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  <title>New from Broadside Hacks</title>
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      <title>Myer U Clark : Tinderbox - 12&quot; Vinyl Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/tinderbox-17</link>      <description>
                Marking the announcement of new album ‘Tinderbox’- due 26th June - and his first underground folk champions Broadside Hacks Recordings (Sam Grassie, Milkweed), Bristol indie/folk songwriter shares new single ‘Healers’, out today (14th April). Combining wiry guitar idiosyncrasies with playful lyricism,‘ Healers’ embodies Myer’s self-dictated style of ‘musical jank’. Favouring as hambling, loose performance style, his songs of infatuation and romantic connection recall the homespun 80s indie of Th      </description>
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      <content:encoded><![CDATA[Marking the announcement of new album ‘Tinderbox’- due 26th June - and his first underground folk champions Broadside Hacks Recordings (Sam Grassie, Milkweed), Bristol indie/folk songwriter shares new single ‘Healers’, out today (14th April). Combining wiry guitar idiosyncrasies with playful lyricism,‘ Healers’ embodies Myer’s self-dictated style of ‘musical jank’. Favouring as hambling, loose performance style, his songs of infatuation and romantic connection recall the homespun 80s indie of The Go Betweens or Aztec Camera, while informed by a studied interest in classic English folk and Delta Blues. Produced at TheCrypt by Jack Ogborne (The New Eves, Bingo Fury, The Cindys), and sounding like a set piece from the Harold and Maude soundtrack - ‘Healers’ captures the whimsical, carefree headiness that stretches its open arms across Tinderbox.

It’s a style that places him more on bills with indie bands than with folk traditionalists. A member of art-rock quartet The Scuttlers, he’s fresh from tour dates with Naima Bock and Sorry and has featured on bills with rising acts Truthpaste, TheSlowCountry and Morn Speaking more about the track, Myer says: "Healers is a love song describing a back and forth that isn’t going anywhere but both people suspect they could be right on the edge of something special. There’s a thread throughout, that the two act as a kind of medicine for one another.”

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      <title>Brown Wimpenny : Long Live Brown Wimpenny - 12&quot; Vinyl Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/long-live-brown-wimpenny-0</link>      <description>
                
*Long live Brown Wimpenny is a collection of some of our favourite tunes and songs that we’ve picked up and played around with over the last couple of years.*

The people and places through which we discovered this music are central to the choice of tracks on the album. From listening to source recordings of Frank Verrill and Jake Thackray during rehearsals, to picking up tunes at local pub sessions each track brings with it      </description>
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      <content:encoded><![CDATA[
*Long live Brown Wimpenny is a collection of some of our favourite tunes and songs that we’ve picked up and played around with over the last couple of years.*

The people and places through which we discovered this music are central to the choice of tracks on the album. From listening to source recordings of Frank Verrill and Jake Thackray during rehearsals, to picking up tunes at local pub sessions each track brings with it a little piece of the band's history.

It’s not surprising then that we found ourselves drawn to the human narratives that define traditional songs. Tales of hardened shepherdess’ and maligned steelworkers, lonely drunks and sailors nearing death. It’s these stranger, often forgotten folk characters that really captured our imagination, pushing us to use the full scope of textures and sounds our arsenal of instruments can create.

The music itself reflects the diversity of styles and influences within such a large band, and the spontaneous approach to arrangement we often took. Be it the punkish drive of Sheffield Grinder or the expansive soundscapes on Raglan Road, we filtered traditional songs through 11 different interpretations altering their form to find their meaning.

In this way the album does not mark the birth of something new, nor the culmination of efforts passed. It is simply a celebration of something that has always been in motion. *Long Live Brown Wimpenny.*




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      <title>Brown Wimpenny : Long Live Brown Wimpenny - CD Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/long-live-brown-wimpenny-0</link>      <description>
                
*Long live Brown Wimpenny is a collection of some of our favourite tunes and songs that we’ve picked up and played around with over the last couple of years.*

The people and places through which we discovered this music are central to the choice of tracks on the album. From listening to source recordings of Frank Verrill and Jake Thackray during rehearsals, to picking up tunes at local pub sessions each track brings with it      </description>
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      <content:encoded><![CDATA[
*Long live Brown Wimpenny is a collection of some of our favourite tunes and songs that we’ve picked up and played around with over the last couple of years.*

The people and places through which we discovered this music are central to the choice of tracks on the album. From listening to source recordings of Frank Verrill and Jake Thackray during rehearsals, to picking up tunes at local pub sessions each track brings with it a little piece of the band's history.

