{"title":"Preorders [Cassettes]","description":null,"products":[{"product_id":"pre-order-pennines-recordings-2008-09-download-included","title":"Pre-Order: Pennines - Recordings 2008-09 [Download Included]","description":"\u003cp\u003eThe six tracks comprising recordings 2008-09 make up the entire pennines discography to date. In 2006 the four-piece began writing their first songs in Norwich, UK, releasing \"Whiskey Tango Foxtrot...\" and \"Open Closed Open\" in 2008 on the retroactively titled First CD (aka demo or free cd), the original physical copies of which were homespun and given away gratis at shows. Coming up in the UK mid-late 2000s indie music scene, pennines were lucky enough to share the stage with contemporaries such as Stapleton, Hot Club de Paris, Colour, Dartz!, TTNG and other like minded musical friends. Popularized by genre forebears toe and American Football, pennines favoured arpeggiated guitar, syncopation, staccato call-and-response harmonies, and unexpected rhythm decisions. \"One of the things I loved about pennines was the absolute lack of bullshit,\" recalls singer\/guitarist Henry Tremain, referencing the band's straightforward approach to their sound. Pennines used a clean guitar tone with no distortion or effects pedals and a DIY approach to recording, aiming for a natural representation of the songs. 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The carefully remastered album includes an exclusive bonus live album 'Dal Vivo A El Paso', recorded in December 1988 at their gig in Torino (Italy) during one of their European tours. The recording features very different, raw and at times 'dubbed up' versions of their early tracks such as 'Naked, Uniformed, Dead', Am I? and Him (On). The historical perfectly captures the atmosphere and energy of their live appearances at the time. Borghesia (Italian for 'bourgeoisie'), who were formed in Ljubljana (Slovenia) in 1982, had always considered it's art to be far broader than just sonic. Borghesia's transgressive, transdisciplinary alloy of film expression, distinctively physical performative practices, usage of new technology and conveniently abrasive EBM (electronic body music) musical production hasn't only been ground-breaking in terms of the holistic, visual\/sonic presence of an art collective, but had a rather decisive influence on the general aesthetics of the immensely important Yugoslav subcultural landscape of the 1980s. Borghesia was one of the first bands from the East of the Iron Curtain who used the VHS video medium to distribute their art and was also one of few projects from socialist Yugoslavia to successfully penetrate the curtain itself, reaching international audiences. A series of their releases in the fruitful period between the years 1987 and 1991, including the Resistance album itself, was released by the legendary Belgian label Play It Again Sam (PIAS). The band dissolved in the mid-1990s and then continued their work in 2014. In line with Borghesia's unique social engagement, progressiveness and political criticism, Resistance is one of their most powerful statements. It's the ultimate fight the power manifesto, which makes punk and hip-hop albums of the time sound like children's songs. Released during the last stages of socialist Yugoslavia, and in the last sighs of the original Borghesia line-up, the album's sole sonic character anticipated the oncoming atrocities of the civil wars in the region. This is not music for nodding your head to; it's tactical broadcast for the nocturnal resistance to this very day. Borghesia didn't address control only - they sampled the political top, the secret police and explicitly connected authority with dominance. They offer the tendency for liberation as the only appropriate exit. The production of the album isn't clean or polished. On the contrary - Resistance sounds like it was created in a bunker, using stolen military equipment and synthesisers. Borghesia's genius lies in their understanding that the relentless, mechanical EBM beat was the sound of the State - and by hijacking it, turning the system's own rhythm against itself they created the most powerful form of sonic insurgency. And since history repeats itself while the little man learns slowly, the re-release of 'Resistance' comes at the right time. The dark clouds of violence are already looming over Europe, they've never really left the Middle East, and the levers of power and capital ever so louder, not even covertly at all incite: war, war, war! In these times the only appropriate answer is: revolt, rebel, Resistance! 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After more than 50 years together, Zebra continues to perform at the top of it's game, bringing it's classic catalog and new music to generations of loyal fans while attracting a new generation along the way.In the 1970s, Zebra built it's reputation as a hard-rocking cover band throughout the New Orleans bar and club scene before taking a chance on the thriving rock circuit of Long Island, New York. The move put the band within reach of the New York City music industry and the record companies that could potentially take Zebra to the next level.For several years, Zebra split it's time between the New York Tri-State area and southern Louisiana, relentlessly building a following and playing as many as 250 shows a year. The band recorded two demo tapes and shopped them to record labels and radio stations. 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And it was one of Exile's other collaborators, Aloe Blacc (who formed Emanon with Exile), who helped bring the duo together. The two immediately hit it off, and embarked on a recording spree where the blueprint for Below The Heavens began to take shape.The duo laid down more than 50 tracks steeped in lived truths and tack-sharp writing from Blu as well as Exile's jaw-dropping sample flips and drums. Through painstaking decisions and track sequencing, the end result was a modern classic in the style of Blu's biggest influences-Nas, Common, Planet Asia, and DMX.Below The Heavens beautifully captures a special place and time for the then fledgling duo, while remaining a timeless piece of art. It's shiver-inducing and nostalgic, but also modern in it's sentiments and voice. 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