its giving ShE liKeS tHe dArk oN hEr miLk wHiTe nEcK

why take more knives?

FAMILIAR FACES

Chapter One: Birth.
The first part of my story — the feeling of losing love, watching people drift far away, and being left still, with only my own heartbeat. This is where everything began.

All the things

Narrative bleating 
Self defeating 
Ideologies

Mantra repeating 
Self fulfilling 
Prophecies 

Infiltrating 
Virtue signalling
Policies   

Punks not that
Punks not this
Punk was never 
COMMUNIST!

Purge the reds from your scene
Make the venues nice and clean
Keep socialism out your town 
Politics of leftist clowns

Punk is freedom 
It’s liberty
Punk doesn’t preach 
What you should be

Get fucked commie punks

liberty-punks-(no-to-communism-mix).mp3

actually good shit i made in a while aside from other stuff ive posted xdddd hope yall enjoy and show luvv pathetic 4 lyfe dropping on halloween on all platformz

pathetic 4 lyfe

BUY VINYL:  http://www.darkentriesrecords.com/store/vinyl/the-frozen-autumn-time-is-just-a-memory-ep/

he Frozen Autumn is an Italian darkwave band, formed in May 1993 in Turin, Italy. Originally the solo project of singer, keyboardist and synth programmer Diego Merletto, guitarist Claudio Brosio joined on during early studio sessions and live performances. Together they recorded and released two albums, “Pale Awakening” in 1995 and “Fragments of Memories” in 1997. In 1998, Claudio left the band and Diego recruited Arianna (aka Froxeanne) who sings, programs and composes. After 18 months of work, The Frozen Autumn's third album, “Emotional Screening Device”, was released in April 2002.

“Time Is Just A Memory” is a 6-track overview of songs from The Frozen Autumn’s first three albums. Characterized by a blend of melancholic vocals, atmospheric gothic-wave and 1980s-style electropop, the duo call their style "frozen wave”. The Frozen Autumn have stated that labelmates Clan of Xymox have been their main source of inspiration over the years. Other influences include Dead Can Dance, Cocteau Twins, The Sisters of Mercy, Xmal Deutschland, David Sylvian and Depeche Mode. These six tracks stand out for their rich melodies, from the  guitar-laden early tracks “Dusk Is Like A Dagger”, “Wait For Nothing”, “There's No Time To Recall”, and “This Time,” to the  electronic sheen on later songs “Is Everything Real?” and “Silence Is Talking”.

All songs have been remastered for vinyl by George Horn at Fantasy Studios in Berkeley. The release is housed in a custom-made jacket by Peer Lebrecht, from German electro/synthpop band The Dust Of Basement, incorporating a photograph by Diego over a textured background that recalls early 4AD designs. Each copy comes with a double sided 11x11 insert with lyrics and notes.

Dusk Is Like A Dagger

Into the Water

Nervous Hands

Turkish Leather

Final Service

Who Taught You How to Love

Stockholm, Sweden's The Janitors get the Al Lover treatment with a heavy Neo Pysch boom trap remix. Melt your mind out of your ears to this one.....

More on The Janitors -
http://thejanitors.se/

Peep the original -
http://soundcloud.com/janitors

The Janitors "Death Song" Al Lover Remix

One thing you won’t be able to avoid on Bambara’s Stray is death. It’s everywhere and inescapable, abstract and personified  – perhaps the key to the whole record. Death, however, won’t be the first thing that strikes you about the group’s fourth – and greatest – album to date. That instead will be its pulverising soundscape; by turns, vast, atmospheric, cool, broiling and at times – on stand out tracks like “Sing Me To The Street” and “Serafina” – simply overwhelming
 
Bambara – twin brothers Reid and Blaze Bateh, singer/guitarist and drummer respectively, and bassist William Brookshire – have been evolving their midnight-black noise into something more subtle and expansive ever since the release of their 2013 debut Dreamviolence. That process greatly accelerated on 2018’s Shadow On Everything, their first on New York’s Wharf Cat Records and  a huge stride forward for the band both lyrically and sonically. 
 
The album was rapturously received by the press, listeners and their peers. NPR called it a “mesmerising...western, gothic opus,” Bandcamp called the "horror-house rampage" "one of the year's most gripping listens," and Alexis Marshall of Daughters named it his “favorite record of 2018.”  Shadow also garnered much acclaim on the other side of the Atlantic. Influential British 6Music DJ Steve Lamacq, dubbed them the best band of 2019’s SXSW, and Joe Talbot of the UK band IDLES said, "The best thing I heard last year was easily Bambara and their album Shadow On Everything."  The question was, though, how to follow it?
 
To start, the band did what they always do: they locked themselves in their windowless Brooklyn basement to write. Decisions were made early on to try and experiment with new instrumentation and song structures, even if the resulting compositions would force the band to adapt their storied live set, known for its tenacity and technical prowess. Throughout the songwriting process, the band pulled from their deep well of creative references, drawing on the likes of Leonard Cohen, Ennio Morricone, Sade, classic French noir L’Ascenseur Pour L’Echafraud, as well as Southern Gothic stalwarts Flannery O’Connor and Harry Crews.
 
Once the building blocks were set in place, they met with producer Drew Vandenberg, who mixed Shadow On Everything, in Athens, GA to record the foundation of Stray. After recruiting friends Adam Markiewicz (The Dreebs) on violin, Sean Smith (Klavenauts) on trumpet and a crucial blend of backing vocals by Drew Citron (Public Practice) and Anina Ivry-Block (Palberta), Bambara convened in a remote cabin in rural Georgia, where Reid laid down his vocals.
 
The finished product represents both the band's most experimental and accessible work to date. The addition of Citron and Ivory-Block’s vocals create a hauntingly beautiful contrast to Bateh’s commanding  baritone on tracks like “Sing Me to the Street”, “Death Croons” and “Stay Cruel," while the Dick Dale inspired guitar riffs on “Serafina” and "Heat Lightning" and the call-and-response choruses throughout the album showcase Bambara’s ability to write songs that immediately demand repeat listens.
 
While the music itself is evocative and propulsive, a fever dream all of its own, the lyrical content pushes the record even further into its own darkly thrilling realm. If the songs on Shadow On Everything were like chapters in a novel, then this time they’re short stories. Short stories connected by death and its effect on the characters in contact with it. “Death is what you make it” runs a lyric in “Sweat,” a line which may very well be the thread  that ties  these stories together.

BUY LP/CD

Bambara - Serafina (from the 'Stray' album out 2/14)

Off the album 'Imitations' out October 18th 2019
Cover of 'Hey Ya!' by OutKast

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Who Taught You How to Love

King Dude

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