Lucy’s under ground, she’s got a mouth to feeeeeed

Mine

Eyelid Movies

When I'm Small

DESIRE / UNDER YOUR SPELL

System of a down - I-E-A-I-A-I-O (guitar cover)

TKOL RMX 1234567

Radiohead - Lotus Flower (Official RMX)

Cover of "Μεταμορφώσεις" by Vlassis Mponatsos
Originally released in 1991 
Music & Lyrics by: Giorgos Romanos

Guitar & Vocals by Matina Sous Peau
Drums by Sacha Kloostra sampled in
https://www.youtube.com/watch?v=rAQzNKxbgGE
Produced by Matina Sous Peau




Matina Sous Peau - Metamorfoseis(Vlassis Mponatsos Cover)

Navy Light

From the 1997 EMI album 'Women In Technology.'



Your Woman

Santigold Run the Road
Out now: https://santigold.lnk.to/IDWGFSID

New Music!! Check out my song “Run the Road” from my new project “I Don’t Want: The Gold Fire Sessions”

Lyrics:
Hour past time, and I didn’t want to wake up
Eh eh oh
All that’s fine, are we headin back home
Headin back home
Headin back home
Cross that line and the second we make it
All come round, now they sayin don’t go

I’m tired, still we rockin all days
Racin ‘gainst time, think we’re neck to neck
Got people talking that talk
Copy the rhyme but ain’t in their walk 
From outside looks like a circle
From on this side it seems like a wall
Rough ride, get me through it some way
Another long flight, make me earn the pay

We’re gone to run the road now
Gone, we’re gone now, we’re gone now
We’re gone to run the road now
Gone, gone now, we’re gone now

Face don’t lie, so I put on my make-up
Eh eh oh
Awake all night, can’t make my mind go slow
Mind wont slow
Mind wont slow

Flash that smile, it’s an industry of service
Don’t let ‘em  in when your humor’s too low
Never too low
Never too low

Hang tight, there’s a monkey on me
There’s A deal I made gonna set me free
Got people lost in their thoughts
A glory sometimes, so I pay the cost
And I call it out when I go
One town down, tryin kill ‘em all
It all rolls by like a highway
Take it all in cuz it’s gone today

We’re gone to run the road now
Gone, we’re gone now, we’re gone now
We’re gone to run the road now
Gone, gone now, we’re gone now
I don’t believe its for all of us
Tell you when I’m in
It’s a bit much
But I believe in what I’m here for
I believe in the rhthym of the road
I don’t got a need for so much more
That kind of free, kind of freedom is all I want

Santigold - Run The Road

Taken from the album 'ALL THAT WE'VE BECOME' available here:

iTunes: po.st/ATWBiT 
Spotify: po.st/ATWBSp
Apple Music: po.st/ATWBAm
GooglePlay: po.st/ATWBGp

LISTEN TO/FOLLOW SOCIETY HERE:

F: facebook.com/societymusicofficial
T: twitter.com/society_music_
V: youtube.com/SocietyVEVO

All That We've Become

Darius Feat. Max Jury - Echo

Taken from the Tricky album 'Maxinquaye' featuring Tricky and Martina Topley Bird on Vocals

Hell Is Round the Corner

⧩ Download/Stream ⧩
https://mrsuicidesheep.ffm.to/cajor-d...

CAJOR
https://soundcloud.com/cajor
https://www.facebook.com/cajorofficial/
https://twitter.com/CAJOROFFICIAL

Different Now

CAJOR - Different Now (Feat. Tess Merenthe)

Afrojack & Fedde Le Grand Feat. MC Ambush - 1234 (Albano Remix) FREE DOWNLOAD

Ripped Apparition

Midsummer Shadow

Public Memory - Midsummer Shadow

https://phantogram.komi.io/

Fall In Love Again (Desmond Remix) Out Now
Move In Silence feat. Big Boi Out Now

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

When I'm Small

PHANTOGRAM

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