Shook, the debut full length from Everett, WA’s TELLERS, is a record of both wide-open spaces and quiet moments, its eleven tracks drawing from the windswept and rain-soaked sonic heritage of their Northwest home. Shimmering guitars build to grand melody as percussion tumbles forward, all anchored by Sarah Feinberg’s stunning, arresting voice; soaring and plaintive, worn in all the best ways and glowing like polished brass. With bursting melodic fireworks, the songs fall back into themselves like drifting embers. Shook is the rare record that heralds the arrival of an undeniable songwriting force.
Feinberg grew up in a musical household nestled in the foothills of the Cascade mountains. Her mother taught her and her three siblings to play guitar, and she wrote her first song at eleven. At eighteen, she made fast friends with Brad Heyne, and the first seed of TELLERS was sewn. They drifted apart as sometimes happens, until a few years later when they found themselves back in the same city at the same time. “I asked Brad and another friend to accompany me to a solo gig at a local pub,” says Feinberg. “The gig went well, and afterwards, Brad asked, “So when is our next practice?” TELLERS was born. With the addition of close friends Tyler Chism on lead guitar and Isaac Melum on bass, the TELLERS family was complete. Together they have grown as both people and musicians, and the bond within the band is true and deep.
In 2016, the band released their debut EP Walking Blind, crafted in weekly basement rehearsal sessions where the band stood facing each other in a circle hashing out tunes. Their music spoke of a place and time, and the band soon found themselves performing with local luminaries such as Damian Jurado, Shelby Earl, Cataldo, Sisters, and more.
The bones of Shook were laid in fleeting moments of inspiration. “Most of the songs were written in my car,” laughs Feinberg, “quickly jotting down lyrics at a stop light or in a grocery store.” These slips of potential were hashed out late night in a hushed quiet as the house slept. “Often I am struck by a small phrase that just burrows in,” explains Heyne. “I let the words sit, sometimes for weeks, before I add music to the lyrics and then I lightly arrange.” When a song is nearly complete, it’s presented to and completed by the full band in their sacred creative space; the basement of Feinberg’s 1919 North Everett home.
Recorded at Red Room Studios in Seattle with producer and engineer Ryan Leyva and mastered by Ed Brooks at RFI (Resonant Mastering) in Seattle, Shook is a flush, grand record, layered in organ and guitar. Steven Barci was brought in to handle drums. Bryan Bradley (I Will Keep Your Ghost) helped arrange “Hollow” and Simon Nicol (Leava) helped arrange “West,” “Ground,” and “Walking Blind.”
Lyrically, the record is a meditation on death in a myriad of forms: of loved ones, of relationships, and of ideals. Yet the record is laced throughout with moments of childlike innocence. This lends the record a palpable internal tension: an acknowledgement of a dark world, apocalyptic even, where the search for truth and goodness is urgent and necessary. ”Shook is about coming to the hard realities of life and losing the innocence we often take for granted,” says Feinberg. “In a strange way, I hope people get comfort from this album, and that they feel a little less alone.” Heyne continues, “Each of us endure the brunt of our own story. By telling ours, we connect to the stories of others. The collective narrative; all of our stories are one story.”
At turns, grand and intimate, suffused with fearless honesty, Shook flickers in the dark with a warm orange glow. The road we all walk might meander between triumph and tragedy, but TELLERS reminds us that we do not walk that road alone.
“I’m walking blind... I see you’re giving me some light...”

"How to describe Future History’s sound… Ah, yes. Remember when Radiohead released OK Computer? Remember how bloody brilliant and awesome that era of their sound was, how the electronic elements balanced beautifully with rocking guitars and layered vocals?  Yeah, I miss when Radiohead wowed me."

-Open 'Til Midnight

Future (noun):  3.  A prospective or expected condition, especially one considered with regard to growth, advancement, or development 

History (noun):  2.  The branch of knowledge that records and analyzes past events 

To understand where Future History is headed, one must examine the road the band has traveled.

In the short time since the Feb 2010 release of their debut EP, "Self-Titled." Future History have made quite an impact on the independent music scene in Canada. Comprised of Kevin Ker, Justin Dillon, Chris Dawe and Mike Baggley, the music of Future History have been described as haunting and poetic, experimental alt-rock. Deeply metaphorical lyrics are simultaneously accessible yet beyond immediate comprehension.  The band has amassed a long list of accomplishments: a supporting slot on the 2011 Marcy Playground tour, multiple showcases at CMF and NXNE, Top Record of 2012 honours, nods for “Best Record” and “Best Singer/Songwriter” at the Toronto Independent Music Awards and many more.

In setting out to craft their sophomore release, the heavily lauded Loss:/self, the band took a left turn, one that proved intense and ultimately rewarding.  "The only thing [we] were sure of was that we wanted to make something meaningful, something cinematic in scope like our favourite records had always been," explains front man and songwriter Kevin Ker.  "The one major influential decision we made at the very beginning was that we didn't want to limit the creative pursuit by concerning ourselves with how we would reproduce it live. We decided the record would stand on its own and the live show would follow, not vice versa like we had done with self-titled."
 
