hex | sleep When You're Dead

Go To Artist Page

Recommended if You Like
Coope, Boyes & Simpson Swan Arcade The Watersons

Album Links
hexonline.org Nexhit Tradebit MusicIsHere MusicIsHere PayPlay Apple iTunes Bitmunk GreatIndieMusic GroupieTunes

More Artists From
Great Britain / UK

Other Genres You Will Love
Folk: Traditional Folk Folk: Power-folk Moods: Type: Vocal
Sell your music everywhere
There are no items in your wishlist.

sleep When You're Dead

by hex

Savage traditional 3-part harmony
Genre: Folk: Traditional Folk
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Sign up for the CD Baby Newsletter
Your email address will not be sold for any reason.
Continue Shopping
just a few left.
order now!
Buy 2 or more of this title's physical copies and get 20% off
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
1. Babylon Is Fallen
3:54 $0.99
2. Daddy Fox
3:54 $0.99
3. Wild Goose
2:34 $0.99
4. Sweep Chimney Sweep
4:36 $0.99
5. Bright Morning Star
4:28 $0.99
6. White Cockade
3:45 $0.99
7. Black Seam
4:17 $0.99
8. What Put the Blood?
3:22 $0.99
9. Prickle Hollybush
5:06 $0.99
10. King of Peace
2:44 $0.99
11. Shallow Brown
4:25 $0.99
12. Seamen's Hymn
1:15 $0.99
Downloads are available as MP3-320 files.


Album Notes
visit www.myspace.com/hexunaccompanied for more soundclips & info.

Review of 'sleep when you're dead' written by David Kidman at http://www.netrhythms.co.uk/

This is one of the most thrilling CDs of unaccompanied folk singing I've heard of late. Hex is a three-piece based in the desperately unpromising locale of Kettering (East Midlands): the team comprises Terry and Linda Dix and Ruth Price, and their stock-in-trade is upfront, full-in-yer-face (or should that be in-yer-ear?!) acappella: death-defying resurrections of (mostly, but not exclusively traditional) folk songs which they consider to have been neglected over recent years. Hex convey with total confidence the thrill and immediacy of the experience of raw acappella, with intense and sturdy voices, daring harmonies, true passion and a real care for projecting the essence of their chosen songs. It's probably no coincidence that a number of these are favourites of mine too, and mostly (notwithstanding their relative neglect by latterday folk performers) regarded as staples of the better class of singing session, from what I might term the classier end of the "rousing chorus song" spectrum. (By which I mean Daddy Fox and not The Wild Rover, Wild Goose Shanty not South Australia.) The track list also includes some sacred-harp (King Of Peace), which along with a majestic and powerful version of the stirring Southern Baptist hymn Bright Morning Star is a disc highlight; Hex's supremely bold treatment of Sweep Chimney Sweep (famous from the singing of the Copper Family) surpasses even the mighty Wilsons' rendition, while their Shallow Brown is genuinely refreshing, not only for its expanded text but for its return to the authentic worksong delivery, a welcome antidote to the dragged-out dirge pace we tend to encounter when this shanty is performed. There's also a feeling of the shanty about Hex's rendition of Prickle Holly Bush, with a kind of call-and-response thrust to the rhythm and a more robust tune than the tiresomely jolly one beloved of the strummer brigade. The heartfelt though brief closing Seamen's Hymn was a discovery to me, and I was intrigued by the liner-note's account of its hybrid provenance. Sting's Black Seam, the disc's only contemporary selection, is given a deliberately stark, metrical reading that really brings its darkly sinister message home.

In terms of sheer impact on this listener, I can only compare Hex's CD to the neck-prickling effect of Swan Arcade. It may be no coincidence that the male-female balance of Hex (1:2) is a mirror-image of Swan Arcade (2:1), and fascinatingly, on some of the songs the individual voices' roles within the overall texture and harmonic structure are broadly comparable. Hex, too, sing with a bold sense of purpose that goes beyond mere heavy-duty aural onslaught - but I mustn't labour the comparison, for Hex have a sound and blend that's all their own, with striking contrasts in their individual vocal timbres. Their approach to harmony involves much abundantly creative switching around of parts and lines, but the strength and clarity of the voices and their diction ensures that the song's message is not lost in any dense harmonic fog. This directness of expression is found all too rarely on the current folk scene (there's also the Midlands trio Young No More, whose Three For A Girl CD I reviewed last year, although YNM's performing style, though equally forthright, is generally unison- rather than harmony-based). Not for either trio the carefully worked-out arrangements, the pointed and precisely articulated voicings and clearly-prescribed cultural and harmonic byways of (say) CB&S, Artisan and Cockersdale – fine though these are within their own sphere. There should, I feel, always be a place for Hex's type of performance, though it seems almost old-fashioned (in the sense of unfashionable) in the context of the current vogue for vocal ensemble work that's increasingly clever, ambitious or perfectionist - or pretty. More power to Hex and their defiantly unprettified kind, I say, for they bring back the frisson of discovery of the appeal of the unbridled joy of singing, the unadulterated and untreated sound of the human voice in full flight. It's all too easy for me to wax "hextatic" about their sound, for it's a sound that will waken the dead, not leave them to sleep!

David Kidman http://www.netrhythms.co.uk/



to write a review