By day, I'm a father of seven and husband of one. By night, I'm an author, a biographer, and a prog rocker. Interests: Rush, progressive rock, cultural criticisms, the Rocky Mountains, individual liberty, history, hiking, and science fiction.
I’m sure like many of us who love progressive rock, we’re always looking for music that actually progresses. Of course, we love and adore The Yes Album and Trick of the Tail and Songs from the Wood, but we also want something rooted in that music that goes beyond it as well.
Well, my search, at least for 2026, has ended. It ended when I discovered the Finnish band, Onsegen Ensemble. I knew absolutely nothing about them until the great Karisma Records sent Spirit of Cecilia a review copy.
Here’s what the band says about itself:
“ONSÉGEN ENSEMBLE IS A GROUP OF MUSICIANS FROM NORTHERN FINLAND. BEING FAITHFUL TO ITS OWN PURPOSE, THE SPIRITUAL HOME OF ONSÉGEN KEEPS ITS DOORS OPEN FOR EVERYONE TO ENTER. THE MUSIC TAKES YOU TO A MYSTICAL TRIP WITH EXCURSIONS INTO WONDERFULLY CINEMATIC AND FLAMBOYANT LANDSCAPES.”
From the very opening few seconds of the latest album, A Tale, I was hooked. I’ve remained hooked for all 42 minutes of A Tale now too many times to count. For what it’s worth, I always buy a personal copy of an album sent to me for review if I love it. That is, I very much want to support the artists, especially when they trust me with a review copy. It’s an honor to be on the receiving end of such beauty, and I never want to break that trust. Just so you know, I bought three copies of A Tale—one for me, and two to give to friends. That’s how much I love this band and album.
As to specifics. . . the instruments, the vocals, the lyrics are all astounding. The production is outstanding, a true aural delight. Truly, I felt like I was being drawn into the musical equivalent of Tolkien’s profound essay “On Fairy Stories.” Yes, I was entering fairy by listening to this band.
The lyrics are pretty minimal, but they’re excellent nonetheless. I’m especially taken by the lyrics of track no. three, “A thought”:
“Peace is a thought
Followed by the word. . . .
Peace is a flame
Lit by devastation
Dependent on shelter
Never meant to fade.”
I have no idea if the word is a Word in the Stoic or Christian or just hippie sense, but I like it nonetheless. It’s evocative of truth, beauty, and goodness.
As to the music? Well, it’s original, to be sure. I hear bits of Traffic, bits of Jethro Tull, bits of Talk Talk, bits of Kate Bush (especially side 2 of Hounds of Love), and bits of David Gilmour. But, in the end, this is original music. Something straight from the northern most parts of the world.
If you’re looking for something beautiful and original, look no further. You have reached your destination.
If you’re in the U.S., make sure to patronize our best prog rock store, Band Wagon USA. Elsewhere in the world, get it from Bandcamp.
Kevin, Tad, Rick, and I had the immense pleasure of speaking with Steve Babb of Glass Hammer this morning. 61 minutes about music, family, and faith. Enjoy!
Our first regular podcast–but we don’t have a name yet! Any suggestions? We introduce ourselves and then talk a bit about the progressive rock band, Frost*.
Hello Spirit of Cecilia Readers. The editors of Spirit of Cecilia are having a blast reminiscing about their music tastes in their high school years. Please enjoy our conversation as we take a deep dive into our respective nostalgias.
Tad: Okay, since I’m probably the oldest person here (Class of 1979), I’ll kick things off. My high school years started with glam, eased into arena rock, and ended up with punk and new wave. Early on, I loved Todd Rundgren, David Bowie, Mott the Hoople, and Badfinger. I still listen to those guys and enjoy them. I subscribed to Rolling Stone magazine, because it was actually good in the ‘70s and had fairly reputable music critics. The Eagles and Fleetwood Mac were probably the most popular artists at the time, but they were too laid back for me. I did like (and still do) Fleetwood Mac’s Tusk album, because it was so weird. Once New Wave hit in the late ‘70s/early ‘80s ,though, I was in heaven! There were so many new artists popping up, I could hardly keep up!
Carl: I was born in 1969 and had very little exposure to popular music until I was 12 or 13. There was church music (the robust, older Protestant hymns) and my parents’ very limited collection of what I call “white gospel music,” which ranged from cringe-inducing to not much better. Thankfully, a family that I was close to (Catholic!) got me listening to some classical in junior high, which was wonderful—and stuck—because most of the public school music curriculum revolved around schmaltzy, light pop from the Seventies (Barry Manilow! Debbie Boone! Jesus Christ Superstar!).