It’s not surprising then that we found ourselves drawn to the human narratives that define traditional songs. Tales of hardened shepherdess’ and maligned steelworkers, lonely drunks and sailors nearing death. It’s these stranger, often forgotten folk characters that really captured our imagination, pushing us to use the full scope of textures and sounds our arsenal of instruments can create.

The music itself reflects the diversity of styles and influences within such a large band, and the spontaneous approach to arrangement we often took. Be it the punkish drive of Sheffield Grinder or the expansive soundscapes on Raglan Road, we filtered traditional songs through 11 different interpretations altering their form to find their meaning.

In this way the album does not mark the birth of something new, nor the culmination of efforts passed. It is simply a celebration of something that has always been in motion. *Long Live Brown Wimpenny.*




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      <title>Sam Grassie : Where Two Hawks Fly - 12&quot; Vinyl Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/where-two-hawks-fly-9</link>      <description>
                In hindsight, it was always obvious that Sam Grassie would emerge as a trailblazer in the new British folk scene. Though cemented with the release of his dazzling and dark debut album Where Two Hawks Fly, that status has been long in the making. As a toddler, Grassie recalls, he’d sneak out of bed to eavesdrop on the family’s living room sessions. Once able to help carry gear he’d accompany his father’s ceilidh band on weekends. At eight years old he asked for a drumkit, but was given a guitar i      </description>
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      <content:encoded><![CDATA[In hindsight, it was always obvious that Sam Grassie would emerge as a trailblazer in the new British folk scene. Though cemented with the release of his dazzling and dark debut album Where Two Hawks Fly, that status has been long in the making. As a toddler, Grassie recalls, he’d sneak out of bed to eavesdrop on the family’s living room sessions. Once able to help carry gear he’d accompany his father’s ceilidh band on weekends. At eight years old he asked for a drumkit, but was given a guitar instead. His love of traditional music “started as far back as I can remember,” he says. “Some friends from St Roch’s Comhaltas would hide their instruments from school friends, but I’d never really shy away from it”.

Doubling down on his innate talent for fingerstyle playing through tutorage under his father’s bandmate Matt Smith, Fleadhs and Ceol Mhor, he was imbued with a deep appreciation of the form’s potential.  “I was around musicians, young and old, playing with such skill,” he says. “I’d go to see a rock band, but I wouldn’t be as enamoured as I was when I’d go to a gig that my dad was going to, and the guys would be absolutely flying on their instruments. It wasn’t ‘til meeting the folk in the London scene that I appreciate the academic side of it, it was all feeling back then”

It was while visiting his uncle in Galway, bouncing between the hedgerows in his converted ambulance, that Grassie first heard the music of Bert Jansch. Grassies’s father had recently left home and was living in a cabin in the woods. “The darkness in that music and the raw approach on the guitar immediately spoke to me,” he says. “I was really drawn in by lyrics and poetry and turns of phrase too, and that’s all very apparent and immediate when it’s just a guitar and voice, you can really take it all in.”

Moving to Glasgow at 17, Grassie fell into the city’s burgeoning electronic scene, and for a time the fiddle was left to gather dust. The guitar however remained a constant companion. Naturally, after then relocating to London – first for a few pandemic-curtailed months in 2020 and then for good in 2022 – it didn’t take long for Grassie to establish himself as one of the keystones of the city’s erupting young folk scene. Even in this fertile ground he soon stood apart – a magnetic performer, drawing influence from that same raw emotion that Jansch did, but also the melodic command and fluidity of John Renbourn and Pierre Bensusan.

And yet, Grassie’s journey to these heights was also a bumpy one; that rich emotion all over Two Hawks Fly was not conjured out of thin air.


