# from Apple Music

Merry Christmas and a happy 2023!

If you listen closely, you can hear sleigh bells in this new remix. It's up for free to enjoy (or annoy your in-law's) during your family dinner :)

All the best!
T

Free download

Beastie Boys - Sure Shot (Thommie G Remix) Free DL

The PsychoTrópicos project has created tropicalized adaptations for alternative and psychedelic rock songs. The arrangements take into consideration the original song details, through its interpretation with Brazilian acustic instruments like the cavaquinho, 7-string guitar, viola caipira, pandeiro, reco-reco, agogo, triangle and cuica, classical instruments like the cello and flute, along side with more unusual sounding like Indian sitar, Venezuelan cuatro, ukulele, moringa, charango, among others... The vocals are influenced by the refined simplicity of bossa nova. The project includes musicians from the cities of Santos and Sao Paulo, Brazil.

I Bleed [Pixies]

Free Download

Beastie Boys - Root Down (Cyclist Disco Mix)

Pixies - Here Comes Your Man

Tough Guy (Beastie Boys)

Heart Attack Man is the 16th song on Ill Communication by The Beastie Boys, released May 23, 1994.

Jack Shirley sings and plays guitar in Everybody Row, and runs The Atomic Garden studio. According to Wikipedia he used to play in some band called Comadre. He is generally one hell of a good guy.
https://www.facebook.com/everybodyrow
http://everybodyrow.bandcamp.com

Sun Valley Gun Club is: Evan, Travis, Justin and Ashley

Recorded by Jack Shirley at The Atomic Garden
Mixed by Jack Shirley at The Atomic Garden
Mastered by Jack Shirley at The Atomic Garden
http://theatomicgarden.com

The Beastie Boys - Heart Attack Man

KINGS OF ASYLUM

[Intro]
“Through black water… he moves unseen…”
“Carolina bleeds… the crown falls to its knees…”

[Verse 1]
Born in smoke, baptized in flame,
They hunt a ghost without a name.
Through Southern swamps where the willows weep,
He rides through shadows, cold and deep.
The redcoats march with fire and steel,
But phantoms strike what tyrants feel.
No throne, no crown, no empire’s chain—
Can hold the Fox who breaks their reign.

[Pre-Chorus 1]
Strike… and fade… into the night.
Gone… before… the morning light.

[Chorus 1]
Swamp Fox! He rides through Carolina rain!
Swamp Fox! A shadow they can’t hunt or chain!
Refuge in the marshlands, but he’ll never fall,
A ghost in the darkness, he answers freedom’s call!
(Woah-oh-oh!) The Fox will never die!
(Woah-oh-oh!) When empires burn, he’ll rise!

[Verse 2]
Columns break beneath the moon,
Ambush strikes, then gone too soon.
Through the cypress, past the grave,
Every soldier that they gave—
Lost to water, lost to night,
Guerrilla fire, then out of sight.
The crown sends armies, sends its best,
But swamps consume what they detest.

[Pre-Chorus 2]
Strike… and fade… like morning mist.
Gone… as if… he don’t exist.

[Chorus 2]
Swamp Fox! He rides through Carolina rain!
Swamp Fox! A shadow they can’t catch or chain!
Refuge in the marshlands, but he’ll never fall,
A ghost in the darkness, he answers freedom’s call!
(Woah-oh-oh!) The Fox will never die!
(Woah-oh-oh!) When empires burn, he’ll rise!

[Bridge]
You can’t catch what you can’t see…
You can’t kill what won’t bleed…
Your empire crumbles stone by stone,
The Fox still hunts — you die alone!

[Breakdown]
No crown! (No crown!)
No chain! (No chain!)
Blood and rain!
Through the fog! Through the grave!
None return — none are saved!

[Final Chorus]
Swamp Fox! He rides through Carolina rain!
Swamp Fox! A shadow they can’t hunt or chain!
Refuge in the marshlands, but he’ll never fall,
A ghost in the darkness, he answers freedom’s call!
Swamp Fox! Still rides in the stories we tell,
Swamp Fox! His legend burns where empires fell!
The ages fade, but still his name remains—
A patriot spirit that breaks all chains!
(Woah-oh-oh!) The Fox will never die!
(Woah-oh-oh!) Through Carolina skies!

