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Death Is Not The End Vinyl, CD & Tape 11 Items

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Maria Sabina - Mushroom Ceremony Of The Mazatec Indians Of Mexico
Maria Sabina
Mushroom Ceremony Of The Mazatec Indians Of Mexico
Tape | 2016 | UK | Original (Death Is Not The End)
20,99 €*
Release:2016 / UK – Original
Genre:Film / TV
Death Is Not The End come with a much needed reissue of Mushroom Ceremony of the Mazatec Indians of Mexico. LP edition limited to 300 copies only.Recorded on the night of July 21/22, 1956 by V.P. & R. Gordon Wasson, these are rough and ready field recordings featuring the voice of Maria Sabina (1894-1985) a Mexican curandera who would perform healing vigils known as veladas in Huautla de Jimenez, Oaxaca where all participants would ingest psilocybin mushrooms (Maria's "holy children"), as a sacrament to open the gates of the mind and communicate with the sacred.
V.A. - Bury Me In A Corner Of The Yard
V.A.
Bury Me In A Corner Of The Yard
Tape | 2018 | EU | Original (Death Is Not The End)
8,99 €*
Release:2018 / EU – Original
Genre:Rock / Indie
Death Is Not The End issue a 14-track tape of vintage and archival Cajun ft. tracks from Segura Brothers, Amede Ardoin, Blind Uncle Gaspard, Sydney Landry & more.
George Katsaros - Greek Blues in America Volume 1
George Katsaros
Greek Blues in America Volume 1
Tape | 2018 | US | Original (Death Is Not The End)
8,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
Preorder 19.10.2018
Death Is Not The End present a two-part collection centred on two emigrant Greek artists recorded in New York during the 1920s and 1930s.'Greek Blues in America' explores the recordings of George Katsaros and Kostas Dousas, who mainly recorded solo, accompanying themselves on guitar in a unique finger-picking style. This, along with the sub-cultural subject matter of the rebetiko, reflects somewhat of a cross-continental echo of the American blues - captured in the USA following a wave of immigration from Greece and Asia Minor, just as the new demand for regional and ethnographic music in the recording industry was beginning.
Kostas Dousas - Greek Blues in America Volume 2
Kostas Dousas
Greek Blues in America Volume 2
Tape | 2018 | US | Original (Death Is Not The End)
8,99 €*
Release:2018 / US – Original
Genre:Rock / Indie
Death Is Not The End present a two-part collection centred on two emigrant Greek artists recorded in New York during the 1920s and 1930s.'Greek Blues in America' explores the recordings of George Katsaros and Kostas Dousas, who mainly recorded solo, accompanying themselves on guitar in a unique finger-picking style. This, along with the sub-cultural subject matter of the rebetiko, reflects somewhat of a cross-continental echo of the American blues - captured in the USA following a wave of immigration from Greece and Asia Minor, just as the new demand for regional and ethnographic music in the recording industry was beginning.
Henry Caravan - A Shrine To A Radiator
Henry Caravan
A Shrine To A Radiator
Tape | 2018 | US | Original (Death Is Not The End)
7,19 €* 8,99 € -20%
Release:2018 / US – Original
Genre:Rock / Indie
Louis Johnstone adopts the Henry Caravan persona for this tape of 8 guitar/vocal improv pieces for Death Is Not The End.
Violeta Parra - La Cueca Presentada Por Violeta Parra
Violeta Parra
La Cueca Presentada Por Violeta Parra
LP | 2017 | EU | Original (Death Is Not The End)
19,99 €*
Release:2017 / EU – Original
Genre:Rock / Indie
Death Is Not The End reissue a rare early LP from Chilean composer, songwriter, folklorist, ethnomusicologist and visual artist Violeta Parra.In this collection, Volume III of Parra's Folk Music of Chile series, Parra introduces us to the Cueca, a traditional folk music style and Chile's national dance, which is sung and danced at parties and festivities. Although Cuecas were played on the radio, Parra introduces listeners to popular forms of Cueca she recovered in her field work collecting traditional songs. Navigating Chile's thin land mass from Santiago to Concepción, Parra heard people in the countryside performing these songs. In her introduction, Parra identifies four types of Cueca: the short Corta, the waltz Valceada, the long Larga voluntaria, and the Balance/obligatoria where the singer individually calls on a man and then a women to dance. Casting herself in the role of ethnomusicologist, this intense musical investigation of Chile's popular folk song traditions went on to greatly influence Parra's own songwriting. The connection with her country's traditions earned her the reputation as Chile's foremost poet and folk singer.Violeta Parra was born on the 4th October 1917 in San Carlos, Chillán, south of the country's capital Santiago. Her father was a music teacher and her mother a campesina (farmhand). Music was entwined in the family environment and she started to sing from the age of ten. After leaving Chillán to study in Santiago in 1934, she started singing traditional Latin American boleros and Mexican corridos in the capital's bars with her siblings. In 1952 Parra and her brother Nicanor began collecting and recording folk songs from the country. Eventually comprising five volumes of El Folklore de Chile, released between 1957 and 1961. In 1963, whilst in Paris, she recorded songs that would be posthumously released on Canciones reencontradas en París in 1971. These songs cemented Parra's reputation as a socially concerned song writer and included songs such as Arauco tiene una pena which describe the struggle of Chile's indigenous Mapuche people against colonialism. Another, La Carta, denounced the repression of the Jorge Alessandri's Government (1958-1964) during which Parra's brother Roberto was incarcerated for supporting striking workers. Such songs repurpose the time-signatures and phrasing of the Cueca's to make some of her most candid political statements.As well as a musician, Parra was a practicing artist working with traditional textile techniques to make arpilleras (tapestries). She exhibited her paintings, sculptures and arpilleras at the Louvre, Paris