Hardcore from Pensacola, Florida, USA.

created in vortex, realm and cave 20/21
thanks to azrael, lice, blaze and the villan

Breaking English, Bhatia’s audacious instrumental first album for ANTI- Records sets out to challenge existing musical vocabulary with a language of its own.
“‘Hoods Up’ was the first track I started on Breaking English, and one of the last ones I finished,” explained Bhatia. “Years in the making, with multiple discarded versions littering the path to completion, the piece is the result of me trying to push myself beyond my limits. That required wading into uncharted territory, but it also meant accepting myself for who I am. I think the music carries some of the struggle of its creation with it.”
“I started sculpting ‘Hoods Up’ in the wake of Trayvon Martin's senseless killing and the subsequent smear campaign against him: the systematic dehumanization of a young black teenager walking home in a hoodie. As I worked away at the song, escalating current events began to add layers of meaning to it. The white hoods from our country's past kept coming out of the woodwork, reminding us of the horrifying influence they continue to exert in the present.”
Bhatia is the first-generation American son of Muslim immigrant parents who trace their ancestry to India by way of East Africa. Early influences such as Jimi Hendrix, John Coltrane, and Madlib—as well as mentors and collaborators including Vijay Iyer and Billy Hart—prompted him to see music as a way to actively shape and represent his own identity, not limited by anyone else’s prescribed perspective.
Bhatia is also eager to bring the hybridity of his ideas to the live stage; He will be performing tracks from Breaking English with Ian Chang of Son Lux on drums and Jackson Hill on bass.

Channelling temperaments of dislocation and wanderlust, filtered through impressions of distinctly American landscapes – coasts, cities, prairie – and the sonic material of everyday experience, defamiliarized by crisis, the New York based composer and multi-instrumentalist, Lea Bertucci, delivers A Visible Length Of Light.
Conceived across much of 2020, A Visible Length is the product of real-time reactions to, and reflections upon, the instability of the year, distilled into a series of prescient auditory typographies that shimmer with life and hope.
Recorded at Bertucci’s home in New York City and in Omaha, Nebraska, during her residency at the Bemis Center for Contemporary Art, A Visible Length Of Light comprises seven condensed works – deploying bass clarinet, alto sax, manipulated tape, organ, a venu wooden flute, and field recordings made in places as wide-ranging as Rio de Janeiro, the California coast, and Dead Horse Bay – surrounded by four “Refrains” – brief, minimal segments that capture Bertucci improvising, via whispers of flute, with the sounds upfolding outside her apartment. Foregoing the long-form compositional approach that has marked her previous albums, it emerges as one of her most pointedly melodic, harmonically rich, and structurally... distinct efforts to date.
Laced with subtle nods to Bertucci’s long-standing immersion in early 20th century American traditional music (folk, bluegrass, jazz, and gospel), vast washes of spatial ambience, long-tones, pointillistic texture, and delicate interplay, weave an abstract vision of place in the face of displacement – what the composer describes as “the feeling of physically inhabiting a space, when the relationship to that space has become overwhelming, and provokes the desire to seek truth, transcendence, and moments of comfort, disquiet and catharsis through confusion” – that doubles as an intimate contemplation of collective experience and what it means to be American during turbulent times.
Indulging beauty, while simultaneously challenging notions of what that might be, fleeting impressions of emptied city streets in the midst of lockdowns and the overwhelming sprawl of the American midwest, merge with tense, aural metaphors for the necessary social unrest that has underscored their disarming quiet over the last year.
A Visible Length Of Light marks the relaunch of Bertucci’s Cibachrome Editions, conceived as a home for various projects and art objects, including recordings and music scores. It will be issued on vinyl in a standard edition of 475 copies and a deluxe edition of 25 copies that includes a custom-printed endless loop cassette containing an extended version of the track “Threshes”, as well as digital formats. more

For months now, Best Coast have been steadily cranking out EPs and singles full of heartbreakingly gorgeous low-fi fuzz-pop. This summer, they'll finally release their first-ever long-player.
Frontwoman Bethany Cosentino took to her ridiculously entertaining Twitter earlier today to announce a few details about Best Coast's debut album. It's called Crazy for You, and Mexican Summer will release it on July 27. Cosetino says, "We are stoookkkedddd!!!!!!!" So are we!

Remastered & expanded version of 1970 from the mysterious Linda Perhacs. Includes 5 previously unreleased bonus tracks, 'If You Were My Man' (demo & studio versions), 'Hey, Who Really Cares' (with intro), 'Chimacum Rain' (demo), Spoken Intro to Leonard Ro

布鲁斯・斯普林斯廷（英语：Bruce Springsteen，1949年）是美国乡村与摇滚的歌手、创作者与吉他手。Springsteen经常与E街乐团共同创作与巡回演出，此外也以个人的身份或是与其它乐手联袂演出。一方面明显地受到埃尔维斯・普雷斯利、伍迪・格思里、皮特・西格、埃迪・科克伦与鲍勃・迪伦的影响，而另一方面也受到60年代以来的摇滚乐与节奏布鲁斯的薰陶，斯普林斯廷的音乐也被称作“heartland rock”，带着流行的风味，诗人般的歌词，与美国爱国主义情结，尤其是以他的家乡新泽西为主轴来环绕。他对于表达一般中下阶层民众的生活，不仅是发自内心的诚恳，更有着悦耳动听的旋律以及辛辣直截的批判，让他得到了数座葛莱梅奖、一个奥斯卡小金人，并进入摇滚名人堂。