[Outro]
Through black water… forever unseen…
The Swamp Fox rides… where freedom dreams…

The Swamp Fox

Empire of Steel

Debaser

Sid sings! Rather basic cover of The Overload, the last track on Remain In Light. Think it sounds OK. Plenty of FX on the vocal to disguise the fact I recorded it on my laptop's inbuilt microphone.

The Overload (Talking Heads cover)

Built to Spill - Carry The Zero

My cover of Deerhunter's Fountain Stairs. C:

Fountain Stairs

black midi - 953 (Moqumentary Remix)

Follow @ OnDaMiKe ..... 


www.ondamike.com
www.ravesta.com

Beastie Boys ‘Sabotage’ (ODM FLIP)

Beats On The Corner (Beastie Boys vs. Beats Antique)

It’s been almost exactly two years since Sacramento musical mesmerists Sun Valley Gun Club released their practically perfect, self-titled sophomore album. That record was absolutely my favorite album of 2016, and remains one of my favorite records to this day, getting almost as much play in 2018 as when I first heard it. So when I first discovered there was a new SVGC record, I was pretty excited. I had been hearing the band perform some of these songs live for a while, but when gathered all up together, as The Water, The Stars, they revealed themselves to be yet another pitch perfect collection of classic indie rock, filtered through SVGC’s unique sonic lens: a hook-heavy hybrid of languorous twang and noise pop crunch, each song impossibly catchy on its own, but even more compelling as part of the whole. Like with the previous album, I had to fight the urge to simply listen to individual songs over and over and over endlessly. But honestly, I didn’t really fight all that hard…

The opening track “If You Would Only Wait” perfectly encapsulates the Sun Valley Gun Club sound, a galloping blast of jangle and crunch, driven by distorted vocals, fuzzy guitars and some dizzyingly loose-limbed drumming. Hooks everywhere, the bridge as catchy as the verse, the verse as catchy as the chorus, the band deftly delivering the occasional feedback drenched squall or slipping into syncopated, almost metallic heft. And of course, one of the most distinctive parts of SVGC’s sound, their tendency to take what is essentially a pop song and stretch it WAY out at the end, letting it transform into something much more psychedelic and dreamily droney, a sprawling, hazy and heavenly psych jam that could stretch out forever, and I would not mind one bit.

As if the opener wasn’t good enough, “She Is Gone” might be one of the best songs SVGC have ever written, which is saying a lot for a band whose catalog is essentially made up of coulda/shoulda/woulda been stone cold classics. Laconic vox draped over woozy jangle, a sweetly slacker indie rock that finds the perfect middle ground between Pavement and Built To Spill, laced with some of the most divine background harmonies, the whole song demonstrating the band’s unparalleled pop-song mastery, still channeling the nineties, but making that sound wholly and totally their own.

And that’s just two songs in. The rest of the record unfurls just as dramatically, from the slow burn of “Falling Apart”, replete with spidery guitar melodies and a seriously crushing breakdown, again liberally laced with feedback and impossibly catchy hooks, to “Goodbye Columbus”, which sounds like a twangier take on unsung San Diego math pop crew Heavy Vegetable, to the last-call mope pop, countrified slow-jam of “Years After All”, an hypnotic see-saw between the Beatles-beholden Weezer-shred of San Francisco pop legends the Ovens, and a drowsy and drunken, sleepy smolder, laced with lush horns that lend the song an almost funereal Calexico vibe, all dusty and dusky.

As the record draws to a close, the sound winds down as well, “Time” takes the mumbled country of the late great Souled American, and lets it blossom into late night, Wilco-worthy dirge pop, the group effortlessly infusing that last-call melancholy with the sort of pathos more often paired with sonic bombast, instead of subtle, subdued songsmithery. And finally, the record closes with “I Saw A Pigeon”, lush with organ and horns, another sweetly maudlin dirge, that slowly builds to a fierce finale, a bombastic big finish: swirling squalls of guitar shred, raspy emotive vox and soaring horns. It’s like the final number of some big production, indie rock musical, that just as quickly fades into silence with one final peal of feedback. // Andee Connors

The Beastie Boys - Heart Attack Man

sunvalleygunclub

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