From the album ‘Noctunes’ (2015) • Pay what you want http://tndr.lv/willisbeal

Principalities of man got you down in the mud
You’re a single grain of sand so you can’t stand out
Misery on every corner looking for handouts
You got peoples steady yelling you don’t know what about
Just turn your eyes to the sky and remove all doubt
If you wanna survive 
If you wanna survive
Cause they’ll eat you alive
They’ll eat you alive
In your heart you feel you’re right but they tell you you’re wrong
The melody you orchestrate don’t go with the song
You’re only waiting in vain don’t make a difference how long
They tell you get off the stage but you can’t hear the call
So stop beating your chest and acting like King Kong
If you wanna survive
If you wanna survive
Cause they’ll eat you alive
Cause they’ll eat you alive

If you want to survive
You got to let it go
If you want to survive
You got to let it go
If you want to survive
Let it go
If you wanna survive
If you want to survive


Willis Earl Beal has yet to be born. Critics and publicists defined him before he’d had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn’t feel pressure to define himself against anything. His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. “I know it sounds falsely altruistic,” he says. “But I think a simple voice like mine can serve as an example of some kind of freedom.”

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Noctunes

Survive

Willis Earl Beal - Survive

From the album ‘Noctunes’ (2015) • Pay what you want http://tndr.lv/willisbeal

Look around in the dark hallways
And I’m flying so low
I look around in the dark hallways
And I know
I’m flying so low
I’m flying so low
I’m flying so low

Follow the earth men
They try and get in my door
I can see their faces
Holler out
Their teeth show
But I know I can’t stop it
And it’s all up for grabs

I’m flying so low
I’m flying so low
I’m flying so low
I’m flying so low

The mountains rise and I fall 
Into the ocean
The monsters know
That I don’t got my potion
I try to run but I know it’s almost time so
I fall and crumble
I don’t have no place to go
I’m flying so low
I just wanna come back now
I’m flying so low
Why don’t you let me come back now
I’m crying on the stage
Please don’t forget me


Willis Earl Beal has yet to be born. Critics and publicists defined him before he’d had a chance to define himself. Their expectations were inextricably linked with race and gender, two concepts Beal thoroughly rejects. Now, two extremely productive years removed from the spotlight, Beal doesn’t feel pressure to define himself against anything. His new music is shockingly original, utterly confident, and as ephemeral as Beal himself. He levitates above definition, concerned only with self-discovery and truth-seeking. “I know it sounds falsely altruistic,” he says. “But I think a simple voice like mine can serve as an example of some kind of freedom.”


iTunes: http://tndr.lv/1UEFTAW
Spotify: http://tndr.lv/1NgbwjB
Rdio: http://tndr.lv/1PZnPju
Amazon: http://tndr.lv/1hUf2nS
Google: http://tndr.lv/1KZkzFD
Facebook: http://tndr.lv/1UzemGc

Willis Earl Beal - Flying So Low

First single from DoublePlusGood's new EP "Like A Fire", available Aug 4th

Take Me Dancing

Animal Love

Codahnagi - Empty Sheets

Purchase Mujeres 7” Here: https://tndr.lv/mujeres7

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Y La Bamba has been many things, but at the heart of it is singer-songwriter Luz Elena Mendoza’s inquisitive sense of self. Their fifth record, Mujeres, carries on the Portland-based band’s affinity for spiritual contemplation, but goes a step further in telling a story with a full emotional spectrum. Coming off Ojos Del Sol, one of NPR’s Top 50 Albums of 2016, Mujeres exhibits the scope of Mendoza’s artistic voice like never before. “Soy como soy,” Mendoza says, and that declaration is the bold— even political— statement that positions Mujeres to be Y La Bamba’s most unbridled offering yet. Mendoza forges new narratives from old stories of heritage and family, tracing history while forging modern chicana feminism. The raw honesty of Mujeres is in fact the raw honesty of Mendoza. Armed with the emotionality of traditional música mexicana and the storytelling of American folk, Y La Bamba’s artistry is not just their musical ability but Mendoza’s search for unadulterated truth. It is in an ancestral journey in which Mendoza comes to terms with the influence and limitations of her upbringing. While there is a celebration of the Mexican creativity that has informed Mendoza’s life, there is a darker side to reconcile with. Where do mujeres fit in to the American story? What are the sins for which we are all guilty? How do different generations interact with the world? How can a culture become visible without being tokenized? It is no surprise that in Mujeres, Y La Bamba’s first record with Mendoza at the helm of production, Mendoza contemplates these questions to tell her story. But it is not just Mendoza’s story. Challenging a narrative and dealing with the emotionality of that effort— that is everyone’s story.

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