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26—04—18
26—04—16
A delightful romp through several pipe organ classics courtesy of black arts loving, Beelzebub worshipping founder of the Church Of Satan, Anton LaVey.
Includes vocal and instrumental favorites all performed by LaVey who was an accomplished organist thanks to a Robert Johnson-like deal with the devil in which LaVey exchanged his soul for a shot at being a pipe organ superstar.
Available on Compact Disc and limited edition Satanic Red vinyl.
released April 2, 2026
26—04—15
26—04—14
The Biz Never Sleeps is the second studio album by Biz Markie.
It was released on October 10, 1989.
26—04—12
The skies darken and rain begins falling. Amid a downpour at sunset, a shivering, limping Ned staggers home; the tennis court where his daughters were supposedly playing is in disrepair, and his house is locked and deserted. Anguished, Ned repeatedly tries to open the door, before succumbing to fatigue and collapsing in the doorway.
Watch on Internet Archive.
The begena is a large ten-stringed lyre which is part of the traditional Amharic heritage of Ethiopia. The Amharas, who have long formed the politically and culturally dominant people of Ethiopia, mainly inhabit the central and northern part of the country. In the majority, they follow the monophysite Orthodox Tewahido Church established in the early fourth century AD
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Music plays a very important part in the life of the church. Most of the liturgy is sung and, contrary to secular music, it is accompanied by percussion instruments only. The begena occupies a special place because it is the one melodic instrument exclusively dedicated to the spiritual repertory. Because of its mythical origin, it is highly respected. Tradition holds that the begena was given to king David by God, and brought to Ethiopia by Menelik I, together with the Ark of the Covenant. It has always been the instrument of kings and nobles. Played by pious men and women of letters, it never became widespread. But it never disappeared either, not even under the Derg regime (1974-1991) which had banned the instrument.
Among Amhara string instruments, the begena is the most carefully crafted, especially with regard to the ornately sculpted crossbar. Its ten gut strings are cleaned and twisted several times. The characteristic buzzing timbre equalled by no other Amhara instrument is due to the enzirotch, that is, small bits of leather placed between each string and the bridge.
Priests and preachers recommend its presence, especially during Lent (Fassika Tsom) when the Orthodox Amharas ponder their sins and repent. Because of its spiritual import, the begena generates intense emotion. According to some musicans, playing the begena brings them into direct contact with God or the Virgin Mary. The religious role of the begena is underscored by the shape of the instrument, each part symbolises an important element of the faith. The crossbar for instance, which reaches across the entire width of the instrument, represents God who is above all things. The belly which “gives birth” to the sound represents the Virgin Mary, and the ten strings recall the Ten Commandments.
26—04—02
26—03—30
This Special Sound Of Dave Berry
℗ 1966 Decca Music Group Limited
26—03—30
Beverly Glenn-Copeland debut is a folky jazz record that stands out for Beverly’s sublime high vocals. The 11 tracks where recorded with an all-star band consisting of Dough Bush, Don Thompson, Terry Clark, Lenny Breau, Jeremy Steig and Doug Riley. The latter also produced the record. Years later he would release ‘Keyboard Fantasies (1986)’ which is a mixture of digital new age and early expirimental Detroit techno. It shows the versatility of his very underrated talent. About this new release he says the following:
“In 1970 when I wrote and recorded these songs, I could not have imagined that forty-seven years later this work would have another life, another audience. But here you are. Thank you for buying this album. Many of the extraordinary musicians that played on this album are no longer in this space/time. So I thank you on their behalf as well.”
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26—03—24
WRWTFWW presents STARTLED INSECTS
Astonishingly futuristic when it landed in 1984, Startled Insects sounded like it was beamed in from another planet while staying rooted in Bristol’s underground. Gamelan heat, dub science, post-punk edges and cinematic dread collide across these two cult mini-albums. Four decades on, it still hits like a transmission from the future. Dive in.
FOR FANS OF: experimental electronic, dub, post-punk, ambient, early industrial, soundtrack music.