'Space Werewolves Will Be The End Of Us All' is the new album from Blockhead [@blockheadnyc], out Sept. 3, 2021 via @FutureArchiveRecordings.

2xLP / CD / DL / STREAM
https://blockheadnyc.com
__________________________________________

Written during and heavily influenced by the experience of Covid-19 and quarantine, prolific producer and instrumental hip-hop beatmaker Blockhead emerges with his new album 'Space Werewolves Will Be The End Of Us All'. A deep journey through classic and not-so-classic beats, riddled with vocal samples covering sci-fi drenched imaginative themes, fusing numerous genres and eras within songs, and exploring variable quarantine emotions, the album brings fans Blockhead’s signature sound while offering something slightly different, and certainly timely. The album will be released via the indie electronic label Future Archive Recordings and is available on Vinyl, CD, and Digital formats.
__________________________________________

Inquiries: hello@futurearchiverecordings.com
__________________________________________

Space Werewolves Will Be The End Of Us All

Old Man Yells At Clouds

BUY / STREAM

Blockhead - Old Man Yells At Clouds

"Hypnotized" LP, out now on Sacred Bones Records

LP/CD: http://bit.ly/1UymjbO
iTunes: http://hyperurl.co/Hypnotized

Website: https://dreampolicenyc.bandcamp.com/releases

Tourdates: http://www.sacredbonesrecords.com/pages/artists-on-tour

Dream Police - Hypnotized

Tango & Thrash

Captain Ron/Overboard

🎶 Musician Talks Politics and Doesn’t Stay in His Lane

There’s an old cliché in the music industry: “Stick to your lane. Don’t mix art with politics. Just entertain.”
But what happens when the lane itself is blocked — by corruption, censorship, and the theft of ideas too big to ignore?

The Storm Will Remember Us is not just an album. It is a testimony, a document of resistance. Each track is both a song and a witness statement — from the attempt to bury new physics equations, to the absurdity of sitting on unmeasurable intellectual wealth while being denied a basic loan, to the lived experience of whistleblowing in a system that punishes truth-tellers.

I’ve been told more than once that musicians should “stay out of politics.” That art should be harmless, apolitical, decorative. But the truth is simple: music has always been political. From Billie Holiday singing “Strange Fruit” to Bob Dylan plugging in his guitar, to Gil Scott-Heron reminding us that the revolution will not be televised — songs have always been frontline weapons in the battle over reality.

This album joins that tradition. It weaves protest, blues, dada collage, folk testimony, and storm-driven myth into a single narrative: one person’s fight against censorship, corporate theft, and the absurdity of an economic system incapable of recognizing emergent wealth.

You’ll hear anthems, ballads, lullabies, and storm songs. You’ll hear anger and exhaustion, satire and sincerity, fury and fragility. It is not meant to be polite. It is not meant to stay in one lane.

Because when institutions silence science, when corporations erase whistleblowers, when banks measure worth in decimals while ignoring the fire of discovery, there is no lane left. There is only the open road — and the storm that remembers.

So here it is. My songs, my testimony, my politics, my math, my truth.
Play it loud. Share it freely. And if someone tells you to stay in your lane — ask them whose lane it is, and who’s afraid of what happens when the music changes direction.

— Matthew Chenoweth Wright
The Storm Will Remember Us

Headshrinker

DRUNK MUMS