]]></content:encoded>

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                  <g:adult>no</g:adult>
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      <title>Goblin Band : Clyde Water / Go From My Window - 7&quot; Vinyl Single</title>
      <link>https://broadsidehacks.greedbag.com/buy/clyde-water-go-from-my-window-1</link>      <description>
                

Goblin Band are Alice Beadle (she/her), Sonny Brazil (they/them), Rowan Gatherer (he/him) and Gwena Harman (she/her)


*Goblin Band - Clyde Water (Official Video)*
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      <content:encoded><![CDATA[

Goblin Band are Alice Beadle (she/her), Sonny Brazil (they/them), Rowan Gatherer (he/him) and Gwena Harman (she/her)


*Goblin Band - Clyde Water (Official Video)*

]]></content:encoded>

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      <title>Milkweed : The Mound People / Folklore 1979 - 12&quot; Vinyl Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/the-mound-people-folklore</link>      <description>
                *Mound People*



All text and images sourced from The Mound People: Danish Bronze Age Man Preserved by PV Glob first published in 1974.

“They were clad in their everyday clothes and richly supplied with ornaments and weapons of gold and bronze. Their sophisticated culture covered the whole of Scandinavia and much of northern Europe. Their sudden decline remains a mystery”

Coffin pa      </description>
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      <content:encoded><![CDATA[*Mound People*



All text and images sourced from The Mound People: Danish Bronze Age Man Preserved by PV Glob first published in 1974.

“They were clad in their everyday clothes and richly supplied with ornaments and weapons of gold and bronze. Their sophisticated culture covered the whole of Scandinavia and much of northern Europe. Their sudden decline remains a mystery”

Coffin packed with eelgrass sword rested on his chest by the scabbard lay a leather sack filled with incredible objects Small conch shell a cube of wood a piece of bark different dried roots tail of a snake a falcon’s claw small slender pair of tweezers Charcoal and a young squirrel’s jaw amber beads and scraps of bronze leather case bound with a thong horse head handle razor Inside a woman’s belt box of the kind held on their back two horse teeth some weasel bones the claw joint of a cat A wire bent to form a hook a yellow lump of clay pyrite and quartz pebbles a few snake vertebrae A bird’s windpipe half an inch long a twig of mountain ash and on the box and fastener a moon and star pattern Carved on the side of the stone coffin two men beating a hanging drum bird-like figures walk in procession toward a man who holds a square Carved on the side of the stone coffin chariot races stallion fights a ship to carry the dead chieftain to a kingdom beyond the sea Brewed from wheat and mountain cranberries the pollen of a flowering lime tree a fruit wine yarrow in the summertime laid the blossoms carefully by her hair and feet By her side wrapped up in the cowhide the burnt bones of a child age eight or nine bark from tree little heather moss and leaf a horn comb with twenty well cared for teeth Water filled the coffin all that remained inside a fatty mass of soft brown flesh wrapped up in cowhide His bones a pale blue powder his hair still in its cap a bronze sword in a wood scabbard by his feet in a large basket 



*Folklore 1979*

All text and images are taken from Folklore Volume 90 1979 ii

FOLKLORE is the journal of The Folklore Society

Founded in 1878, the Folklore Society are one of the oldest organisations in the world devoted to the study of folklore in all its various forms

