White Denim Debuts "Second Dimension" Video w/ Under The Radar | LP out 12/6 via Bella Union

White Denim Under The Radar Debuts New Single/Video “Second Dimension” Available across platforms here 12 LP due out Dec. 6 via Bella Union 12 album pre-order

Credit: Charlie Weinmann  Singles: “Light On” “Second Dimension” One of the most dynamic rock bands to emerge in the aughts, White Denim have opened an exciting new chapter with their twelfth studio album aptly titled 12, due out December 6 via Bella Union. The band exploded out of Austin, Texas in ’08 with hyper-kinetic post-punk bangers and James Petralli duly raced on through shifting line-ups and kaleidoscopic shades of soul, jazz and Southern rock, always with a feel of in-the-moment authenticity. The new collection takes a radical step into 70s garage rock. Strapped with bouncing bass, dancing flute and Petralli’s irresistibly affecting croon, their brand new 70’s-indebted orchestral funk track “Second Dimension” is released today alongside an official video. Petralli shares, “The music for ‘Second Dimension’ was composed by Michael Hunter. He is a wonderful creative musician and I feel extremely lucky to get to work with him. When I write for others I try to sort of create a portrait of them with the lyric – or at the very least capture an aspect of who they are to me in my side of the work. Michael is often quiet and I see him as a very thoughtful, reflective, and considerate person. I ultimately meant to honor him with this production...and of course encourage all of us to read more poetry and philosophy.”

Click image above and HERE to watch / share “Second Dimension” video Sonically and stylistically influenced by Nick Lowe, Jonathan Richman, Doug Sahm and Joe Jackson, 12 is the thrilling sound of Petralli vacating his low-tech comfort zone while documenting a turbulent and sometimes painful period for his family. As for so many musicians, the pandemic forced Petralli to radically rethink homelife and his creative process. Back in Austin, he and his partner Elaine were caring for her father, who passed in Spring ’21. After relocating to Los Angeles, he took on the role of home-schooling his kids, fitting in writing sessions when he could. With its yacht rock-esque uplifting melodies, the new collection is a direct response to some of these “turbulent times” refracted through the glass-half-full sunshine prism of Petralli’s worldview. Living in LA also allowed him the opportunity to work as a “stunt vocalist” on the Amazon mini-series Daisy Jones And The Six, where he saw the producers at the famed Sound City studio happily plundering digital technology. This experience resulted in James now overseeing every aspect of his music’s up-to-the-minute digital production. “This is the first White Denim record where I’ve engineered and been the main producer,” he proudly shares. “I’ve touched every sound that’s on there.” Website | Facebook | X | Instagram | YouTube Bandcamp | Spotify | Apple Music

Clairo Share’s Cover Of “Love Songs” By Margo Guryan

As previously announced, On November 8th, Sub Pop will release Like Someone I Know: A Celebration Of Margo Guryan, a 12-song compilation and homage to Guryan’s classic 1968 record, Take a Picture. Today, Clairo has shared a dreamy cover of Guryan’s track, “Love Song.” 

This 12-song compilation features additional reinterpretations by contemporary artists such as Margo Price, TOPS, Rahill, June McDoom, MUNYA & Kainalu, Frankie Cosmos & Good Morning, Kate Bollinger, Pearl & The Oysters, Bedouine & Sylvie, Barrie, and Empress Of. The release of Like Someone I Know: A Celebration Of Margo Guryan also coincides with the third anniversary of Margo’s passing. A portion of proceeds from this album will be donated to providing and advocating for affordable reproductive health services.

 

About Margo Guryan:
Most of our stories about cult musicians who make an album or two and then seem to vanish are framed by grief, despair, and frayed ambition. Not so with Margo Guryan, an ardent jazz anomaly who disdained pop music until hearing “God Only Knows” in 1966, opening a window onto the wonders that form could contain. Only two years later, she released her own set of little pop symphonies, Take a Picture, to great praise and expectation. But having already divorced the hard-gigging valve trombonist Bob Brookmeyer, she declined to tour or even talk about it all that much, content even if her reticence meant Take a Picture was soon consigned to discount racks and cutout bins. She wrote and recorded for years to come, even collaborating with Neil Diamond’s band, but mostly she seemed satisfied by her relatively private life—raising her stepson, Jonathan; carousing with a small clutch of pals; talking politics with whoever was game. Rather than a tragedy, Guryan was an ornate pop architect who also drew and lived by her boundaries.
 
