motnedwob said: I'm confused by the following phrase in the promotion for the Canary Records sale: "Download codes for bonus material *in addition to* ordered albums will be sent within 36 hours of order." Are you selling physical LPs in addition to downloads?
Sorry for the confusion. These are only digital downloads. When you buy them from bandcamp, and email is sent to me. I will then send you a code with you can use to download the titles that are available for free during the sale. I hope this helps.
Announcing the Canary Records download Buy-One-Get-At-Least-Onne SALE:
-Spend $5 or more get a free download of Hata Unacheza: Sub-Saharan Guitar & String music
-Spend $10 or more and get free downloads of Hata Unacheza plus When the Moon Goes Down in the Valley of Time: African American Gospel, 1939-51
-Spend $15 or more and get free downloads of Hata Unacheza, When the Moon Goes Down, and To Drive Away the Vampires: Balkan Folk Musics, 1930s-70s.
-Spend $22 or more. get free downloads of Hata Unacheza, When the Moon Goes Down, Drive Away the Vampires, and Deep Shadow: Musics of Indochina & Indonesia
-Spend $35 or more, get free downloads of Hata Unacheza, When the Moon Goes Down, Drive Away the Vampires, Deep Shadow, No One Cares: International 78s & Missa pro Defuncta
-Spend $50 or more, get free downloads of Hata Unacheza, When the Moon Goes Down, Drive Away the Vampires, Deep Shadow, No One Cares, Missa pro Defuncta, Love is a One-Way Traffic: Groovy East Asian Chicks, 1960s-70s & Rocket Infinity: The Global Rise of Rockin’ Music,1942-62
SALE ENDS AUGUST 7. Download codes for bonus material in addition to ordered albums will be sent within 36 hours of order.
the month-long sale on Canary Records downloads ends this Saturday. 19 releases to choose from currently priced at $1 - $5.50 each
a caveat regarding my piece on Dick Spottswood’s Folk Music in America set for the Library of Congress. in the new issue of the Wire out today. The opening, contextualizing paragraph was cut by the editors as “controversial,” “not entirely borne out by the facts,” and an “unnecessary potshot” regarding Harry Smith’s Folkways Anthology. It is none of these things. It makes no judgement and is just factually true, and it puts into context Spottswood’s beautiful reinvisioning of “Americana” and helps show how Spottswood’s work has been sadly neglected. Personally, I see cutting this paragraph as making my point for me - that Smith’s particular vision of America is holiest-of-holies and can not be described as limited. But, as I told the editors, so long as the check clears, I’m not bothered by anything that isn’t said.
The opening paragraph should be:
"Several important points are forgotten when people talk about the LPs sets that the young artist Harry Smith compiled for Folkways records in 1952. First, the title is not preceded by a definite article. It is not The Anthology of American Folk Music, it is an Anthology… It is one of many possible Anthologies. And in the creation of it (compiled when Smith was 29 years old), he set limits on what he would include. So, the vivid world his Anthology seems to create is of an America where there were no Indians, no immigrants, and no Jews."
I supposed that if I printed up cards with the url to the Canary bandcamp download site and made them available on tour for a month that I’d see a spike in sales. In fact, the opposite happened, and sales dropped by about half. Therefore, I have dropped the prices of all 19 releases by $1.50, so they now range between $1-$5.50 (between less than a Euro and 3 pounds). The sale will continue until I feel I’ve made enough money. Or maybe they’ll just stay cheap. In either case, I hope you’ll buy some stuff or, worst case, tell your friends to buy some stuff. Much appreciated! https://canary-records.bandcamp.com/music
IAN NAGOSKI returns to Europe for another series of his hypnotic interactive lectures on disappearing music of the 20th Century, this time with an exploration entitled “100 Moons: Stories of Great Forgotten Musicians and the Boundaries of Humanness from 78rpm Records”.
Ian Nagoski’s label Canary Records (pressed and distributed by the excellent Mississippi Records) reissues early 20th century recordings in languages other than English. In the past year, he has published acclaimed collections of Hindustani classical vocal music (100 Moons and Kesarbai Kerkar 1944-54), Greek urban folk music (Rita Abatzi - 1933-37), the Austro-Hungarian Empire (Widow’s Joy: Eastern European Immigrant Dances, 1925-30), and published writing in Yeti, Sound American, Ephemerotera Quarterly and The Wire.