My father’s sheep is dead honestly I swear by Dumazi father’s sheep is dead honestly is a great mystery father’s sheep they have no wool black sheep make rain clouds full black millipede, goat and ram I play my flute conjure lightning My father’s sheep is dead honestly I swear by Dumazi father’s sheep is dead honestly it is a great mystery rain is falling we are going to eat watermelon rain is falling we are going to eat a pumpkin we’ve been longing for rain we are going to eat sugarcane Ten thousand years ago Equus disappeared here in North America at the end of the Ice Age along with mammoths, mastodons, camels and other large herbivores and one of the great mysteries is, is why here is North America a group of animals like the horse that was so successful for so many millions of years disappeared and yet it was able to survive in Eurasia. American mustangs only descend indirectly from their original American ancestors and this was through the horses which migrated to Asia and onto Europe two million years ago only to return to the North American continent with the help of man five hundred years — The legend of the pacing white mustang
Half human half snake asleep inside of the egg waking in anger he broke the egg with hammer when his body died the sun pulled from his left eye right became the moon his teeth and bones turned to jewels breath became the storm and his voice became thunder Half human half snake crouched down and dug out of clay naked as they were many dolls to dance around her rope dripping with mud and taught to bear children stone laid on alter for the matchmaker snake tattoos snake skin twinning tails with the first sovereign Arthur dreamed that from his chest issued out a serpent all the babies born the first of May are put to sea with Mordred Oengus Tuirmech thought it hard his own daughter to bear a son in a one hide boat with a purple cloak his own Fiacha Fer Mara King Balor locked his daughter in a tower with twelve attendants within the year they all gave birth all drown but Lui Lavada I saw a fig tree covered with rag offerings, calico cloth hearing as a boy that the bloodroot’s juice was the dead man’s blood black cedar’s fruit lapis-lazuli world egg sits on a branch of the tree sword is thrust deep in the beam I saw a fig tree covered with rag offerings calico cloth hearing as a boy that Christ sits top of the Jesse Tree child was born out of the peach branch when cut complains and bleeds the dead speak through the leaves

]]></content:encoded>

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      <title>Spitzer Space Telescope : III - Cassette EP</title>
      <link>https://broadsidehacks.greedbag.com/buy/iii-216</link>      <description>
                As with MacDonald’s live shows, everything he sings across both EPs – and the wealth of unreleased songs still sitting in the chamber – is completely original. “From day one I’ve always aspired be a songwriter. All I care about is great songs and who wrote them, and how the hell they came up with an idea out of thin air,” he says. “If anybody asks me, where&apos;d you get that song that you played at the show? I can I have one answer. It&apos;s all mine.”

That fact is more impressive still for the fact      </description>
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      <content:encoded><![CDATA[As with MacDonald’s live shows, everything he sings across both EPs – and the wealth of unreleased songs still sitting in the chamber – is completely original. “From day one I’ve always aspired be a songwriter. All I care about is great songs and who wrote them, and how the hell they came up with an idea out of thin air,” he says. “If anybody asks me, where'd you get that song that you played at the show? I can I have one answer. It's all mine.”

That fact is more impressive still for the fact that Spitzer Space Telescope III contains such an array of different styles, and that it shifts so elegantly between autobiography and fiction. MacDonald is as comfortable delivering rousing shape note singing as he is a sprawling ballad, a hypnotic sea shanty, or a moment of cracked and tender sorrow. He’s unafraid of such dramatic shifts in style; in fact, they’re intentional. “I got introduced to this genre through compilation albums, so I have a lot of affection for a listening experience that jumps around different colours,” he says.

Opener ‘The Great Ascender’ opens the EP with a rush of stark, bold beauty. A self-set challenge to “write a secular hymn, and to celebrate shape note and vocal harmony singing,” it evokes a power to counter the divine, but “without having to endorse religious institution.” In MacDonald’s hands, the song’s central power is drawn not from religion but from the heroism of ordinary humans, “and the kinds of heroes we need right now. Even if you don’t get famous, if your deeds are forgotten or overlooked or uncelebrated – in a way that’s even more heroic.”

The next track, ‘All You Girls Ashore’, even by Spitzer Space Telescope’s eclectic standards, is an anomaly, “the only example of a melody I didn’t write,” the tune taken from a French whaling song called ‘Pique La Baleine’. “I liked the melody, and I wrote English lyrics to it.” His words, towing a curious and transfixing line between surrealism and straightforwardness, are not a direct translation. “I don’t even know what the French is talking about. That track is just a blatant love letter to sea shanties, one of my home base music traditions.”

‘Veritas’, meanwhile, toys with the temporal. Ostensibly, it is the story of Galileo set to a spry banjo tune, telling of his condemnation and imprisonment for refusing to renounce the truth of a heliocentric universe. Beneath the surface, however, “it comes from all the anti-medical, truly medieval stuff that we were seeing during Covid,” MacDonald says. Then, MacDonald boundaries – it’s shrouded in a hiss and crackle that’s uncannily close to that you might hear on a compilation of Alan Lomax recordings from the 1930s.