But as befits music so stunning and subtle, Guryan, who died in 2021, has enjoyed several renaissances over the last few decades—multiple reissues and international intrigue, faithful champions who introduced her tender work to successive generations. And now, it’s happening again: Soon after her near-whispered and lovelorn hymn “Why Do I Cry” made her a TikTok star in 2021, the same year she passed, Numero Group launched a reissue campaign, resulting in the acclaimed 2024 set, Words and Music. And now, a dozen artists—none of whom were born when Take a Picture was made, most of whom weren’t even born for a crucial early reissue by Franklin Castle—have reinterpreted and reimagined that entire album (plus one bonus track) for Like Someone I Know: A Celebration of Margo Guryan. Empress Of, Margo Price, Clairo, June McDoom: They all affirm Guryan’s sharpness as a songwriter and the brilliance of an album that has far outstripped whatever promotional cycle Guryan rejected so long ago.
 
Guryan was born to a sprawling family in a home so big it housed multiple generations just before World War II in Far Rockaway, back when the place was still mostly framed by trees. Her family was matrilineal, with a mother who worked as a radiologist while her father played piano at home and a widowed grandmother who ran the place with unwavering sovereignty. While still a composition student at Boston University, Guryan stumbled into a gig playing piano between Miles Davis Quintet sets, signed a songwriting deal with Atlantic Records, and botched a session with Nesuhi Ertegun. But she wasn’t looking to be a singing star, anyway. In 1959, she headed to the foundational Lenox School of Jazz in the Berkshires, staving off advances from her contemporaries to write for Ornette Coleman and Don Cherry, earn the attention of instructor Max Roach, and made a longtime mentor and friend of Gunther Schuller. She became an accomplished lyricist, writing not only for Coleman and Nancy Harrow but also for Harry Belafonte and Gary MacFarland.
 
But it was that subsequent encounter with the Beach Boys that opened the trap door for Guryan to Take a Picture and scores of other super songs, many of which appear on Words and Music. Take a Picture is a sophisticated survey of mid-20s romance and indecision, from the flirty romp of “Sunday Morning” and falling-for-you affirmation “Can You Tell” to the desperate helplessness of “What Can I Give You.” In less than 150 seconds, “Thoughts” traces a relationship from its ecstatic start to empty end, Guryan’s pillowtop voice sitting perfectly between the bouncing piano and lachrymose strings. She mines nostalgia for the recent past in “Someone I Know” and, quite brilliantly, for something that hasn’t even ended yet in the title cut.
What remains astonishing about Take a Picture is how placid and nice the surface can seem yet how much is going on just beneath it—the difficult rhythmic shifts, the textural juxtapositions, the dissonance and eeriness lurking in the crevices. Twice as long as almost everything else here, the willfully psychedelic excursion and closer, “Love,” is a jarring semaphore, telling you to go back and listen for the intricacies in everything else. “When do you get to be someone who can give/And live without hurting someone you love?” she coos over caustic guitar and curling organ, the question spilling in reverse over the rest of the record.
 
Those mirrored senses of slyness and meticulousness, both musical and lyrical, presided over Guryan’s output long after any idea of stardom had faded. She turned earthquake danger into existential boogie on “California Shake,” celebrated the outlaws and their long odds during “I’d Like to See the Bad Guys Win,” and danced with entendre during “Come to Me Slowly.” Indeed, Guryan was not afraid of mischief, whether lampooning the president and all his men during a three-song suite about Watergate or presaging Rihanna by half a century on “Under My Umbrella.” Her perpetually soft voice, audacious songcraft, and complete candor: Guryan, in 1968 and beyond, was making daring music, no matter how gently those sounds seemed to move.
 
A portion of proceeds being donated to providing and advocating for affordable reproductive health services, Like Someone I Know reinforces the strength of Guryan’s songs by allowing different artists to take them for trips of their own. The core always remains, unwavering. McDoom stretches static and harmony beneath “Thoughts,” as if they’re spinning on a dub plate beneath her arcing vocals. Rahill lets “Sun” unfurl over harmonium drone and entrancing percussive ticks, digging into Guryan’s interest in the surreal. Frankie Cosmos and Good Morning take a country shuffle through “Take a Picture,” entwined vocals falling over the rhythmic skips with perfect romantic relish. Over the last few decades, it has become increasingly clear just how good Guryan was, how sturdy her songs have been amid varying tides of taste. Like Someone I Know offers absolute validation, a testament to the enduring relevance and brilliance of Guryan’s work.