Then, in junior high, I started to hear and pay attention to pop/rock music, often via a jukebox (!) at the local ice cream place, or a boombox during recess or after school. Songs that made a lasting impression on me were Queen’s “Another Bites the Dust,” Kenny Roger’s “The Gambler,” Joan Jett’s “I Love Rock ‘n’ Roll,” and Toto’s “Africa”. The dam broke for me in my first year in high school; that’s when my obsession with music went from 1 to 10. I would listen to whatever I could and by any means possible: radio, 8-tracks (Beach Boys!), cassettes, and tunes played by friends.
Looking back, I was fortunate that I had older friends and a couple of teachers who introduced me to “classic rock” (of course, some of it was very new then) by groups including the Eagles, Journey, Moody Blues, ELO, Kansas, Foreigner, Elton John, Pat Benatar, Van Halen, and so forth. And 1982-84 was a great time for classic albums by The Police, Men at Work, Michael Jackson, Toto, Def Leppard, and Big Country. But the music that I was drawn to most strongly was “90125” by Yes, anything I could find by Kansas, Elton John, Queen, and some Contemporary Christian Artists, including Michael W. Smith.
The one thing I avoided like the plague was harder rock or metal; I had no interest in AC/DC, Quiet Riot, Iron Maiden, Metallica, etc. Still don’t. It was a while before I discovered more prog-gish groups like Rush and Asia. In my final two years of high school (‘85-87), I was a big fan of Steve Winwood, Bruce Hornsby, ELO (which was some of the soundtrack for my senior year), Alan Parsons Project, Styx, Mr. Mister, and similar AOR groups. I had no interest in jazz and didn’t care for most new wave music, with a couple of exceptions (Spandau Ballet stands out). It wasn’t until “Momentary Lapse of Reason” came out in late 1987 that I first paid any attention to Pink Floyd.
In sum, much of this was simply “in the water”; however, I see now that I was increasingly drawn to the sort of prog-gish groups that would open the door to my deep plunge into prog in the early to mid-1990s, which then (in ways) opened the door to jazz. But that’s another story for another time!
Brad: Hey guys, great to be talking with you all! Always a privilege and an honor.
So, I was born in late 1967, and I was in high school, 1982-1986. These years were deeply formative for me, and I look back on them fondly. Like all of us, I was a total music nerd and freak, and I had a huge record collection–one I inherited from two older brothers, but which I expanded by huge degrees. I also worked at the local radio station, KWHK-1260AM/Adult Rock, but we had briefly flirted with a New Wave format–so we still got demos and Advanced Review Copies of XTC, The Cure, B-Movie, Echo and the Bunnymen, etc. No one at the radio station had any interest in these, so I got them all, adding them to my private collection. Really, when it came to owning music, I couldn’t have asked for anything better.
The two things–inheriting music tastes from my brothers and my acquisitions at the radio station–fundamentally shaped my music tastes. Admittedly, though, my music tastes would evolve even more–or perhaps refine?–when I met our own beloved Kevin McCormick. Another step in evolution came from meeting my great grad school friend, Craig Breaden, who had, for lack of a better way of putting it, retro tastes, introducing me to some of the best psychedelic rock of the late 1960s and early 1970s: Jimi Hendrix Experience, Blodwyn Pig, Traffic, Spooky Tooth, and others.
But, back to high school. My favorite bands in high school were, at least until 1985, Rush, Yes, Genesis, Kansas, Thomas Dolby, ABC, and the Fixx. I was pretty obsessed with each of these bands, and I played each on constant repeat. I knew and liked U2 (especially War), but I wouldn’t become really taken with them until I met Kevin. I can say the same about The Cure. I really liked them, but I didn’t fall in love with them until Disintegration in 1989. 1985, though, really changed much for me–mostly because I heard Kate Bush, Simple Minds, and Tears for Fears for the first time. I was utterly blown away by both Hounds of Love and Songs from the Big Chair–each a perfect (utterly perfect) blending of pop and prog. Man, those are good memories. I also really liked Simple Minds, but true love for that band didn’t occur until I met Kevin.
Other albums I totally obsessed over during high school: Golden Age of Wireless, The Look of Love, Signals, Grace Under Pressure, Reach the Beach, and 90125. I was also really into the Police, especially Synchronicity.