Then, with ‘Kayne In The Orchard’, comes the kind of wild, yet deftly executed, stylistic pivot that is typical of a Spitzer Space Telescope record, as the opener’s grand proclamations gives way to a long and sprawling tale of a real-life visit to Cornwall. The transcendence of shape note singing dissolves, as MacDonald shifts into a slow and sprawling ballad form typical of English and Irish traditions. As with so many such songs, not all that much happens beyond drinking and merriment, “but that’s what’s so amazing about those kinds of ballads,” MacDonald argues. “They’re snapshots of everyday life, and placing them in a musical form gives extra emotion to them, and attitude. It’s a homage to all those songs that I love about nothing really happening.” Its languid, beautiful ordinariness is irresistible.

‘Oh Misfortune I Know’, meanwhile, is an exercise in zipper songs – a gospel format where one line changes with each verse while the rest stays the same – set here to delicate finger-picked acoustic guitar and a cracked vocal lament for unrelenting hardship. As with everything MacDonald does, his ability to craft work indistinguishable from actual traditional music is uncanny, although there’s a nod to the present in the song’s direct mention of depression. “‘Depression’ isn’t a common word in traditional music, but it is very current,” he says. “I thought it would be cool to have a song where this topic of mental health was embraced.”

This modern twist is a subtle one – a little nod to the listener, indicating that although this record might feel like a compilation of material from a host of different traditions, it is – and could only ever be – the work of one man alone. Whether secular shape note hymns, enticing ballads, ethereal shanties, sorrowful zipper songs or searing cross-temporal banjo songs, EP III reaffirms Spitzer Space Telescope’s status as one of the new folk scene’s most towering creative forces. 

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      <title>Goblin Band : A Loaf of Wax (Live from MOTH Club) - 12&quot; Vinyl Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/a-loaf-of-wax-live-from-moth-clu-1</link>      <description>
                There is a reason that Goblin Band’s immensely anticipated debut album, A Loaf Of Wax, is a live recording. It’s onstage that the foursome fire on every cylinder, that the euphoric power of their traditional folk performance hits with maximum impact, that the electric connection between the musicians and their intensely dedicated community is felt most viscerally. Just listen to the way the album’s opening instrumental, ‘Goblin Theme’, builds and builds in intensity until it is a stomping and sw      </description>
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      <content:encoded><![CDATA[There is a reason that Goblin Band’s immensely anticipated debut album, A Loaf Of Wax, is a live recording. It’s onstage that the foursome fire on every cylinder, that the euphoric power of their traditional folk performance hits with maximum impact, that the electric connection between the musicians and their intensely dedicated community is felt most viscerally. Just listen to the way the album’s opening instrumental, ‘Goblin Theme’, builds and builds in intensity until it is a stomping and swirling whirlwind of fiddle, hurdy gurdy and drums; listen to the scale of the audience’s roar as it finally hurtles to a halt. The record is packed with such rushes of energy, but also with tenderness and serenity, eldritch horror, flamboyance and humour.

It made sense for the group, to announce themselves with a live LP, says the band’s Rowan Gatherer, who sings and plays hurdy-gurdy, recorder and reeds. “Goblin Band gigs are such a cornerstone of what we do,” he says. And this show in particular, at the MOTH Club in their home city of London, in October 2024, was a special one. “It was the culmination of us building our audience in the town we live in, the people in the audience being a mixture of strangers and friends, the energy all coming together in a way that made it feel amazing.”

Connection was core to Goblin Band’s very formation. The group – Gatherer along with Sonny Brazil (vocals, concertina and accordion), Gwena Harman (vocals, drum, pump organ and recorder) and Alice Beadle (violin and recorder) – formed out of sessions they organised themselves, carving out the space that was lacking for traditional and early music obsessives that, like were similar to them. At London’s more mainstream sessions, says Gatherer, “you’re going into an environment where you’re aminority. Automatically because we’re young, but also because we’re queer. I’ve been to so many sessions where it’s just blokes sitting around the table trying to steal the moment off each other. We were desparate to play with people who were our age and who were like us. We were longing for a community, so we threw one together.”