Like Someone I Know: A Celebration Of Margo Guryan Launch is now available to preorder from Sub Pop. LP preorders from megamart.subpop.com (North America), Mega Mart 2 (UK/EU), and independent retailers worldwide will receive the limited Loser edition on Opaque Red vinyl (while stock lasts!).

Various Artists Like Someone I Know: A Celebration Of Margo Guryan Album Art Download   Tracklisting: 1. Sunday Morning (TOPS) 2. Sun (Rahill) 3. Love Songs (Clairo) 4. Thoughts (June McDoom) 5. Don’t Go Away (MUNYA | Kainalu) 6. Take a Picture (Frankie Cosmos |Good Morning) 7. What Can I Give You (Kate Bollinger) 8. Think of Rain (Pearl & The Oysters) 9. Can You Tell (Bedouine | Sylvie) 10. Someone I Know (Empress Of) 11. Love (Barrie) 12. California Shake (Margo Price)

Anya Marina Shares Intergalactic New Single And Video “Ur Good” From Upcoming Album

ANYA MARINA SHARES INTERGALACTIC NEW SINGLE AND VIDEO “UR GOOD” FROM UPCOMING ALBUM WATCH   MORE DATES WITH COMEDIAN NIKKI GLASER COMING UP ASTEROID SET TO BE RELEASED OCTOBER 25: PRE-SAVE Today, acclaimed singer-songwriter Anya Marina shares her new single and music video, “UR Good,” from her upcoming album Asteroid. “UR Good” is all 80s dancefloor synthesizers, drum machine, and lush harmonies. Both dark and weirdly funny, “UR Good” is sung from the perspective of a deep space droid reflecting on both its own mortality and that of the deceased Earthling whose cell phone it found. The animated video is by Billy Polard. WATCH “UR Good” “Like a lot of songs on the album, “UR Good” touches on our species and our planet at this particular moment in time,” shares Marina. “This is set far in the future, when earthlings appear to be long gone. But our protagonist, a robot or droid, is having some very human feelings and questions as it picks up an old smartphone and reads an old text exchange (or perhaps gets it to interact).” “UR Good” follows “Asteroid,” “Waiting for a Difference,” and “Girl Shit” as the fourth single from Anya Marina’s new album Asteroid, arriving via Good Rope Records on October 25th. With Asteroid, Marina feels comfortable in her own skin at last, excited to begin again. “Something about these songs feels young,” she says. “I’m finally learning how to take care of myself, how to say no to certain things, how to be more involved in the recording process. I wanted to make the album of my life. And I’ve done that, hands down.”