Loss:/self was crafted and recorded over 12 months at Chalet Studios in Claremont, Montreal, random forests, basements, and -- while stranded during a hurricane -- in New York City. The band employed the use of over 50 instruments, devices and household objects, combined with a 35-person vocal, stomp and drum circle and the heartrending cry of a lonely whale. It also featured a slew of guest appearances; including Todd Clark (Pilot Speed), Jonathan Dauphinais (Beast) and Kevin Pullen (The Dunes). An anamorphic journey of a record, Loss:/self was released in early April 2012 to a sold-out Horseshoe Tavern in Toronto.

Adored by press and fans alike, Loss:/self  generated reviews from all over the world. The album yielded "Best Live Band" and "Best Singer-Songwriter" nominations at the 2012 TIMA's (Toronto Independent Music Awards) and beat out Metric and Bruce Springsteen in securing "Record of the Year" on Open 'til Midnight (http://otmblog.com/2012/12/13/top-12-albums-of-2012-part-two/)

The resonance the album holds with listeners perhaps lies in how deeply personal the songs are, and how well they capture the human condition itself.  "I was re-reading books like 1984, Brave New World and A Clockwork Orange... These Dystopian worlds didn't seem all too unfamiliar to me," Ker says. "Loss:/self was a realization of mass proportions -- not only about the world around me but also the internal struggle and how it so accurately reflected the external.   A lot of the songs may appear to be about someone else, but it was always an internal dialogue." 

The dawn of 2013 marked a new beginning. Future History wanted to follow Loss:/self with some form of resolution and immediately began making plans for their third record. Finding a hermitage in an old, decrepit and haunted cabin in the backwoods of Ontario, assembling a myriad of old recording equipment acquired over the years and utilizing old furniture discovered in the cabin, Kevin Ker personally spent 6 months in solitude writing the record. 

"With each new day, I began a meditative journey, stripping away inhibitions and expectations... It was an amazing experience to write without consequence," Ker relates.  Mirroring the gradual stripping down to the core self on the previous album, this opening up of the creative process brought a new understanding of life itself.  "When I listen back to the songs they all make perfect sense to me... They were the realizations I had been searching for [during the writing of Loss:/self]."  Summoning, discovering, creating and capturing: the result is a haunting 8-song trip that echoes and responds, entitled Lungs.

Opening with "Breathing", Lungs immediately pulls the listener into the space where the songs came alive.  Ker describes it vividly:  "The settling of the walls, the rain and wind outside, the creaking of the trees leaning in towards me, a strange pulsing as if breathing all around me.. The cabin had a voice of its own."

Rife with realizations, the album traverses a terrain where hopelessness gives way to anger and the expectations of the world that push against us from birth are shrugged off in search of being true to oneself.  In discussing "Take Two", Ker explains,  "We are not living life the way we should be… We are disconnected from nature -- from our nature.  From a living, breathing entity."   That connection underlies the sonic journey, a struggle to resist external pressures as ingrained as the Pavlovian response and carve a new path -- a new future from weary history.  By the time "Without (You)" swells to its stunning crescendo, one draws a deep breath of wonder as Ker sings, "The numbing is leaving/For the first time, I can feel my lungs breathing." 

"Intelligently poignant lyrics, accompanied by haunting, yet completely affable music, Future History’s sound is not only accessible, but can have the power to reach an incredibly broad audience. With their special brand of experimental music, Future History will be expanding minds wherever they go for a long time to come."

-Toronto Live Music Examiner

What lies ahead for Future History is unwritten.  The band refuses to conform to anything but an honest, passionate approach to their craft and therein lies a healthy unpredictability.  What is certain is their music will continue to tap into an unspoken, collective need within us all for self-reflection and meaning.  

After all, in the end, aren't we all future history?

OR

After all, in the end, our lives are a future history.



Synthpop Dream Devils

Bliss Nova is synesthetic synth-pop: lush, pop-driven synthonies swimming in technicolor funk grooves, stirring hooks of psychedelic electronica and dreamy waves of chilled vapor. Brothers Daniel and Joel Trzcinski started the project in late 2014 as a way to put some lofi bedroom pop demos to good use — what ultimately became their 2015 EP, Do You Feel. The debut drew comparisons to the likes of Washed Out, Neon Indian and Toro y Moi, and the band was lauded as “one of the top promising artists from the Midwest scene.”

From 2016 on, the band developed their multi-aesthetic live show, “a tapestry of ethereal electronic soundscapes set against an explosive and booming rhythm,” and embarked on short-run regional tours, while finding time to explore slicker, dynamic dance-pop with the release of the EP Light & Shadow and the double A-side “Say It” / “Now” in 2017. 