Before long, it became apparent that that community was larger than just those intimate early sessions. The band swiftly embedded themselves within a larger movement of young London folk musicians finding the radical and progressive energy at the core of traditional music, honing their skills on stages across London and beyond. An EP, Come Slack Your Horse! provided an early indication of what they were capable of, but by the time it was released it had already been outstripped as their repertoire grew. “We’re incredibly dynamic for a folk band. By most standards I’ve observed, we’re incredibly quick at working on new stuff.” Seasonal songs emerged as key, “because it feels important to reflect on nature, where we come from, and the values of that,” while the group’s left-wing politics remained at their absolute core.

Outliers from generations before them took notice – they count all-time folk great Martin Carthy among their admirers, for instance. “They can play and they can sing and they’re fearless...” he has remarked. “They go back to versions that we were too snotty to touch and they turn them into stomps.” One piece of advice that Carthy offered, and that has stuck with them ever since, is that “the music is enough, that you don’t need to go overboard, try to add something to it,” Gatherer recalls. “You don’t need to go overboard trying to add something to it, because the whole point is that something about it is of enough value that it’s survived this long.” Indeed, Goblin Band’s music doesn’t require bells and whistles in order to speak directly to today. A Loaf Of Wax is more powerful still for the way Goblin Band’s energy courses through those ancient instruments and out into the present. It is radical work, but thanks to the people who are performing it, rather than any surface level indicators. “It’s about using those aesthetics to express our personalities as individuals, to use it as a platform.”

Nor does Goblin Band’s obsession with traditional songs, their instrumentation, or their visual aesthetic, mean that they’re turning away from the present. “There’s an unspoken generational understanding that we’ve inherited a dying planet overcome by a giant genocidal profit machine – and nobody’s happy. Everyone wants to escape, and when I’m onstage I do escape, but it’s without leaving reality. We make sure there are constant reality checks, that we’re talking to the audience directly.” That’s tempered, though, by a self-awareness that “this isn’t to be taken as the most reverent thing ever,” by the band’s sharp sense of humour, and their playful relationship with their audience. Some of the best moments on A Loaf Of Wax are to be found songs, in the back and forth between Goblin Band and the Moth Club crowd.

In a way, they have more in common with DIY punk music than with they do with those staid, overly formal approaches to traditional music. They know because they’ve played in those spaces, “and whenever we get asked to do those things by radical people, hardcore punks and metalheads, who aren’t primarily into folk music, people absolutely love it.” Whereas in more mainstream spaces for traditional English folksong audiences are often supposed to be passive, treated to a recital of dusty old songs, for Goblin Band “that doesn’t make any sense, given the radical history of this music.” They see that “young people have been robbed of their ability to enjoy traditional music in a way that involves dancing, singing along, genuienely being carefree. That’s been taken away from them by the establishment,” Gatherer continues. “We’re trying to tap into a rebel tradition which in the English perspective has been separated from traditional music – which isn’t fair.”

And it’s that energy that’s at the core of A Loaf Of Wax, a record that captures in microcosm what makes Goblin Band not just outliers within a burgeoning young folk scene, but among the most vital bands in all of England. 

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      <title>Spitzer Space Telescope : The Spitzer Space Telescope Sampler - 12&quot; Vinyl Album</title>
      <link>https://broadsidehacks.greedbag.com/buy/the-spitzer-space-telescope-samp</link>      <description>
                London-via-Michigan Ballad singer and Songwriter Spitzer Space Telescope - real name Dan MacDonald - releases a new EP Spitzer Space Telescope III and are now join them together with the previous two EPs and released together on vinyl for the first time. 