Even then, I was most taken with lyrics, analyzing every one of them, always looking for deeper meanings. For me, 90125 was a comment on the state of the American republic (I’m not saying my interpretations were correct; only deeply held), the Golden Age of Wireless was the putting of Ray Bradbury short stories into music form; Hounds of Love was about Satan’s attempt to dominate the world; Grace Under Pressure was about Reagan’s struggle to win the Cold War; and Songs from the Big Chair was a deep exploration of an individuals psychological strengths and weaknesses. Yeah, I was probably totally wrong about each of these.
Erik: I love to make playlists with my music collection, and if you scrolled through the music app on my iPhone, you would find a lot of them. Some are based on musical styles, some are based on lyrical themes, and some are based on time periods. I have one playlist called Nostalgia 79-82 which is dedicated to music I own that came out during my high school years of 1979-1982. While my tastes were not limited to those years, that playlist nevertheless serves as a great example of what I was listening to at the time. The list includes a wide variety of music, from AC/DC to Yes, with Black Sabbath, Rush, Van Halen, Triumph, and others in between.
The first year of that era, 1979, was more consequential in developing my long term musical tastes than any other. That was the year I discovered Yes, Rush, and Pink Floyd. Yes was discovered through a concert that left an impression on me that reverberates to this day. I also stumbled across Rush through the 2112 album (seeing them later that year in concert as well), and had my first listen of Floyd’s Dark Side of the Moon. Toward the end of that year, I purchased Pink Floyd’s new release, The Wall. The net effect of these discoveries was to bifurcate my musical tastes into “prog” and “not prog,” establishing a certain yin and yang to my listening habits.
Prog was the yin, and it quickly became my favorite genre, as I devoured Yes’s back catalog and eagerly purchased Drama (despite the loss of Anderson and Wakeman) upon its release in the summer of 1980. A similar dynamic repeated with Rush and Pink Floyd, and soon I had Rush albums like A Farewell to Kings, All the World’s a Stage, Hemispheres, and Permanent Waves, while Pink Floyd albums like Ummagumma, Meddle, and Wish You Were Here also made it into my collection. Before long, I was also getting into Jethro Tull and Emerson, Lake and Palmer, and on occasion, dabbling into some King Crimson and Genesis music, while Kansas became a regular in my musical rotation. Prog also turned into the gateway drug that led me first to liking classical guitar, and eventually to classical music in general.
The yang was everything else. I’m an outlier in this group, as I’ve always had a taste for harder rock, occasionally veering into heavy metal, and I’ll always have a sweet spot for loud, dirty, distorted electric guitars. I also like plenty of blues-based classic rock. Thus, when I was in a yang mood, you might have caught me listening to AC/DC, Aerosmith, Van Halen, Styx, The Who, and so on. Like many of my generation, I was already into Led Zeppelin, whose music spanned multiple genres. Black Sabbath released two new albums with Ronnie James Dio on vocals, both of which received a period of heavy rotation. Judas Priest had what I consider their first truly heavy album, British Steel, during this time, which blasted out from many a car in my high school parking lot. And although geographically, Lexington, Kentucky (where I attended high school) is not the deep south, culturally it seemed indistinguishable from Alabama. As a result, it wasn’t unusual to hear me listening to some twangy-guitar southern rock from Lynard Skynard, Molly Hatchett, The Outlaws, or the Allman Brothers.
Music was changing a lot during my high school years, as punk had taken its shot at prog, while new wave was emerging. My own tastes were a little slower to change. A lot of the new wave music that became popular during that era was not as sonically dense as the music from the previous decade. Because of that, the music often times gave me a similar feeling of eating gourmet food that, while tasty and well presented, left me hungry. Eventually, I came to like some of it though, and The Police were the first to break through with their Ghost In The Machine album, and particularly the songs Spirits in the Material World and Invisible Sun.
To this very day, my listening bounces between the yin and the yang. I will go for periods in which I listen to prog and nothing but prog, while I go through other periods where I will listen to other types of music while prog is on the back burner. The yin music and the yang music both serve as palette cleansers for the other, and that’s one thing that keeps the music sounding fresh, even in the decades that have passed.
Tad: Erik, I have always had a soft spot for hard rock – especially AC/DC, who I thought were hilarious while coming up with terrific riffs.
