WAYFARER is black metal of the American West. A cavalcade of fury, melancholia, and dust-laden storytelling; the band is informed by the fierce and adventurous spectrums of heavy music, along with the stark Americana of the "Denver Sound" artists that carved the identity of their home.
In "A Romance With Violence", their most fully realized effort to date, WAYFARER presents a searing silver-screen requiem for the myth of the West. This new work sees them at their most intense and triumphant, as well as at their most pensive. Bold, rhythmic and riff laden, the band?s pointed expedition across the frontiers of black and extreme metal are tinged with the grit and genuine air of artists like Sixteen Horsepower and Jay Munly, and the majestic heights of the Ennio Morricone/Sergio Leone collaborations. Through seven harrowing anthems of the high plains, the album paints a poignant exploration of heroes and killers, the setting sun on a romantic era, and the shadow it has cast on the world we live in today.
WAYFARER, from Colorado's "Queen City of the Plains", has origins beginning around 2012. Guitarist/vocalist Shane McCarthy formed the band with drummer Isaac Faulk (Blood Incantation), bassist/vocalist James Hansen, and original guitarist Tanner Rezabek. They would release 2014's "Children of the Iron Age" and 2016's "Old Souls" via Prosthetic Records, after which they would replace the departed Rezabek with longtime collaborator Joe Strong-Truscelli as full-time guitarist. Partnering with Profound Lore Records in 2017, the band released "World's Blood" in 2018 on the label, ushering in the current chapter and paving the way for this new release.
With the release of "A Romance With Violence", WAYFARER fully manifests a sound that is uniquely theirs, and is unlike anything before it. Following its release, they will soon be seen bringing their shattered view of the American West to stages across the world.

LE061
claire rousay is a person who performs and records. She currently lives in San Antonio, Texas. Her performances and recordings explore human relationships and self perception.
written and recorded by claire rousay
violin by alex cunningham
“innocent” written/performed by Our Lady Peace
mastered by andrew weathers
thanks to Mari, Sabney, and everyone I've shed a tear with
Artist notes:
I've recently been exclusively working with field recordings and text to voice programs. This piece was a weird detour for me. The inclusion of synthesizer sounds completely caught me off guard. I guess I was missing harmony. D major, as usual.
“it was always worth it” documents a romantic parting of ways. the voice to text is sourced from various love letters over the last six years. domestic “field recordings” from the last week of the relationship fade in and out while synthesizers hold everything together. the synthesizer sounds are a detour from my recent work. i only recently started to incorporate harmonic elements into my music and this felt like a good chance to try and dive deeper into that world. harmony is emotional right? idk, other thoughts/phrases that come to mind when i think of this 20 minutes of sound include “emo ambient”, “breakup album”, “uncomfortably revealing”, etc.
I love the domestic sounds, sounds where the microphone is involved in the environment, sounds where things change, sounds where things stay the same. Water recording sounds are overdone and I don't mind. I love the sound of voices, especially the voices of my loved ones. Those are the sounds I listen to.
Pauline’s Deep Listening: A Composer's Sound Practice is what anyone should read.