Continuing his penchant for direct, Clancey Brothers-inspired folk songwriting, ‘All The Girls Ashore’ contains all of his distinctive hallmarks - vocals belted at the top of his lungs, arrangements kept sparse and melody pushed firmly to th      </description>
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      <content:encoded><![CDATA[London-via-Michigan Ballad singer and Songwriter Spitzer Space Telescope - real name Dan MacDonald - releases a new EP Spitzer Space Telescope III and are now join them together with the previous two EPs and released together on vinyl for the first time. 

Continuing his penchant for direct, Clancey Brothers-inspired folk songwriting, ‘All The Girls Ashore’ contains all of his distinctive hallmarks - vocals belted at the top of his lungs, arrangements kept sparse and melody pushed firmly to the fore, featuring vocal harmonies from Mareva Lindo and David McKindley-Ward. 

A rare case of MacDonald - who typically writes all of his own material - ‘ borrowing’ a melody from pre-existing folk tune, ‘All The Girls Ashore’ takes its melody from a French whaling song called ‘Pique La Baleine’, as he explains: “The only example of a melody I didn’t write. I liked the melody, and I wrote English lyrics to it. I don’t even know what the French is talking about. That track is just a blatant love letter to sea shanties, one of my home base music traditions.” 

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      <title>Milkweed : Remscéla - 12&quot; Vinyl Mini Album</title>
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                Textured black sleeve with tipped on cover art      </description>
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      <content:encoded><![CDATA[All text and images are taken from of The Táin translated by Thomas Kinsella from the Irish epic Táin Bó Cuailnge

Many remscéla, or pre-tales, lead up to the Táin. Though not strictly part of the story they are important tributaries. This work details the remscéla contained in p.1-20

