The cover painting and title, is a nod to Bottles of Hope For Gaza, where in Egypt, bottles containing rice, flour, and beans were thrown into sea in hopes that they would reach the shores of Gaza. In organizing this project, I hope to offer encouragement to anyone in the music community, to speak up in song and to utilize our collective power. I believe it is vital to our own hearts, and our lives as artists, to empathize and show empathy to this cause.

All proceeds of the release will be donated to ANERA, a charity which offers a whole suite of humanitarian aid and emergency relief in Gaza, as well as across the wider Middle East. The organisation’s motto is “Where hope finds a way,” a sentiment more relevant than ever. Because for all of the hand-wringing and well-intentioned prayers, what the people need now is action. And the only way to achieve the required response is for wide swathes of those watching on to roll up their sleeves and do anything they can. Songs of Hope for Gaza is just one small effort to add to this collective action, and one which will hopefully inspire others to lend their energy to the drive. Victoria invokes a quote from Woody Guthrie’s Bound for Glory to encapsulate the spirit of the release:

All of this talking about what’s up in the sky, or down in hell, for that matter, isn’t half as important as what’s right here, right now, right in front of our eyes. Things are tough. Folks broke. Kids hungry. Sick. Everything. And people has just got to have more faith in one another, believe in each other. There’s a spirit of some kind we’ve all got. That’s got to draw us all together.

Songs of Hope for Gaza will be released on the 28th October via Pretty Purgatory and Dear Life Records and you can pre-order it now.

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Released to coincide with his birthday, and organised by Dan Wriggins (of Friendship) in collaboration with Dear Life Records, You Were Alone: An Owen Ashworth Almanac is a covers compilation featuring versions of Owen’s songs from family, friends, labelmates and fans. A celebration which recognises a birthday but also so much more than that. A body of work and the burgeoning legacy it has and continues to establish, not to mention the blossoming community fostered through Owen’s label Orindal Records.

And community feels like the right word for the compilation. Both in terms of the gathered artists and the characters they bring to life. Because hearing the songs in different voices really brings home the diversity of personalities present across Owen’s work. Pedro the Lion adds a weariness to ‘My Sister’s Birthday’ with his distinctively gruff fondness. Claire Cronin is the perfect person to fully excavate the spookiness of ‘Pamela’. MJ Lenderman and Karly Hartzman raise a glass to poor old Christmas Steve. Sinai Vessel captures ‘Kitty Winn’ in all its sad affection.

Some, like Lisa/Liza‘s ‘Rabbits’ or Karima Walker‘s ‘Same Dream’, take the original versions back to the traditional folk roots, while the likes of Ylayali, Moon Racer and Bedbug lean into the electronic, harking back to earlier CFTPA days. What’s impressive is how the distinctive “Ashworthian” voice remains across the spectrum. Even the tracks with no literal voice, be it Robert Stillman‘s take on ‘Christmas in Nightmare City’ or Gordon Ashworth‘s extended guitar version of ‘Nephew in the Wild’, lose none of their ability to evoke the tales we’ve grown to hold so dear. Because while Dan might have intended to organise a birthday party, it turned out more like a reunion. A gathering of Owen’s characters, our friends. Still here, still living, still with so many stories to tell.

Cover painting by Martha Miller

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