere an engagingly organic treatment of these popular tunes, with a galaxy of unusual instruments including bray harp, sordellina and buttafoco, merging in and out of the ensemble sound brings them vividly to life.