I’m going to cut to the chase and list my favorite ten albums that I loved at the time, starting with 1977:
Steely Dan: AJA
Brian Eno: Before and After Science
Pink Floyd: Animals
Yes: Going For the One
Alan Parsons Project: I Robot
Cheap Trick: In Color
Ramones: Leave Home
Electric Light Orchestra: Out of the Blue
Peter Gabriel: Peter Gabriel (Windshield cover)
Talking Heads: ‘77
These came out when I was a high school sophomore, and looking back there was an amazing variety of genres to choose from back then. It’s pretty clear that Rolling Stone and Musician Magazine had a big influence on me; how else would I have known about Eno’s Before and After Science (an album I still adore) or The Ramones? I think I was the only kid in my high school who listened to them and Talking Heads.
For me, 1978 was a transitional year, where I listened to established artists while enjoying some music from some new ones like The Police:
David Bowie: “Heroes”
The Cars: The Cars
Bebop Deluxe: Drastic Plastic
Jethro Tull: Heavy Horses
Todd Rundgren: Hermit of Mink Hollow
Talking Heads: More Songs About Buildings and Food
Police: Outlandos D’Amour
Cheap Trick: Heaven Tonight
Ramones: Rocket To Russia
Rolling Stones: Some Girls
Little Feat: Waiting For Columbus
!979, my senior year, is where I embraced New Wave pretty much to the exclusion of everything else:
Buggles: The Age of Plastic
Elvis Costello: Armed Forces
The B-52s: The B-52s
Supertramp: Breakfast in America
Devo: Duty Now For the Future
Talking Heads: Fear of Music
George Gershwin: Manhattan (Woody Allen’s movie soundtrack)
Roxy Music: Manifesto
Gary Numan: The Pleasure Principle
Police: Regatta De Blanc
Joni Mitchell: Shadows and Light
Fleetwood Mac: Tusk
Fischer-Z: Word Salad
I still love all of these albums! Well, I guess I don’t listen to the B-52s that much any more, but I don’t dislike them. Dropping the needle on Roxy Music’s Manifesto immediately transports me back to that time in my life.
Brad: Tad, Carl, and Erik, I absolutely love reading through your memories. Frankly, it’s amazing that even though we’re different ages, we have very similar tastes in music and all came to a similar spot. One thing that’s absolutely clear is that we all love prog and New Wave–frankly, we love our music to be artful and far from simple pop.
I’ve already told you guys about my radio station experience, but I have to mention two other things–which is so terribly Gen X–I absolutely loved making mixed tapes for my friends. I would buy the 10 or 20 packs of blank TDKs and give them to anyone and everyone who would listen. Frankly, it was a kind of love note to each of my friends. I especially loved making mixed tapes for my girl/female friends.
I would guess that I was pretty known for doing this, and I was pretty good at it, I think. At least in memory, I was good at it. It’s been years and years since I’ve done such a thing. I also made some mixed CDs, but that simply wasn’t as joyful as a mixed tape. I’m not sure why.
I also made mixed tapes for myself–my “best of” Yes or The Doors or Genesis, stuff that I thought should run together that wasn’t on the original albums.
I have nothing but great memories of high school when it comes to music.
But, the second thing I did in high school was dance like a mad man. The good Lord knows I was not created to be coordinated or athletic. I’m as gangly as they come, and I look like a total fool on the dance floor. But, I never cared. I told myself to have a good time, and, by God, I had a great time dancing. I went to every dance possible in high school and college, and my friends and I–when we got together–would have house dances.
Again, I’m so very, very Gen X.
Kevin: Well I’m once again late to the party, but it would appear that our stories are all quite different, which really makes it interesting.
My earliest years were in Fort Worth, Texas and so the influences around me were more in the style of popular country music at the time than anything else. But my parents were from other places and so the music at home was a bit different. My mom had studied piano in college so there was a lot of classical around and my dad was a huge fan of the music of the 50s and 60s. Full disclosure: there was also a lot of 70s schmaltz.
But it was my older brother, Matt, who really shaped my early understanding of rock. He was a pianist himself and so I heard a great deal of Elton John, who I could tell had the cool factor over my country interests and even my Dad’s classic albums.
We moved to St. Louis when I was eight and I became friends with a classmate named Pat Malacek who had two older brothers with a load of amazing albums at his disposal. He introduced me to Queen who quickly became shot to the top of my list. As a guitarist, I was in awe of the spectacular craft of Brian May and since there was piano too my brother and I could pick out tunes from their songbook. We also listened to the classic rock station KSHE 95 which included all of the great (and some not so great) music of the era: Boston, Foreigner, the Eagles, Zeppelin, Kansas, Genesis, Yes, and the like. We avoided disco like the plague, but it somehow still made it onto our car radio when mom was driving.