Canary’s Bandcamp site was compared favorably by Damon Krukowski in Pitchfork to Revenant Records and Jack White’s Third Man label, and Nagoski’s deep views on music and recording caused Krukowski to compare him to Harry Smith, just as Marcus Boon also did in the Wire. In recent years, he also published compilations on the Dust-to-Digital (Black Mirror: Reflections in Global Musics) and Tompkins Square (To What Strange Place: Music of the Ottoman-American Diaspora) labels. Nagoski’s work is now highly regarded, with high profile admirers ranging from DJ/rupture to Henry Rollins, and you can also still read several interview with and articles by him from 2013 at the Sound American site.
'Lecture' may seem too formal a term for something so immersive and transporting as one of Ian's 90-minute explorations of the disappearing music he unearths and its social/cultural roots and routes. Ian shares his love of his findings both in words and by listening to and discussing various carefully chosen shellac gems with you.
"His work is so rare and important that it should almost be treated as a ritual object, a pathway to the past and a voice for ghosts of a forgotten part of American musical history."
- Nate Wooley, Sound American
"Nagoski is a Walter Benjamin visionary, using his collection of 78s to hallucinate a history that actually happened but which remains hidden beneath official dogma and nationalisms.”
- Marcus Boon, the Wire
”I was entranced; I was FASCINATED. It is one of the most worthwhile purchases you will make this year. I went and got mine; I think you should, too.”
- Henry Rollins, KCRW
“Ian Nagoski’s To What Strange Place is a work of great beauty.”
- Jace Clayton / DJ/rupture, WFMU
"…as essential to an understanding of American music as anything else."
- Amanda Petrusich, Pitchfork
10/4-11/4 ISTANBUL (tbc)
Pori Art Museum
The Old Hairdressers, c/o Stereo
20-28 Renfield Lane,
+ DJ Martin Bomber Allen
The Continental, South Meadow Lane, Preston PR1 8JP
Fuse Art Space
5-7 Rawson Place
7pm Free entry
1075 XL Amsterdam
+ Cian Nugent & The Cosmos + Rebel Up! DJs
Skalitzer Str. 134
18-22 Ashwin Street.
There are a couple gaps in here that w’d be happy to fill, specifically April 14-15 (Sweden? Norway? Denmark?) April 20-21 (Edinburgh? Ireland?) April 24 (BeNeLux? Switzerland?) I need to keep busy. Any thoughts? Please write to Lee Etherington at email@example.com.
See you soon!
There are now 19 Canary releases (10 fully restored LPs with liner notes and 9 “mixtapes”) available on the bandcamp site. Streaming is free; downloads with notes are priced between $3.50 and $7.
We’ll just keep things going at 78rpm today. The best speed. This is another Canary Records bandcamp comp, taking us from Kazakhstan to Hawaii with many lovely stops in between. I’ve been slowly going through these collectiosn and I haven’t been disappointed yet. Totally terrific stuff — and a ridiculous bargain too. Ian Nagsoki says that No One Cares is “a collection of beautiful performances gathered from the early 20th century from various sources, globally, that mostly haven’t (yet) meant enough to anyone to collect on a reissue. Seven were used on the CDR-only release ‘Uncollected Records.’ The rest were used in various lectures & presentation give ca. 2010-13 and made available here for the first time. All are only lightly restored.”
"Ephemeroptera Quarterly III" is an art book with silk-screened covers, featuring 11 different artists and a 10” lathe-cut record.
Edition of 44. Hand-numbered.
"Ephemeroptera Quarterly III" features contributions by:Bill Nace
S.M. Stone & Jason Labbe
Covers (and bindings) silk-screened by Alison K Walsh.
Lathe-cuts by Peter King from New Zealand.The lathe-cut record features an EXCLUSIVE track by BODY/HEAD, an old field recording of lovely birds, as well as other gems.Don’t miss out on this issue!