Stick In The Wheel - A Thousand Pokes - VINYL LP
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SITW's fourth studio album is a satirical celebration of mistakes. A joyous lambasting of everyone and everything that's wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest. A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter's delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. S**t food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn't. Nursery rhymes reimagined as death threats. Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time. This is about as far away from pastoral folk music as you can get. In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people fucking up, or being fucked up, with some brief respite in Lavender - one of London's oldest street melodies - the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes' mistakes (pokes) and the idle chatter of the Inchliars with their hairy tonguesInch congregation. Despite this seriousness, the album's working-class dry gallows humour carries a stoic Inchif you don't laugh you'll cryInch feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that Inchonly you can fix your deficitsInch and Inchit's your words and deeds that matter... and let me tell you, they speak volumesInch. The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrification
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VINYLSpecifications
- GenreFolkDescriptionSITW's fourth studio album is a satirical celebration of mistakes. A joyous lambasting of everyone and everything that's wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest. A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter's delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. S**t food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn't. Nursery rhymes reimagined as death threats. Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time. This is about as far away from pastoral folk music as you can get. In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people fucking up, or being fucked up, with some brief respite in Lavender - one of London's oldest street melodies - the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes' mistakes (pokes) and the idle chatter of the Inchliars with their hairy tonguesInch congregation. Despite this seriousness, the album's working-class dry gallows humour carries a stoic Inchif you don't laugh you'll cryInch feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that Inchonly you can fix your deficitsInch and Inchit's your words and deeds that matter... and let me tell you, they speak volumesInch. The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrificationArtistStick In The WheelTitleA Thousand PokesFormatVINYLLabelFrom Here Records
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SITW's fourth studio album is a satirical celebration of mistakes. A joyous lambasting of everyone and everything that's wrong in the world, against the real-time backdrop of global uncertainty, corruption and political unrest. A London Charivari. Rough Music. A gleeful old-fashioned cancelling. A Chaunter's delight. 14th Century recording demons collecting mistakes in a sack. Women mugging rich merchants. Nettles being pissed on. S**t food at Lent. A terrible plan. An undoing. The aftermath of a car crash. Catching people doing something they shouldn't. Nursery rhymes reimagined as death threats. Behind the sarcastic acerbic delivery, Nicola Kearey and Ian Carter convey thoughtful, essential interpretations encouraging us all to check ourselves, through the multi-layered music of cities through time. This is about as far away from pastoral folk music as you can get. In their typical wry city-weary style, a beady eye is cast over those committing wrongs in plain sight, with Kearey narrating a series of tales of people fucking up, or being fucked up, with some brief respite in Lavender - one of London's oldest street melodies - the album being named after the 14th Century story of Tittivilus, the recording demon, who collects scribes' mistakes (pokes) and the idle chatter of the Inchliars with their hairy tonguesInch congregation. Despite this seriousness, the album's working-class dry gallows humour carries a stoic Inchif you don't laugh you'll cryInch feeling amongst the corruption, scandals and barefaced lies we all observe on a daily basis, with a warning that Inchonly you can fix your deficitsInch and Inchit's your words and deeds that matter... and let me tell you, they speak volumesInch. The core of the record imagines a sound of traditional London music, where the musical continuum is unbroken by the population decimated by the world wars, or by gentrification
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