About Asteroid: Asteroid is Anya Marina’s her most assured work yet. Almost two decades into a distinctive career encompassing songs featured in Twilight: New Moon, Gossip Girl, and Grey’s Anatomy, an award-winning web series (Anya Marina: Indie-pendent Woman), seven albums, three EPs, and extensive touring with artists ranging from Jason Mraz to Spoon to superstar standup Nikki Glaser, the riveting performer / creative powerhouse is looking back, taking stock in song. Marina calls Asteroid “a coming-of-age story about a late bloomer. This record is about growing up, becoming fully who I am, and celebrating it.”   Newly married and recently landed in Kingston, NY, Marina crafted Asteroid’s songs from a newfound, and welcome, stability. Prior to this, she says, “I didn’t really have a safe, steady vantage point.” Although rich in adventure, Marina’s journey hasn’t been an easy one: moves from San Diego to Portland to New York City, and now Kingston, accompanied by heartbreak and emotional turmoil, well-documented in song. The assertive, wise Asteroid – her first studio album since Covid lockdown – finds her feeling “free of things that were pulling me down, getting in my way.”   Marina says all the work of getting from there to here – including sobriety, meditation, and especially long walks – has paid off: “I’ve written a lot of songs on walks, even some of the first I ever wrote,” she says. “Something about the rhythm and cadence of a walking beat.”    Most of Asteroid came fast on the heels of Marina’s relocation to the Hudson Valley. What she describes as “melodies that sound like strange Disney album B-sides, or bizzarro cousins of cabaret, classical music, Bossa nova, or jazz,” arrived quickly, “like tuning into a faraway frequency on a radio dial.” These include the hypnotic waltz “Where the Darkness Is,” on which Marina pledges to – actually prefers to – connect with someone during trouble: “Where the failure starts / I’ll meet you where things fall apart / I need it.” The beautiful, Beatles-y “London Blues” also came fast. “The entire melody of the song – even the feeling of it and how it should be sung – just arrived one day, unprompted. I’m so glad I recorded it into my phone before falling asleep.”   Whereas Marina’s previous studio release Queen of the Night (2020) was recorded piecemeal over months and featured layers of synthetic sound, Asteroid came together quickly, mostly in the Woodstock, NY barn studio of producer / guitarist Kevin Salem (Rachael Yamagata, Mike Doughty), who favors a more organic, spare approach. Acoustic guitar – Marina’s onstage weapon of choice – abounds: aggressively strummed on the rocking “Waiting for a Difference,” head-bopping funky on “Gimme Sugar,” delicately picked on the lovelorn “London Blues.”   The deft humor in much of Asteroid is no accident. Touring since 2019 with friend and former roommate, comedian Nikki Glaser, has made a big difference in Marina’s life, both personally and artistically. “Opening for Nikki has made me a better performer and songwriter,” Marina says. “I’ve learned to crystallize things better, get to the point. Playing to 2,000 comedy fans can be very daunting. It will whip you into shape fast. I love it.”   Tour: Ahead of Asteroid’s October release, Marina is supporting comedian Nikki Glaser on her sold-out Alive and Unwell Tour. For a current list of dates see below. Additional dates will be announced soon and for updates, please visit www.anyamarina.com/tour.   ANYA MARINA LIVE 2024 All Dates w/ Nikki Glaser: Alive and Unwell Tour     OCTOBER 11 - Syracuse, NY - Oncenter Crouse Hinds 12 - Hershey, PA - Hershey Theatre 13 - Hershey, PA - Hershey Theatre 25 - Ft Lauderdale, FL - Au-Rene Theatre at Broward Ctr For Performing Arts 26 - Fort Myers, FL - Barbara B. Mann Performing Arts - 7PM 26 - Fort Myers, FL - Barbara B. Mann Performing Arts - 9:30PM   NOVEMBER 1 - Oklahoma City, OK - The Criterion 2 - Tulsa, OK - Tulsa Theatre 8 - Grand Prairie, TX - Texas Trust CU Theatre 9 - Des Moines, IA - Hoyt Sherman Place - 7PM 9 - Des Moines, IA - Hoyt Sherman Place - 9:30PM 10 - Des Moines, IA - Hoyt Sherman Place - 7PM 14 - Wilmington, NC - Wilson Center at Cape Fear 15- Wilmington, NC - Wilson Center at Cape Fear 16 - Greenville, SC - Peace Concert Hall - Peace Center 22 - Birmingham, AL - Alabama Theatre 23 - Memphis, TN - Orpheum Theatre   DECEMBER 12 - Concord, NH - Chubb Theatre 13 - Concord, NH - Chubb Theatre - 7PM 13 - Concord, NH - Chubb Theatre - 9:30PM 14 - Burlington, VT - Flynn Center for the Performing Arts - 7PM 14 - Burlington, VT - Flynn Center for the Performing Arts - 9:30PM JANUARY 31 - Prior Lake, MN - Mystic Lake Casino Hotel FEBRUARY 1 - Atlantic City, NJ - Hard Rock Live at Etess Arena 7 - Pittsburgh, PA - Benedum Center for the Performing Arts 13 - Tacoma, WA - Emerald Queen Casino 14 - Toppenish, WA - Yakama Nation Legends Casino 15 - Portland, OR - Arlene Schnitzer Concert Hall 20 - Ft Lauderdale, FL - Broward Ctr for the Performing Arts 21 - Boston, MA - Boch Center - Wang Theatre 28 - Victoria, BC - Royal Theatre MARCH 1 - Vancouver, BC - Queen Elizabeth Theatre 7 - Hartford, CT - William H. Mortensen Hall 8 - Portland, ME - Merrill Auditorium 14 - Baraboo, WI - Ho-Chunk Gaming Wisconsin Dells 15 - Hamilton, Ontario, Canada - FirstOntario Concert Hall 28 - New York, NY - Beacon Theatre APRIL 5 - San Jose, CA - San Jose Civic Center 6 - San Diego, CA - San Diego Civic Center 11 - Detroit, MI - Fisher Theatre 12 - Raleigh, NC - Raleigh Memorial Auditorium 17 - Edmonton, Alberta, Canada - Northern Alberta Jubilee Auditorium 18 - Calgary, AB, Canada - Southern Alberta Jubilee Auditorium 19 - Winnipeg, MB, Canada - Club Regent Event Centre - 7PM 19 - Winnipeg, MB, Canada - Club Regent Event Centre - 9:30PM 25 - Richmond, VA - Altria Theatre 26 - Baltimore, MD - The Lyric Theatre MAY 2 - Reno, NV - Grand Sierra Resort and Casino 9 - Montreal, QC - L'Olympia 10 - Toronto, ON - Meridian Hall 24 - Mount Pleasant, MI - Soaring Eagle Casino & Resort 29 - Davenport, IA - Adler Theatre 30 - Milwaukee, WI - Riverside Theatre 31 - Chicago, IL - Chicago Theatre JUNE 6 - Orlando, FL - Hard Rock Live Orlando 7 - West Palm Beach, FL - Kravis Center 14 - St Augustine, FL - St Augustine Amphitheatre 20 - Denver, CO - Paramount Theatre   # # #   CONNECT WITH ANYA MARINA WEBSITE | FACEBOOK | INSTAGRAM | TWITTER | YOUTUBE