The Táin saga is probably Ireland’s most illustrious saga. It’s a sort of King Arthur-style Irish legend. It’s a heroic saga and deals with a cattle raid basically, what else. Táin means raid, it was originally Táin Bó Cuailnge, the Cattle Raid of Cooley. It deals with a conflict between the forces of Ulster and the forces of the rest of Ireland. It concerns a queen in the south of Ireland called Medb and her allies attacking Ulster to steal a prize bull. The fact that the Táin is about a battle, I’m sure, particularly about a battle over something, uh, some sort of strange totem reflects something very close to the soul of the Irish. All the wars are merry and all their songs are sad, I mean they do seem to make a-a-a, do a lot of fighting about, over things, yeah I think there’s a certain amount of significance in that. Queen Medb was the lady who led the allies of the south of Ireland and, uh, she was a very wily old queen — With her royal women sitting outside Emain Nes daughter of Eochaid. Druid Cathbad from the Tratraige of Mag Inis passed by. ‘What is the hour lucky for?’ the girl said to him. 'For begetting a king on a queen', and so she took him in. Feast of Othar, Nes was delivered of the boy Conchobor. Fergus mac Roich, king in Ulster, sought Nes for his wife. ‘Only if I get in return kingship for my son. Give the name to him for a year so they can call his son the son of a king’. Year to the day Fergus called back his pledge, but the men of Ulster said they were insulted that Fergus had like a dowry given them. ‘What Fergus sold let it stay sold, what bought let it stay bought’ and in this way Conchobor became king and with kingship Fergus parted. No wiser in the world, no harder warrior, every man in Ulster worshipped Conchobor. Heroes and brave champions every fight went before him, any man gave him a bed gave him his wife to sleep with. Spoils and severed heads kept at the ruddy branch, the king sat at the red, red being royal. Téte Brec, the Twinkling Hoard, sets of goblets drinking horns. Conall Cernach’s swift to hand the black shield of Cúchulainn. Hundred and fifty rooms panelled all in red yew, gold birds on copper screens, coal vat for drinking. Over Conchobor’s head there was gold apples on silver rod if it shook all noise would stop you would hear a needle drop. Crunniuc lived with all his sons in a lonely place in the mountains. When he was in the house alone he saw coming toward him a woman. She began to work as though she was well accustomed to the house and without being asked when night came slept with Crunniuc. A fair in Ulster was held, in his best clothes Crunniuc set out. Woman said it would be well not to grow careless or boastful. At the end of the day the king's chariot was brought onto the field and the crowd said nothing could beat those horses. ‘My wife is faster,’ said Crunniuc. He was taken before the king, messenger sent for the woman. ‘Now I’m with child’ the woman said ‘to go is a heavy burden’. She went to the fair as her pangs gripped her. Cried out ‘Wait till my child is born a mother bore each one of you’ but the crowd would not be moved. What was that shuddering sound in the hollow of your womb the uproar at your waist. Hurts all ears that hear it my heart trembles as at some terror or cruel injury. She turned to Cathbad and said ‘Druid can you answer him? Though the womb was my own what it holds no woman knows’. Twisted yellow tresses, green irised beauty, cheeks flushed like foxglove howled in your womb. Chariot warriors will deal blows for her jealousy dog her like a flame. On her waist placed his hand ‘There is a girl there’ he said. Derdriu shall be her name and everywhere leave little graves. One time in winter the girl’s foster father was skinning a milk-fed calf on the snow and a raven the blood was drinking, she said, ‘I could desire a man those colours; hair like the raven, his cheeks like the blood and his body like the snow on the ground’. ‘He is close at hand’, Leborcham said ‘He is Noisiu the son of Uisliu’ Noisiu was chanting along the ramparts near Emain, the three sons of Uisliu chanted very sweet. She slipped out to pass him as though she didn’t recognise him. She said ‘I could desire a young man like you’ ‘You couldn’t,’ he said ‘for you have to yourself the king of all Ulster and been raised for his bed’ at that she rushed at him grabbed the two ears of his head said ‘Shame and mockery if you don’t take me’. Sons of Uisliu crossed the sea with hundred fifty fighting men. Came to Alba hired themselves out as soldiers to its king. Built their house so that no one could see the girl that was within. Steward came round early saw the girl went to wake the king. ‘I never saw a woman that was fit for you until today, if you have killed Noisiu mac Uislenn you can have the woman’. ‘No’, said the king ‘But ask everyday if nothing can be done then we’ll call together fighting men, kill sons of Uisliu’. News reached Ulster and everyone said that it would be a shame, sons of Uisliu fall for the fault of a bad woman. Conchobor sent for them and the sons of Uisliu crossed the sea promises of safety came to stand upon Emain green. Noisiu was met by a spear thrust broke his back and through him down. Field broke out in slaughter Derdriu taken and her hands were bound. No one left but by the spike of spear or by the slash of sword. Three hundred and fifty men laid down, Emain Macha burned. 'Noisiu’s voice a sweet sound to hear forever, the three sons’ triumphant song. Now I need not watch nor wait for Noisiu, the son of Uisliu will not come'. ]]></content:encoded>

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      <title>Goblin Band : Come Slack Your Horse! - Cassette EP</title>
      <link>https://broadsidehacks.greedbag.com/buy/come-slack-your-horse-2</link>      <description>
                Relative newcomers on the thriving UK traditional folk circuit, Goblin Band are a collection of queer, musicians based around Hobgoblin Music, a folk-instrument shop with a branch located in central London. Inspired as much by medieval and early music, as they are by the folk traditions of Britain and abroad, the six-piece set their stall on re-energising timeless, much-journeyed songs for an ever-growing new community of young folk enthusiasts.

Debut EP ‘Come Slack Your Horse!’ - featuring s      </description>
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      <content:encoded><![CDATA[Relative newcomers on the thriving UK traditional folk circuit, Goblin Band are a collection of queer, musicians based around Hobgoblin Music, a folk-instrument shop with a branch located in central London. Inspired as much by medieval and early music, as they are by the folk traditions of Britain and abroad, the six-piece set their stall on re-energising timeless, much-journeyed songs for an ever-growing new community of young folk enthusiasts.

Debut EP ‘Come Slack Your Horse!’ - featuring songs dating back as early as the mid-17th century - sees the band doing just that. While some tracks here - such as instrumental opener ‘Black Nag’ or
‘Widecombe Fair’ - express a boundless, escapist joy, and the band’s deeply infectious enthusiasm for traditional music, many tracks across the collection, despite their age, bear startling parallels with the travails of contemporary society.

]]></content:encoded>

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