Flo Vinger aka: Flow started as a go-go dancer in New York City nightclubs like “Limelight” and “Mars”.  The energy of the music inspired Flow to write her first song "Open".   “Open” made its national debut on one of MTV’s top shows, “Meet the Barkers”, starring Travis Barker from Blink 182.

Flo Vinger is an award winning Writer, Director, Editor and Actor. She has danced for musical artist like Michael Jackson, Radio Head and Styx.  She also worked with comedy legend Joan Rivers on her reality series and on popular shows such as "Drew Carey's Improv-a-ganza", "Fear Factor", "Big Brother", "Battle for Ozzfest" (Ozzy Ozbourne) and "The Worlds Fair" (President Obama, Hilary Clinton). 
Flo established Stretch Productions in 1998.  With her production company she has Created and Executive Produced;  "Sexuality the Documentary" an official selection in the Forward Motion Film Festival, "Charlie's Bitch Ass Hos" which won "Best Comedy Short" in the NYII Film Festival and multiple, viral sketch comedy bits like "Madonna Hung Up On Crack" (which made the evening news).  Her sketch "Sweetest Orgasm" has over 3 million YouTube views.  Flo's latest successful project  is the edgy, on-line web series "LIPS" which Flo created, wrote, directed and starred in. It has been featured on popular websites like AfterEllen and OML, and has garnered a loyal following.  

The show biz life for Flo Vinger began shakin' her groove thing on the underworld stages of hot clubs in her home city, New York.  Her love for go-go dancing led to serious, extensive training at Alvin Aliey American Dance Theater, Martha Graham School and Broadway Dance Center where she soaked up intense tutelage from legends like Chris Chadman (Bob Fosse protégé/Guys & Dolls choreo.) and Mia Michaels.  You will see her as the featured keyboard player in Michael Jackson's new music video "Behind The Mask" and Santa's Helper dancer in the "A Very Harold and Kumar Christmas" movie.  She has Choreographed for Quincy Jones's "Vibe" TV and national touring events for companies like Wella.  She was also featured in the visually stunning Radio Head's "Street Sprit" music video.  

Comedy is a constant for Flo Vinger. With fantastic Groundlings teachers like Michael McDonald (Mad TV) and Mindy Sterling (Frau Farbissina, Austin Powers) and live performances at LA's Improv Olympics, the improv/comedy bug bit hard and has created a permanent rash.  The off-the-cuff experience was put to good use as co-host for "G4's "Arena".
Flo Vinger has her sites set on being a powerful, creative force in creating, writing and directing original content for all creative mediums as well as the endless pursuit of perfection as an entertainer.
Currently, Flo is developing a live musical stage show and in pre-production for a new TV series.

Stay tuned on FB or Twitter!

Young Harlem, born Tirelle Javaughn Simmons, was given life on April 27th, 1992. Tirelle was a kid that always knew there was something different about himself. His surroundings while growing up influenced him as to what he wanted to do when he had gotten older, which was music. Being the rapper of his neighborhood had gotten him the name Young Harlem. His raw lyrics and meaningful metaphors are what makes him original from the underground rappers. Just as anyone else in life, Tirelle had experienced his share of trials and tribulations only to give himself fuel to create a path that no one he knows has taken. He wanted to make it in life. In 2002, while at one of Legend performances, Tirelle discovered his own talent for uncensored freestyles. Becoming a great freestyle rap artist is what later got him noticed by many by battling his peers. After 9 years of battle rapping and writing lyrics, Tirelle decided to that it was finally time to take his rap game to another level. Music may only be a hobby to some, but to Young Harlem, it is his life. Music had become his way of venting and getting whatever he was going through converted to paper. Turning his experiences and thoughts into lyrics, Young Harlem dropped his first official mixtape on October 20th, 2011, titled "Another New York Nigga". He then dropped his latest mixtape "Stretch & Flex" on July 12th, 2012. Tirelle is currently working on new material and preparing for his 3rd mixtape to drop. He is working with some of the hottest producers, hoping to get what he calls "Hot 100 Billboard Hits". This is only the beginning for Young Harlem. His excitement and drive comes from the fact that he feels being one of the best rappers in the game is his fate. "I am dedicated to giving my all and going for what I know. I will continue to do whatever it takes to get to the top." - Young Harlem.