in 1964, the first solo show by a Latin American artist. The influence of the Cueca emerges once again in Parra's last album Las últimas composiciones de Violeta Parra, 1966 (her Last Compositions) which included some of her best known songs such as Gracias a la vida. The album also serves as an auto-eulogy, Parra was giving her thanks to life before her suicide in 1967. Gracias a la vida has become an anthem for Latin Americans and has been extensively covered by artists including the Argentine Mercedes Sosa, Joan Baez and Chileans including Parra's own children Isabel Parra and Ángel Parra. Parra left an indelible mark on Chilean Music and inspired a generation of musicians of La nueva canción Chilena (The Chilean New Song). The movement celebrated the country's folk traditions and indigenous past and present with incredible social commitment for which Parra set the tone.The last song on the first side of Parra's Last Compositions includes La cueca de los poetas (The Poets' Cueca) written by Violeta and her brother, now the established poet Nicanor Parra. The Poets' Cueca is a homage to Chile's poets Gabriela Mistral, Pablo Neruda (both nobel laureates) and Vicente Huidobro. Through the Cueca, Parra's later oeuvre is linked with her earlier field work collecting the songs in this volume. In Gracias a la vida, Parra speaks of the various gifts life gave her. In return, Parra's poetry and song gave a lot to her audience. Her voice resonates through the cultural landscape of Chile one hundred years after her birth. The 4th October, the day Parra was born, is now Chile's National Day of Music and Musicians, a testament to the mark she left on her county. Many of the songs in this volume might have been lost had Parra not tirelessly worked to preserve them. Parra's closing words on this volume speak to her generosity in helping listeners to understand more about Chilean song traditions:"Well, here I leave you this little gift of Chilean Cuecas. I hope you listen to them again and again and that you take away some conclusions about our Cueca, as I have done through my trips to the countryside and my years collecting."- Sebastian Bustamante-Brauning, 2017
V.A. - I'm On My Journey Home: Sacred Harp Singing, 1927-1934
V.A.
I'm On My Journey Home: Sacred Harp Singing, 1927-1934
LP | 2017 | EU | Original (Death Is Not The End)
17,99 €*
Release:2017 / EU – Original
Genre:Rock / Indie
LP edition now available!Death Is Not The End present a collection of recordings of Sacred Harp singing (a traditional sacred choral music with origins in the American South) taken from the late 1920s through to the late 1930s.
V.A. - An Introduction To Ored Recordings, Part 2: Dance
V.A.
An Introduction To Ored Recordings, Part 2: Dance
Tape | 2017 | EU | Original (Death Is Not The End)
8,99 €*
Release:2017 / EU – Original
Genre:Rock / Indie
Ored Recordings is an ethnographic record label based in the North Caucasus. Carrying no specialist training or experience in sound recording, the group of friends began travelling around the villages and towns of the Caucasus looking for the traditional music of the different peoples of the region. Since 2014, the label has released 14 digital releases featuring folk music of Circassians, Abkhazians, Pontic Greeks, Kalmyks, Chechens and amongst others.Ored Recordings isn't searching for a romanticised spirit of a 'fading tradition', nor trying to 'modernize' authentic material. On the contrary, the label records different forms of local folk music and supports local musical cultures. It pays as much attention to songs from the Soviet era as to archaic ritualistic music and religious melodies.Death Is Not The End now present these two cassettes (Pt. 1, Song & Pt. 2, Dance), released in collaboration with Ored Recordings. We hope you like them.
V.A. - An Introduction To Ored Recordings Part 1: Song
V.A.
An Introduction To Ored Recordings Part 1: Song
Tape | 2017 | EU | Original (Death Is Not The End)
8,99 €*
Release:2017 / EU – Original
Genre:Rock / Indie
Ored Recordings is an ethnographic record label based in the North Caucasus. Carrying no specialist training or experience in sound recording, the group of friends began travelling around the villages and towns of the Caucasus looking for the traditional music of the different peoples of the region. Since 2014, the label has released 14 digital releases featuring folk music of Circassians, Abkhazians, Pontic Greeks, Kalmyks, Chechens and amongst others.Ored Recordings isn't searching for a romanticised spirit of a 'fading tradition', nor trying to 'modernize' authentic material. On the contrary, the label records different forms of local folk music and supports local musical cultures. It pays as much attention to songs from the Soviet era as to archaic ritualistic music and religious melodies.Death Is Not The End now present these two cassettes (Pt. 1, Song & Pt. 2, Dance), released in collaboration with Ored Recordings. We hope you like them.
East Of The Valley Blues - Eotvb
East Of The Valley Blues
Eotvb
Tape | 2016 | EU | Original (Death Is Not The End)
9,99 €*
Release:2016 / EU – Original
Genre:Rock / Indie
After 14 releases spanning early gospel, blues, folk and field recordings, Death Is Not The End reveal their first ever release of "new" music. A reissue of a tour tape made earlier this year by East of the Valley Blues, aka brotherly acoustic guitar duo Kevin & Patrick Cahill out of Toronto, Canada.Recommended for fans of sprawling Bashovian raga & Fahey-esque american primitive. LP limited to 300 copies only, cassette contains unreleased live recordings.
V.A. - I'm On My Journey Home: Sacred Harp Singing, 1927-1938
V.A.
I'm On My Journey Home: Sacred Harp Singing, 1927-1938
Tape | 2016 | (Death Is Not The End)
8,99 €*
Release:2016 /
Genre:Rock / Indie
Death Is Not The End, following their cassette reissue of Harry Smith's Anthology, present a collection of recordings of Sacred Harp singing (a traditional sacred choral music with origins in the American South) taken from the late 1920s through to the late 1930s.
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