For me Queen seemed to have the whole package though. The music was hugely varied and yet somehow held together. Both the songs and albums flowed like art films, sometimes one side at a time, incredible playing and vocals. It was the jam!
All the while I was studying classical guitar which served me well in learning rock on my own.
And then one day on the ride home from school I heard an extraordinary other-worldly flourish of sound (it wasn’t until a couple of years later that Matt revealed to me that it wasn’t a synth—it was a guitar!) The opening 10 seconds of “The Spirit of Radio” was all it took: I was captivated. Rush usurped Queen (who had begun to drift from what I had liked about them). I bought every album and began using them to teach myself electric guitar. Alex Lifeson was my “absentee” instructor. For a while in high school I would listen to one album a day. It was my electric homework.
We also moved to San Antonio in 1981 and I encountered MTV for the first time. This opened up my musical world profoundly and the new music out of Europe began to take over my playlist. It would be impossible to list them all, but U2 and The Police were huge influences. Since my brothers and I were starting to play gigs, a lot of music I listened to was connected to the clubs we were playing: Blancmange, R.E.M., Depeche Mode, Psychedelic Furs, Simple Minds and many more.
My brother Colin and I went to see the Furs at the Majestic Theater and the opening act was a band that I knew of, but knew very little about. Talk Talk stole the show. I can’t fully express the impact this moment had on me. They were so present on stage and the music was intense, the melodies delivered with sincere passion, fretless bass, powerful drums, inventive-jazzy key lines. It seemed to bring together my entire musical history in a single sound and yet the guitar was only lightly in the background of the mix. It changed my understanding of rock composition!
In college, Bradley and I met while studying rocks (okay geology class) and our friendship spurred a whole new angle: jazz! Particularly Pat Metheny and the artists of Windham Hill. And of course we connected on so many of the prog bands! Eventually this included regular mix tapes he would send. So much music! He kindly welcomed me onto his radio show and we laughed a lot and he spun great tunes. And the rest is…history!
Brad: A huge thanks to everyone for participating. All five editors of Spirit of Cecilia. We hope you, gentle reader, have enjoyed this utter blast of nostalgia.
Dear Spirit of Cecilia Reader, greetings from southern Michigan.
I just want to let you know that my (Brad’s) new book is out today from Stone House Press: The Declaration of Independence: A Radical Experiment in Liberty.
I’m pretty proud of it.
If you’re interested in it at all, you can order it at Amazon.
Amazingly enough, it’s the no. 1 release in Modern Western Philosophy. Pretty cool!
This morning, I had the great and grand pleasure of interviewing Rylee McDonald of Advent Horizon. We talked for about 35 minutes. You’ll see–though Rylee is a young guy–he is fully immersed in prog and new wave. And, he’s just as kind and insightful and brilliant as I expected after hearing the lyrics to his latest album, FALLING TOGETHER. Please support these guys! They’re the real deal.
InsideOutMusic announces signing of progressive art-rock group The Pineapple Thief
North American tour dates revealed for Nov/Dec 2026
Photo credit: Martin Bostock
InsideOutMusic is pleased to announce the signing of progressive art-rock group The Pineapple Thief. Founded in 1999 by Bruce Soord, the band has long been one of the genre’s most successful and accomplished outfits, releasing 16 studio albums and touring worldwide. The band consisting of Soord (vocals, guitars), Jon Sykes (bass), Steve Kitch (keyboards), and Gavin Harrison (drums), is working on a new album for release in late 2026.Bruce Soord comments: “Joining Inside Out is a definitive milestone for The Pineapple Thief. Having spent the past year developing new material, it became clear that Inside Out is the perfect home for our next musical journey. We are energised by this new partnership and can’t wait to reveal what we’ve been working on!”Thomas Waber, head of InsideOutMusic, adds: “We are extremely excited to welcome The Pineapple Thief to the InsideOutMusic family. As longtime followers of the band, it feels like the right time to be working together, and we can’t wait to help bring their new material into the world.”