DJ/プロデューサー/ライター。
自ら主宰するレーベル「sonimage-Lab,inc」より、dj korosuke名義にてミックステープ「sweet azul suite -synthetic grooves」(2002)、ミックスCD「sweet azul suite -affordance-」(2003)、「sweet azul suite -suite no.5 -a leakout edition」(2009)、コンピレーション「sweet azul suite – styles of mellow sounds-」(KSR 2005)、近年の和ジャズブームの先鞭を付けStones ThrowのEgonら海外コレクターも絶賛したジャパニーズレアグルーヴミックス「japonisme&mode vol.1」(2005)、「japonisme&mode vol.2」(2008)をリリース。
　また和太鼓ブレイクビーツバンド、ngomaのメンバー/プロデューサーとして、同レーベルより3枚のアナログ12inch(「Red Stripe EP(2006)」、「Heretical Flower EP(2007)」、「Over The Over EP(2007)」)とフルCDアルバム「in between wanderland」(2008)をリリース。イギリスBBCラジオの人気プログラム「Worldwide」にてDJ Giles Petersonにプレイされたのをはじめ、松浦俊夫など国内トップDJのプレイリストにも挙がる。
　さらにレーベルプロデューサーとして、アニメ「サムライチャンプルー」のエンディングテーマとなった「san francisco」で知られるHip Hopユニット、midicronicaのファーストアルバム「#501」(2005)や、元super stupidのギタリスト、大高ジャッキーによるエレクトロニカプロジェクトchietronixのフルアルバム「sTretch gLitch」(2007)など20タイトル近いリリースを手掛ける。
　また、渋谷にあったレコードショップGuinness Recordsでバイヤーとして長年シーンに関わってきた経験によって培われたレアグルーヴから最新クラブミュージックまでを網羅した幅広い知識を武器に「DJ Kicks」シリーズ(K7!)や、リイシューされたBlack Jazz全タイトルなどクラブミュージックからジャズ、ファンクに至るルーツミュージックに至るまでCDライナーノーツ、ディスクレビューなどの執筆/翻訳をはじめ、コンテンポラリーアートや現代舞踊など守備範囲の広い評論/執筆活動も行っている。
　2013年春には、井上薫主宰のレーベル「SEEDS AND GROUND」より、ダンスミュージックに特化したAWANE名義での12inch「SOLARIS / ATOM」をリリース。「ATOM」はフランスを代表するDJ、Laurent Garnier(ロラン・ガルニエ)が自らのラジオショウ「It Is What It Is」でプレイするなどリリース前から話題を呼んだ。

2016年には東洋化成の「レコードの日」のアイテムとしてHMVエクスクルーシブで7inch「something about us」(Daft Punkのカヴァー)をリリース。同年末にはソロ名義のファーストアルバム「cabaret voltaire」をリリース。

https://awane.bandcamp.com/


AWANE is the dance music project by the Japanese DJ/producer kousuke AWANE aka DJ KOROSUKE.
In his almost 20 years DJ career he has released many mix CDs and compilations and also  he is running his own label "sonimage-Lab,inc" to have released over 20 titles of CDs,12inchs etc..
His long awaited debut "ATOM" is already played by Laurent Garnier who has picked up the song in his radio show "It Is What It Is"
His first ever release 12inch"ATOM / SOLARIS" from Kaoru Inoue's SEEDS AND GROUND in 2013
In 2016 he released 7inch “something about us”(cover version of DAFT PUNK)　under AWANE and his foundfootage orchestra monkier and also released the first solo album “cabaret voltaire” from his own label sonimage-Lab,inc