Technical Death Metal

已故说唱歌手Juice WRLD遗作专辑《Legends Never Die》将于本周五（7月10号）正式发布！专辑将包含15首歌曲！

Experimental musician Claire Rousay and visual artist Dani Toral have been in each others’ orbit since young adulthood in San Antonio, but it took a decade for them to find A Softer Focus. Before Rousay had put her compositional gray matter to task for the album’s music, she knew she wanted to work with Toral- being familiar with her past work centering her Mexican heritage. Toral’s vibrant color palette and reinterpretations of comfort in oneself and the natural, vegetative world connected easily with her explorations in communication and intimacy. Historically, Rousay primarily operated in non-melodic experimental music, sculpting compositions from obsessive field recordings, inserting voice-to-text, percussion played via text message sounds, conversations, and daily life. By contrast, the six-song collection and collaborative project A Softer Focus is lush and almost entirely melodic, even veering into pop at a couple points.
Though Rousay created the album’s recordings, Toral created the artwork and visual narrative for the album - the recurring floral motifs and designs, the photography, the video work, and the ceramic whistles that accompany a special edition of the vinyl record. She also assisted in crafting the linguistic framework, assisting with song titles, and coming up with the name of the album - “A Softer<span><span class="bcTruncateEllipsis">...</span></span><span class="bcTruncateMore" style="display:none"> Focus” became the album’s central motif, alluding to the meditative or recollective-dream state of creating. Toral, being primarily a painter and ceramicist, took on this challenge of working digitally to create a visual language accompanying the music. She wanted to explore the feelings of present familiarity she felt with Rousay, through warm light and glow while mimicking the flow of the music using her organic soft shapes melding together and creating a portal-like entry to the album. Fittingly, the songs gently amble from one to the next, creating a syrupy, hypnagogic narrative that uses string sections, field recordings, and vocals to touch upon love, friendship, endurance, and transcendence - sounding like what living inside a brain must feel like, oscillating on how far to let its guest in.
Songs like “Peak Chroma” and “Stoned Gesture” are the closest Rousay’s gotten to pop, and are signposts of her growing compositional prowess. It’s on the third track “Peak Chroma” that the first and most wonderful surprise of A Softer Focus arises. The song begins with an airy drone that cuts out right as Rousay’s tastefully autotuned voice emerges alongside cello from Chicago musician Lia Kohl. “Stoned Gesture” also boasts autotuned vocals, though it is a more overtly melancholy composition, perhaps even dirge-like while Rousay brings in field recordings of percussive fireworks that dart around another of clinking ice in a glass.
A Softer Focus is an exciting next step for both Rousay’s compositional practice and Toral’s visual work, showcasing both artists venturing into new territories, and coming out the other side with strengthened friendship and impactful creation. It’s a testament to their trust, playfulness, and candor that we’re allowed to come along for the ride.</span><span>&nbsp; <a>more</a></span>releases April 9, 2021

All music by claire rousay
All design and artwork by Dani Toral
Cello on Tracks 2, 3, & 6 by Lia Kohl
Voice on Track 4 by Ben Baker Billington
Violin on Track 4 by Macie Stewart
Violin on Track 5 by Alex Cunningham
Mastered by Andrew Weathers

by Jon Azpiri
After decades of influencing everyone from jazz musicians to hip-hop stars, Pieces of a Man set a standard for vocal artistry and political awareness that few musicians will ever match. Scott-Heron's unique proto-rap style influenced a generation of hip-hop artists, and nowhere is his style more powerful than on the classic "The Revolution Will Not Be Televised." Even though the media -- the very entity attacked in this song -- has used, reused, and recontextualized the song and its title so many times, its message is so strong that it has become almost impossible to co-opt. Musically, the track created a formula that modern hip-hop would follow for years to come: bare-bones arrangements featuring pounding basslines and stripped-down drumbeats. Although the song features plenty of outdated references to everything from Spiro Agnew and Jim Webb to The Beverly Hillbillies, the force of Scott-Heron's well-directed anger makes the song timeless. More than just a spoken word poet, Scott-Heron was also a uniquely gifted vocalist. On tracks like the reflective "I Think I'll Call It Morning" and the title track, Scott-Heron's voice is complemented perfectly by the soulful keyboards of Brian Jackson. On "Lady Day and John Coltrane," he not only celebrates jazz legends of the past in his words but in his vocal performance, one that is filled with enough soul and innovation to make Coltrane and Billie Holiday nod their heads in approval. More than three decades after its release, Pieces of a Man is just as -- if not more -- powerful and influential today as it was the day it was released.

Blues for the Red Sun is the second studio album by American heavy metal band Kyuss, released in 1992.[2] While the album received mainly favorable reviews, it fared poorly commercially, selling only 39,000 units. It has since become a very influential album within the stoner rock genre.