A path back to the primordial lava lake from which Eartrheater first emerged.
"While the album renews her focus on guitar performance and legible structure, Eartheater balances the unabashed prettiness of acoustic harmonic songs with the dissonant gestural embroidery of oblique instrumentals. Having fallen back in love with the idioms that first captivated her, she worked to crack open the techniques that had fossilized inside of her, while still seeking to apply the electro-alchemical knowledge she picked up along her journey. The result of a laborious revival in fire, Phoenix recontextualizes Eartheater’s combinatorial approach to production within her most confident abstractions, adjacent to some of her most direct songs to date.
Eartheater composed and workshopped most of Phoenix over a ten-week artist residency (FUGA) in Zaragoza, Spain, housed in a sprawling, cubic glass facility that looked out over wildflower-flecked mountains. Following an intensive period of recording and touring, the residency provided her with an unprecedented period of solitude in the small Spanish town. Her newfound sense of isolation ultimately became liberating, leading her to sidestep the crutches and steady grids inherent to electronic music, and to conceive pieces rooted in her guitar and her desire to perform with other players live.
Eartheater’s voice glows brighter than ever at the center of Phoenix’s arrangements — her familiar operatic highs are grounded by newly expanded velvety lows, leaping lucidly up and down octaves. Her intricate guitar work flits across baroque fingerpicked passages and latches into cyclical figures that meet her voice in lush harmonic progressions. From her own guitar parts, to the orchestral string arrangements she wrote for the Spanish conservatory group Ensemble de Camara, to the harp and violin lines performed by her close friends and collaborators Marilu Donovan and Adam Markiewicz of LEYA, Eartheater’s applications of acoustic instruments bring an extraordinary emotional emphasis to her compositions. Phoenix prepares for a future where electronic sound — or even electricity itself — isn’t guaranteed, but where her music could still come to life with a group of hands dexterously winding across instruments against the light of the fire. Eartheater drew inspiration for Phoenix from geological imagery, whose turbulence and potential for genesis mirror the trajectory of her own life and relationships. The album’s instrumental pieces directly reference these moments of upheaval, colliding audio of volcano and lightning storms with resplendent string and vocal arrangements. “Volcano” looks out over the album from its peak at the center, its tectonic plates colliding in towering melodies and layers of vocal harmonies, as piano accents crest and cascade down the mountainside. When Eartheater sings, “I’m still building mountains underground,” she is trying to reconcile the pinnacles of her ambition with the comforts of a simple existence buried beneath the surface. “Diamond in the Bedrock” finds her admiring the gemstone forming under intense pressure inside her, but rejecting the romantic promise that the diamond signifies, choosing instead to escape a relationship that has come to stifle her.
With the album’s subtitle, Flames Are Dew Upon My Skin, Eartheater imagines being tempered to a state of perfect equilibrium, suspended between melting and freezing, where fire could streak across her body and appear as a crystalline blush. This image captures the tension at the heart of the Eartheater project, as she decides how best to distill her passion and render it cool to the touch; to find beauty in simple pleasure, while keeping one eye fixed on the peaks that loom in the horizon."

Long in the Tooth represents the culmination of a 15-year journey by a band that has consistently carved its own distinct path through the grooves of history. Celebrating 15 years from the release of their debut album, Daptone's Royal Court from Staten Island delivers a truly epic collection of new material that finds the group further bridging the gap between the farfisa-fueled Ethio-Funk stylings of their early recordings, with the psychedelic, Sabbath-inspired hellfire of late.
“In some ways, it’s reminiscent of our first two albums The Budos Band and Budos II,” says Tom Brenneck. “We branched off on Burnt Offering and V. Now, we’re still moving forward. You can play these songs on the dance-floor. We knew the horns had to stand out too. Thinking about hip-hop allowed us to put the bounce back into The Budos.” This is evident from needle drop to final rotation. Heavy drum breaks, reminiscent of the B-Boy approved grooves of their early output reign supreme, setting the stage for the pulsating, hallucinatory wall of organ, menacing horns, and rugged guitar riffs to permeate your soul - leaving the listener in a rhythmic wash of Budonian rapture.

"Fighter" is the third single written by Christina Aguilera and Scott Storch for Aguilera's second album Stripped. Released in 2003, the single peaked at number twenty on the Billboard Hot 100, where it became Aguilera's ninth U.S. top-twenty single. "Fighter" also reached number three in the United Kingdom and Canada, and number five in Australia.

Erica Stoltz - Vocals, Bass
Jeremy Sosville - Guitar, Backing vocals
Nathan Honor - Drums
Tracked and mixed by Colin Marston at Menegroth, The Thousand Caves in Queens, New York

Yasiin Bey (fka Mos Def), Ka, Mach-Hommy, RZA, GZA, Raekwon, Aesop Rock and KRS-One are just a few of the projects DJ Preservation has worked on and turned into audio gold over his deeply illustrious 20-year career. His most recent piece of work can be described as having a rooted sentiment of awareness and aesthetic environment. Over the three years he spent living in Hong Kong, Pres found a way to balance his solitary approach with the rich cultural diaspora of the Cantonese city