JOZEF VAN WISSEM announces US, UK and mainland European dates throughout this winter.

JOZEF VAN WISSEM - Lute player announces international live dates - To perform across mainland Europe, the UK and the US this winter

Photo credit: Kris Dewitte "A very contemporary music, one that forcefully bends ancient traditions to the wavelengths of the anthropocene." - The Quietus “Shadows and shade are embraced with ethereal results… Beguiling throughout.” - Prog Magazine “His most direct, spellbinding work.” - Uncut Dutch lute player and composer Jozef Van Wissem has announced extensive tour dates throughout the winter, taking in shows across mainland Europe, the UK and North America - dates below. “It's like a part of my body,” says Jozef Van Wissem of the relationship he has to his chosen instrument, the lute. “The complexity of it is what keeps me going because you can always find something new.”   The ability to constantly extract something different and explore fresh terrain is evident throughout Van Wissem’s sprawling back catalogue and up to his latest album, ‘The Night Dwells in the Day’ released at the start of 2024. Over the years he’s released countless solo albums stretching into double figures, there’s been collaborations with Jim Jarmusch and Tilda Swinton, award-winning computer game soundtracks, along with award-winning film soundtracks, from Jarmusch’s Only Lovers Left Alive to Pierre Creton’s 2023 film A Prince.   What Van Wissem manages to do so interestingly and eloquently on this latest album, and with much of his work, is merge rich musical traditions and history with a contemporary sense of exploration and experimentation. The Renaissance and Baroque lute music he studies and plays is so old it’s written on tablature notation of the time that few musicians understand and know how to play. While he also plucks images, song titles and lyrics from dusty old books to give them a re-contextualised lease of life by being integrated into the present-day. “I like to go to markets and find old lyrics that nobody uses and that are not online,” he says. “It's like this forgotten world somewhere and that really interests me.”   Listen to 'The Night Dwells in the Day' in full: https://jozefvanwissem.bandcamp.com/album/the-night-dwells-in-the-day Jozef Van Wissem live dates:  EU Oct 11th: Vakhtang Salaridze Concert Hall, Tiblisi Oct 13th: Arno Babajanyan Concert Hall, Yerevan Oct 19th: Karmen Camina, Strasbourg Oct 20th: La Chapelle- Vista, Montpellier Oct 21st: Temple Protestant, Toulon Oct 23rd: Biennale, Aix En Provence Oct 25th: Mps Studio, Villingen Nov 12th: Neue Zukunft, Berlin Nov 13th: Drizzly Grizzly, Gdansk Nov 14th: Spektrum, Gdansk Nov 15th: Kino Nowe Horizonty, Wroclaw Nov 19th: Kino Muranow, Warsaw Nov 21st: De Doelen, Rotterdam Nov 22nd: The Black Lab, Lille Nov 23rd: Kultura Liege, Liege Nov 24th: Stapeltor, Duisburg Nov 25th: Zirka, Munich US Dec 4th: Music Box Theatre, Chicago Dec 6th: Bowery Electric, New York City Dec 7th: Epsilon Spires, Brattleboro Dec 8th: Philamoca, Philadelphia Dec 14th: Texas Theatre, Dallas Dec 16th: Lost Angeles, Los Angeles Dec 18th: Coolidge Corner, Boston Jan 11th: Slow Club, Freiburg Jan 12th: Le Singe, Biel UK Jan 14th: Colchester Arts Center, Colchester Jan 15th: The 100 Club, London Jan 16th: Celtic Connections Festival, Glasgow   Links: https://www.jozefvanwissem.com/ https://jozefvanwissem.bandcamp.com/ https://www.instagram.com/jozefvanwissem/ https://www.youtube.com/user/jozefboys   http://www.incunabulumrecords.com/