After two years of writing and recording, their 2019 full-length album, Going Places, culminates in smoggy, nostalgia-tinged euphoria awash with vintage sparkle, channeling a dreamy internal monologue entwined with the spirit of French philosophy. Longtime collaborator Brennan Willis of Ohio Recording Company co-produced and mixed the record, while mastering legend Dave Cooley (J Dilla, Washed Out, M83, Blood Orange) gave it a sonic polish. Erika Spring (Au Revoir Simone) makes a guest appearance, lending vocals to “Blind.”

With the new-age aesthetic of Brian Eno and Gondry-esque surrealism, the album’s ethereal splendor marks the freshest findings of Bliss Nova’s sonic evolution. Late ‘70s grooves grind against hints of early ‘80s electro funk and cosmic jazz, while timbres and textures of ‘80s ambient soundscapes and ‘90s electronica merge with ‘00s neo-soul and r&b. A supernova of samples, field recordings, lush percussion and catchy pentatonic tropes shimmer on the surface, with murkier depths and humor underneath.

http://blissnovamusic.com


She thought she lived in the shadows of birds’ wings, carried by the wind and by a beating heart that refused to let the venom in her veins go to waste.
 A heaviness weighed her down, one she dared not try chase away or attempt to fully understand. 

Perhaps fire is created from an internal combustion that lights up in a hue of burnt orange sunset
One that demands to be desired and played with
until the fuse short circuits
and melts into a pit of 
strangers caught up in a light blue gaze with 
the sins of their forefathers stuck between the before and after. 



King Flow is a young driven rapper, singer & songwriter from West Orange, New Jersey , Originally From Haiti. He's currently under the 1Empire label , His slant and Internal rhymes help create a platform to offer information as well as a musical escape to people. He's very effective in the social media presence , he has a strong focus in investing and building his brand , he's hoping to breakthrough his success due to his relentless work ethic and high quality products .

None of the tracks that have been put up here are for sale, and should not have been offered for sale in any way shape or form. Some of the instrumentals used in these various productions are made from YouTube users, and their names have been credited in most cases. If you or someone you represent finds their work on this page and does not want it here, please message this account and it will be taken down. Some tracks have already been taken down due to artist(s) discretion.

Listeners advised, explicit content. The lyrics in these tracks may be found offensive to some groups, people, or possibly the entire world.

All lyrics and situations put forth in these tracks should be considered fictional.

We Punked Out

“Awesome experimental hip hop” – BBC 

“Really interesting experimental hip hop and a really good album” – The Wire

"Birmingham three-piece Ruane Maurice are a bit of a strange beast; in the broadest sense their music is hip-hop but they're approach is entirely their own. " - Complex

“Ruane Maurice are masters of painting a sonic mise en scéne” – Noisey

“They are rawer than Ghostpoet, whiter than Dels, easier to understand than The Streets, and quite a bit more British than Shabazz Palaces… Rare amongst contemporary English bands, they combine their affinity for different genres into a dusky and innovative whole.” – Orange Peel

“A prime cut of dark, brooding hip-hop” – PopMatters

“Ruane Maurice produce one of the most originally intoxicating hip-hop hybrids you’ll hear this year. ” – Obscure Sound

“It’s hard not to notice their impeccable production (…). The layering and composition, the smokiness, the way every sound molds to the next, make these guys so fresh and exciting to hear. (…) It’s a true partnership, musicianship at its finest.” – IX Daily

“Such a dark and twisted album, from the heaviest and most impacting bars, the lyricism wipes the floor and lays a new one in the Uk Hip-Hop industry.” – MDH

“The terrain of musique concrète is turned over for fun production, and raspy, recited deliveries” – IMPOSE

“Ruane Maurice blow our tiny little minds with their brand of contemporary hip-hop mixed with an electronic vibe” – Amazing Radio

“Cool, experimental R&B hip hop” – That’s Deck via EMS Radio

“Ruane Maurice take their inspiration from just about everywhere… but whoever sounds this beautiful, is allowed to copy. Ruane Maurice take stylistic cues from some of the biggest bands and then combine it into something even bigger.” – Radio SRF

“There is something almost scientific about Ruane Maurice. They have the ability to create several experiments within each track, combining different genres to create a unique sound that doesn’t just purely focus on the exterior connotations of Hip Hop, but on the internal ones… focusing on the fragility of the ego.” – Stimulate Your Soul

ruanemaurice@gmail.com



Performing as The Vacuum Bell, Will Morrison’s blend of indie, folk and rock leave you with the always familiar, never quite remembered, under-the-thumb feeling of home. It’s the almost odd combination of poetic acoustics and throaty vocals that makes his sound unique and internal at the same time. Based out of Orange County, The Vacuum Bell has been in and out of the music scene since 2007 all while roaming to and from Portland, Oregon. Now making his way back to the local Orange County music scene, his melodies can be heard striking a sense of the warm, relentless intimacy only a man with his guitar can make.

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