This song shares a similar concept as the track Guns Killed the Samurai, though focusing more on the aftermath vs the instigation of the events the title draws it's origin and the sounds pull their inspiration from. Though probably obvious to any resident of the USA, It is about generations of a native land being conquered, and though the spark that ignited the first key to be struck was the struggle faced by Native Americans, both many in the beginning of the coming of Europeans and today, the song really is about any place- country, building, land, or sea that has been taken, occupied, or destroyed by another.

The title, which may, for some, serve as a misleading reminder of the Led Zeppelin song, carries the true weight of its meaning in its parenthetic portion.. It's exceptionally important in instrumental music that the title help guide the listener to arrive in the same head space in which the composer found themselves while painting their aural pictures. This is done by guiding the listener emotionally via the manipulation of sonic waves, and something as simple as the title can help to outline the shapes and colors the music presents- "set the stage", so to speak. It's my hope that while you may not play the exact same scene in your head, the sadness, anger, hopelessness; the weight and severity of the loss experienced by anyone who has lost a home/nation/or even the history of their origin can be conveyed by the notes you hear.

How the West Was Won (For Some)

Can't believe we hit 10 million fans on Facebook... you guys are incredible!! 



Forbidden Voices

Spotify

Martin Garrix - Forbidden Voices

https://G59Records.com
G59Records@gmail.com

[VERSE 1: YUNG $NOW]

$uicide
i'm choosing my addictions
i keep fooling my religious bitches
switching up prescriptions
nooses tied
now i'm crucified
i won't listen til they spilling guts
but i could give a fuck
i stick it in they butt
oh now she wants to be my slut
for what?
just cause you roll the blunt?
oh no hoe
that ain't how it go
i'm solo
frozen ghost
i blow smoke
yeah hoe
drop it the floor
not that ass though
talking bout your life
i want your body
oddy leave em froze

[VERSE 2: LIL REMAINS]

pop up then I light up
you fuckin' boys ain't druggin'
gave up lean and sprite cause
that herron keeps me duckin'
fuck you know bout me woe?
i isolate from all you fuckas'
nine up in the peep hole
been plottin' on you undercover
uzi roll the spliff up
pain pills give me hiccups
don't nothin' make me sicker when i ain't got my fuckin' fix bruh
satan resurrected
that evil one king of the 6's
schizo with depression
PCP laced on my swisher

Dark Side of the Clouds

MARLBOROS & WHITE WIDOW (FEAT. GERM)

STAND IN FRONT OF HEAVENS GATE WITH BLOOD ON MY HANDS [Prod.By Kendrick]

Bohemia's skull and bones - final chapter album has been RELEASED 😎#dadabohemia #dada #rap #rapmusic #bohemia #skullandbones #titlee #zamanajali #merijeet #bijlee #lakDaHulara #photo #cadillac #golGol #nazareMili #newalbum #released 😎

Skull And Bones 2017-DesiTrack.CoM

06 Tittli-DesiTrack.CoM

https://soundcloud.com/deiviss111

VOLUME 3 OUT! GO BUMP N SUPPORT !
plvnktxn187.bandcamp.com/album/volume-3

PLVNKTXN187 x DXIVI$$ - CATCH A CAP BITCH

ICEMANE THA KINGPIN https://soundcloud.com/icemanethakingpin
DXIVI$$ https://soundcloud.com/deiviss111
YUNG WINNIE HOOD https://soundcloud.com/yungwinniehood
KMX https://soundcloud.com/kasettimxrkx
SLUSHHER https://soundcloud.com/slushher
MADTEK https://soundcloud.com/madtekbeats
CREEPY J https://soundcloud.com/user-317584358
BANOS LOCOS https://soundcloud.com/banos-locos
sohval https://soundcloud.com/sohval
APOC KRYSIS https://soundcloud.com/apoc_krysis

[Intro] LIGHT DIS BLUNT (ICEMANE THA KINGPIN)

MUCH LUV IN DA HOOD ( LOVE FOR LOHJA )

LIGHT GREEN

give a follow to my brodie SLUSHHER <3
https://soundcloud.com/slushher

VOLUME 5

HOW U WANNA ACT FT. SLUSHHER

No it's not spelled Eridh Zhan, but some other people who don't actively make music stolen my name much like I did from H.P. Lovecraft. From his short story "The Music of Erich Zann" I borrowed  my name since it seemed befitting to the music's mood.. This is the culmination of several years of songwriting and experimentation with different genres ranging from Progressive House/Trance to Progressive Post-Rock to Ambient beats that composer and "frontman" Jared Taylor has studied, played with, toyed with, fiddled, faddled, destroyed and created. Upon realizing that he didn't have a solid, straight-forward answer to the never ending question "What kind of music do you make?", Jared decided to take a different approach, doing a complete 180 from his previous projects.

Rather than creating a thousand monikers for every slightly-different style of music he explored, he wanted to do an album that showcased all of them as a single cohesive collection, hoping to present these songs that share elements but vary from electronic based rock to straight up, four-to-the-floor dance music as songs that capture the essence of the songwriter and the emotion and story each song has to tell without being limited by the idea that songwriters and albums should be a single genre.

Don't mistake the variation suggested as a random collection of songs that jump needlessly and senselessly from genre to genre. There is a theme and a glue that holds it all together. However Jared believes that when somebody says they love all kinds of music, they should be able to listen to a record that provides that variance.

Heavily influenced by bands like Pink Floyd and Radiohead, Jared cites some of their classic (and not so classic) albums different approaches to record presentation as influence for his current experiment:

"Will it work? I'm not 100% sure. I mean, I look at bands like the Floyd and Radiohead, both bands that have endured and done what they've wanted, sometimes wildly successfully in the commercial world and somettimes they're left with something that a few people seem to 'get' but ultimately even the band refer to as a disappointment. Ummagumma comes to mind, the studio portion where each member of Pink Floyd got to write half of a side for the LP. It was chaotic, it appears to have no flow, and most people who claim to be fans look at you sideways when you mention the album. Yet it was necessary for them,  allowing both themselves and the audience to see the strengths that each member brought to the band; how this seemingly chaotic group of people came together to make music that changed what it meant to be a rock and roll band.

Radiohead started out with Pablo Honey, a straightforward 90s rock album and blossomed into a band that was (and is) able to release a new album that sounds so new, so bizarre, so unconventional that your first go through you may even think "What the hell? They finally did it. They finally made a terrible album!"and you go back and listen again and while it's foreign and alien, it's instantly recognizable as Radiohead and it suddenly makes sense. They were just too far ahead. I'm hoping that this experiment will grow into a collaborative effort, but even if it doesn't, I want to bring together tracks you would never hear together and present them in a way that breaks down the walls and makes the "kind" of music irrelevant, pushing it to the very back, bringing the songs to the front, and the songwriters, artists, and musicians taking second chair to that. 

*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-*-_-

Jared also DJs Primarily Progressive House and Trance under the name Erich Zann. He and friend Fractacality (Joel Morris) also will be starting a bi-weekly podcast/internet radio show called "Counting Sheep to Electric Beats".

How the West Was Won (For Some)

Erich Zann

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