The Pineapple Thief recently announced the following festival shows in Europe:June 25th Istanbul TK – Zorlu PSM – with The GatheringJune 27th Cornwall GB – Morvala Festival of ArtsJuly 3rd Joensuu FIN – Ilovaari FestivalJuly 4th Helsinki FIN – CoolHead LiveJuly 16th Bronnoysund NO – RootsfestivalenAug. 2nd Manchester GB – Radar Festival Now, the band is revealing headline tour dates across North America. Tickets go on sale Friday, April 17th at 10am local time.Nov. 17th Washington DC – Howard TheaterNov. 19th Philadelphia PA – Theatre of Living ArtsNov. 20th New York City NY – Gramercy TheatreNov. 21st Somerville MA – Somerville TheaterNov. 22nd Quebec City QC – CapitoleNov. 24th Montreal QC – Beanfield TheatreNov. 25th Toronto ON – Danforth Music HallNov. 27th Chicago IL – House of BluesNov. 28th Cleveland OH – House of BluesNov. 29th St. Louis MO – Delmar HallDec. 1st Dallas TX – The Bomb FactoryDec. 3rd Denver CO – SummitDec. 5th Phoenix AZ – Crescent BallroomDec. 6th San Diego CA – The Observatory North ParkDec. 8th Los Angeles CA – The BellwetherDec. 9th San Francisco CA – August HallDec. 11th Seattle WA – Neptune TheaterDec. 12th Portland OR – Revolution HallDec. 13th Vancouver BC – Hollywood TheaterMore news to come…
This month, (almost) unbelievably, marks 25 years of Burning Shed.
We’d like to issue a heartfelt thank you for your support over the many years and provide some insight into the company and what our plans are for this anniversary year.
‘The Shed’ emerged out of an idea Tim Bowness had for an idealistic online / on-demand label. Peter Chilvers – one of Tim’s musical partners – was experienced in the then mysterious world of e-commerce. Pete Morgan, the final piece of the Burning Shed jigsaw, was running Noisebox, a record label and duplication company (that dealt with releases by Tim and Steven Wilson’s band No-Man).
Over several intense gatherings (fuelled by eggs, chips, beans and the milkiest of coffees), a plan was hatched. After six months of trying to convince a bank that the notion of selling CDs from a website wasn’t witchcraft, that plan was in motion.
Tim brought in the music, Peter created the coding and Pete ‘The Morganiser’ took charge of logistics.
Initially, the idea was to issue elegantly packaged, cost-effective CDR releases – designed by Carl Glover – that allowed artists to experiment and, crucially, generate a little income from their endeavours.
Luckily, the first releases – including albums by No-Man, Bass Communion, Roger Eno and Hugh Hopper – proved to be more successful than anticipated and Burning Shed rapidly evolved. Soon the CDRs became CDs and via word of mouth the company was hosting official stores for artists and labels including Robert Fripp / King Crimson, Stewart & Gaskin / Hatfield & The North, Jethro Tull, XTC, KscopeRecords and many others (including, of course, No-Man and Porcupine Tree).
Peter Chilvers left in 2008 to work with Brian Eno, but Tim and Pete persisted, building the company up. 25 years on, the Shed is driven by the same instincts as it was at the very beginning.
As a “run by artists for artists” company, we try and ensure that the musicians and labels we deal with receive as much money as they can and that deals and accounting are transparent. There are no hidden costs or binding contracts. The idea has always been to release and help globally distribute great music at reasonable prices in the best way possible (to make sure it arrives in perfect condition and on time).
To celebrate our 25th anniversary, from April until next March we’ll be bringing you special releases, merchandise and giveaways including more raffle winners each month.
We’re also putting on a number of events throughout the year, starting with three co-headline gigs by Tim Bowness with Butterfly Mind plus Bruce Soord & Jon Sykes(The Pineapple Thief):
Sun 24 May – Liverpool, Philharmonic Music Room Fri 29 May – Bath Fringe Festival at Rondo Theatre Sat 20 June – London, The 100 Club
Looking forward, we’re in a much more complicated world. When we started, it was relatively easy. Shipping involved a jiffy bag, a label and a stamp. Selling online is now more complex, with electronic customs declarations, tariffs, Brexit, GPSR, GDPR, etc etc. From operating out of the corner of Pete’s office at Noisebox, we now have a warehouse and a truly superb team of people making sure everything runs smoothly.
None of this would have been possible without the support of all the artists and labels we have worked with over the years. Most importantly, it would not have worked without you, our customers.
We know there are many other places to buy music from, so that makes it all the more special that you continue to order from us. Some of you have been with us since the very beginning, some of you have just found us. We are extremely grateful to every one of you, old and new.
A former student, Chuck, just posted his favorite albums from 2001. I must admit, of his list, I only knew one of the albums, Dave Matthews Band’s EVERYDAY. Inspired by Chuck, though, I decided to look back over the years from this year. Here’s what I found. Let me know what I’m missing.
Spirit of Cecilia 
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