Tracklista:1. Question- Insurrection - Crisis of Memory2. Cochinat (D)3. Dessalines - Christophe - Backwards Habit4. Palace(s) - More Bitter Fruit - Sovereignity5. Silencing the Past (U)6. Duvalierism (U)7. St. Marc (D)
Tracklista: 1. Bring Back the Anaarchy 2. Mankind's Grave 3. Rats in Palaces 4. Amok 5. Crusader 6. Immortality 7. Social Lies 8. Rage & Greed 9. Mask 10. Pain Diet
Tracklista:1. Super Heathen Child (Feat. Robert Fripp)2. Worm Tamer (A Place to Bury Strangers Remix)3. Bellringer Blues (Nick Zinner Remix)4. Hyper Worm Tamer5. Mickey Bloody Mouse (Joshua Homme Remix)6. When My Baby Comes (Cat's Eyes With Luke Tristram Remix)7. Palaces of Montezuma (Barry Adamson Remix)8. Evil (Silver Alert Remix Feat. Matt Berninger)9. When My Baby Comes (SixToes Remix)10. Heathen Child (Andrew Weatherall Remix)11. Evil (The Michael Cliffe House Remix)12. First Evil
Tracklista:1. The World Turned Upside Down2. The Diggers' Song3. The Hard Times of Old England4. To the Begging I Will Go5. The Recruited Collier6. The Rigs of the Time7. The Month of May8. Jerusalem9. Captain Swing10. General Ludd's Triumph11. Four Loomed Weaver12. Poverty Knock13. Song of the Lower Classes14. The Internationale15. Black Leg Miner1. Free & Easy2. Bringing the News from Nowhere3. Alice White4. Joe Hill5. Talking Union Blues8. Palaces of Gold9. Saltley Gates10. Coal Not Dole11. Harry Stone - Hearts of Coal6. The Man That Waters the Workers' Beer7. Dominion of the Sword12. Rolling Down the River13. If You Want a Better Life14. War
Tracklista: 1. The Deep 2. Aquacode Databreaks (Feat. Shabazz Palaces) 3. Drownt 4. The Deep (Instrumental) 5. Aquacode Databreaks (Instrumental) 6. Drownt (Instrumental)
Asecond volume of flute concertos from eighteenth-century Naples from period bandAuser Musici. Theirfirst album of this repertoire was particularly praised forthe impeccably stylish playing of flautist Carlo Ipata, and forthe discovery of the music itself, which despite its obscurity is delightfully appealing.The works are placed in their historical context in the booklet note by StefanoAresi, who writes: ‘To listen to the flute concertos of these composers is to be transported to the atmosphere of everyday music-making in Naples, that of the private concerts in the aristocratic palaces. They give a good idea of the extremely high average quality of the compositions habitually consumed by the cream of Neapolitan society, perfectly representing the taste of an era and the outstanding virtuosity of the performers who were regularly employed there’.