Crass Records to release MDC & Hit Parade as part of vinyl reissue series

‘2 By 2 And Back Again’   Crass Records 12” vinyl reissue series #8 out November 8th   MDC – ‘Multi-Death Corporations’ EP (1983) Hit Parade – ‘Plastic Culture’ single (1984)   Stream ‘Multi-Death Corporations’ Stream ‘Product of The Troubles’

“[MDC are] one of the world’s leading political bands, in terms of both beliefs and commitment” – Maximum Rocknroll   “The furiously political British anarchist collective Crass lived their dogma with admirable rigor” – Rolling Stone   Punk pioneers Crass continue their vinyl reissue series, re-pressing their limited releases by adjacent artists through Crass Records, in association with One Little Independent. The series, including over twenty bands and solo artists recorded at the legendary Southern Studios and produced by Penny Rimbaud, continues with two more historic pieces from the Crass Records catalogue; ‘Multi-Death Corporations’ by MDC and ‘Plastic Culture’ by Hit Parade.   They follow records from the likes of Captain Sensible, Omega Tribe, Honey Bane, Jane Gregory, Lack of Knowledge, Sleeping Dogs, Rudimentary Peni, Zounds, Flux Of Pink Indians, Annie Anxiety, D&V, Alternative, The Cravats and Rubella Ballet. First released on 7” vinyl, limiting the sound, the new series has been remastered for 12” by Alex Gordon at Abbey Road Studios, allowing them to be heard as never before. This, plus enlarged replicas of the original covers, brings new gusto to their already radical sound.   1983's 'Multi-Death Corporations' broke new ground by addressing, in the lengthy liner notes and artwork, the growth of corporations and the violent suppression of left-wing politics in Central America. The Austin-based band released material through ex-Dead Kennedys singer Jello Biafra, cited influences such as Black Flag and D.O.A, as well as working with Crass Records.    Penny Rimbaud tells us; “MDC were one of the first American bands to follow the political mantle set by Crass in the UK. Straight-edge purist to the last mouthful of sprouted grass, MDC were equally fierce with their polemic and uncompromising politics. Sharp as a blade, they cut through the crap. ‘They meant it, ma’am’, and some.”   Hit Parade was a one-man anarchist band, the brainchild of Dave Hyndman (aka P. Checkoff and Rik O’che) a member of the Anarchist Collective in Belfast. Being a left-wing socialist, Checkoff’s songs were highly political by nature and concentrated on life in Northern Ireland. Subject matter ranged from the evils of television to H Blocks; the RUC to housing problems, and of course unemployment.   Penny continues; “Hit Parade was one troubled man’s attempt to deal with and describe the ‘troubles’ that surrounded him in Belfast where he lived with family, friends and comrades. In the seventies and eighties, divided Ireland was never far from the distortions of the UK’s daily headlines, all of which toeing the predictable Protestant party line. Meanwhile, Hit Parade had to suffer the daily indignities of military oppression and religious bigotry. Shouting out from a wilderness of human stupidity, Hit Parade looked to put the record straight from the trenches; one man’s voice touching the multitude. Listen and learn. It’s still going on and on and on…”   Penny finally notes that “Our (Crass’) interest was never in personalities, profits or power, and neither did we have time for reformist liberals. Our position was solidly revolutionary; we took no prisoners. Ours wasn’t a show, it was a battle, not a living, but a lifestyle, a lifestyle with a difference – rather than looking only to ourselves, we sought to share our gains. I feel that this willingness added great strength to the form of anarchism that we practiced both on stage and out on the street.”   In giving a platform to an impressive array of other bands, Crass Records broadened the front of what popularly became known as anarcho-punk. Not, it must be said, a moniker that Crass themselves much favoured. In this respect, Crass’ classic line, “There is no authority but yourself”, makes its point. Crass sought to empower others, and the output of Crass Records does much to confirm this, while ‘2 By 2 And Back Again’ seems to nail it – “get out of your own way, we’re all in this together”.   Tracklist   MDC – ‘Multi-Death Corporations’ EP   Multi-Death Corporations Selfish Shit Radioactive Chocolate No Place To Piss   Hit Parade – ‘Plastic Culture’ single   Product of The Troubles Media Song   Follow Crass   Website Bandcamp Facebook Instagram Twitter Spotify