Halcyon (Tape 1) is out now everywhere!

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egodeath

At the End or the Beginning

Arya Esi W a crazy Future House track all made by him.

GAINESVILLIAN - ARYA ESI (PURE VIBEZ EXCLUSIVE)

On The Block

Steamroller

Peyo House Bop

Follow Josh Rubin: http://soundcloud.com/joshrubinmusic

Lyrics:

Livin in the moment
livin in the moment, yeah
alright,
the night is young it's just begun

when your words are uncertain
and you can't get through the night
without her body getting closer
can we please turn off the lights

and just groove on by
still frozen in time
i'm fading away

you got a hold of me
I can't fight the notion comin over me
well, I might as well give in
living the moment like it was chosen
you and me we're golden
we just gotta work it out

cause when your words are uncertain
and you can't get through the night
without her body getting closer
can we please turn out the lights

and just groove on by
still frozen in time
i'm fading away

<a href="https://theartistunion.com/tracks/3f99c2?soundcloud_ref=description" rel="nofollow" target="_blank">Download for free on The Artist Union</a>

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Fading Away (feat Josh Rubin)

Dj Zitkus - She

VHS Diaries

VHS Hero

Blood and Bone is a reckoning set to rhythm—an album built where the body meets myth, where memory scrapes against metal, and survival grows teeth. Its sonic palette threads drum-machine pulse through dust-bitten guitars, twang through circuitry, and flamenco flicker through industrial grit. Every track lives in the tension between ruin and insistence, between a world that shakes with fire, violence, wind, and destiny, and a narrator who keeps stepping forward anyway. The project treats rhythm not as a backdrop but as a heartbeat you can almost hear splitting, mending, and refusing collapse.

Across this landscape, the human form is battered, unmasked, hunted, resurrected, and set ablaze—but never surrendered. The music leans into acoustic grain, the sweat-salt of live strings, the grit of surf twang and outlaw twine, yet plants those textures in a scaffold of relentless electronic precision. What emerges is a bruised hymn to endurance: techno carved out of earth, alt-country scorched into myth, psychobilly swagger sharpened by war and weather. Blood and Bone doesn’t seek redemption so much as it chronicles the cost of staying alive when the elements, the mountains, the inner voices, and the gods all stare back—and demand a response.


Black Goats

Really Good For Me

It’s impossible not to hear freedom and excitement coursing through the veins of Marco Benevento’s seventh studio album, ‘Let It Slide.’ Produced by Leon Michels (The Arcs, Lee Fields), the record introduces a gritty, soulful edge to Benevento’s brand of high-octane keyboard wizardry—an uptempo, uplifting sound he playfully describes as “hot dance piano rock.” For all Benevento’s virtuosity on the keys though, the songs here are driven primarily by intoxicating grooves, with spare drums and minimalist bass lines underpinning infectious, intentionally lo-fi vocal hooks. The resulting vibe is a timeless one, filtering elements of vintage R&B and soul through modern indie rock and pop sensibilities and peppering it with the kind of adventurous improvisation that Benevento’s come to be celebrated for worldwide.

Acceptance is a recurring theme on the record, and Benevento’s songs often find themselves recognizing that contentment can come only once you’ve freed yourself from the chains of desire and regret. Upon close listen, one can find Benevento’s own personal philosophies subconsciously bubbling up throughout the songs. “You’ll feel better, I’ll just say / When you finally let it go,” he sings on the funky “Say It’s All The Same,” which features vocal contributions from bandmate Karina Rykman. The hazy “Solid Gold” celebrates the simple joy of being in the moment with someone you love, while the Lennon-esque “Lorraine” (co-written with Simone Felice) grapples with loss and change, and the anthemic “Send It On A Rocket” contemplates loneliness and connection.

Dubbed "one of the most talented keys players of our time" by CBS Radio, Benevento’s released critically acclaimed solo albums over the last decade, performed everywhere from Carnegie Hall and Newport Jazz to Lollapalooza and Bonnaroo, and worked in the studio and on the road with the likes of Richard Swift (The Shins, The Arcs), Jon Brion (Spoon, Aimee Mann), A.C. Newman (The New Pornographers), and Simone Felice (The Felice Brothers, The Lumineers) among others. "It’s safe to say that no one sees the keyboard quite like Marco Benevento's genre-blind mashup of indie rock, jazz and skewed improvisation," the LA Times raved, while NPR said he combines "the thrust of rock, the questing of jazz and the experimental ecstasy of jam," and Rolling Stone praised "the textures and colors available in his keyboards and arsenal of manipulated pedals and effects," along with his "deceptively rich, catchy melodies and straight-ahead grooves."

At the End or the Beginning

Marco Benevento

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