Daan Punaan has had a very colourful and interesting experience both in life and musically with influences ranging from Staind to Sikth to J-rock like Maximum The Hormone. Having always been an open-minded individual who is willing to learn as much as possible from as many sources as possible, the stuff that Daan stuck to the most is also the music that is the furthest from his style. Daan seems to be one of the only musos in RSA actually writing grunge-metal. This is quite curious since most musicians grew up with this music genre. Granted no one wanted to compete with Seether. But in terms of Afrikaans rock Daan found it frustrating that the only bands worth listening to was Fokofpolisiekar, Foto na Dans, Straatligkinders, Van Coke Cartel and Ef-El. He knew this would be his competition but he also had to look at what made them successful. It would be best to say that Daan Punaan is like and Afrikaans Papa Roach with a bit of a Tenascious D attitude.

Born in Kwazulu-Natal and raised on a farm in a small town bordering Mozambique and the Kruger National Park called Komatipoort. Life was very relaxed and isolated. Practicing was hard since it got about 45° Celsius in the summer days and there were no air cons in that house. Another problem was that there were no other musicians to jam with. So Daan pretty much ended up on a solo route. Daan used to be into rave music as a primary school kid and made some of his own dance songs with programs like E-Jay on the computer. Until at the age of fifteen he got his first guitar. A cheap classical but he loved it and started to get into bands like Seether and Staind. And a rocker was born. About a year later he finally got an electric guitar but no amp. Being a geek he found a way to play through the computer and quickly got a distortion pedal to boot. The computer speakers blew of course and thus an old hi-fi speaker connected to the computer was used. At the end of 2003 Daan finally had enough saved up and got an Ibanez amp and Zoom multi-effects pedal. Still no PA system or proper mic though. The mic used was a cheap pc mic and the stand was a bunch of books and boxes stacked on top of the pc case.

He attempted to start a band called “Fracture” with drummer and high-school friend Rujan who lived in Nelspruit although calling it a band is a bit of a stretch, they hung out, drank and called themselves a band. It is through Rujan that he discovered bands like Lostprophets, Machine Head, Slipknot, KoRn, Coal Chamber, Ill Nino and Chevelle though not really showing an interest in the heavier screaming stuff Daan stuck to his grunge-metal. Until one day when Daan, Rujan and a few other friends where in a car driving to a college prospectus at another high school and chatting loudly a song playing softly in the car caught his attention. “Dude! Wait shut up quickly. What’s that playing? Turn it up.” Rujan did so and said it is Machine Head – Only the names. Something in Daan clicked and he realized that these bands do some weird and quite interesting stuff that he could learn from. Okay granted, compared to Machine Head’s other albums this was a shitty high school metal album but it got Daan into metal. Shortly thereafter Daan found a new band called Trivium with a singer who was only 19. Trivium’s debut album Ascention became the first true gateway to heavier music for Daan. He then started paying attention to the music Rujan had and found among his collection an album called Roadrunner United: The All Star Sessions. An all collaborative album with almost all of his favourite bands featured!

After high school Daan moved to Johannesburg to study at the African Film Drama Academy (AFDA). After a while Daan coming from a small town had no idea how to make it in a big city. During all of this Daan lived in a commune where he learned of non-American/British bands like Lacuna Coil, Nightwish and of course the ever popular In Flames. He befriended former Unlisted guitarist Lwandi Mbebe (who happened to be the first black person Daan ever saw at a rock show back in Nelspruit playing for Unlisted) at college. They jammed a bit and made a few songs but never really did anything noteworthy. But Lwandi introduced Daan to He is Legend, Alexisonfire and Incubus (he always knew a few Incubus songs but never really paid much attention). As Daan Punaan got older his taste in music got heavier. He was introduced to bands like Sikth, Ween, The Dilligenger Escape Plan, Turbonegro, Supersuckers by his Sound Design lecturer. He then one day being into anime like Bleach went on the internet looking for some of the songs from the show and stumbled upon a Japanese rock band called Maximum The Hormone. Seriously if you don’t know them go look them up!

In his second year Daan made his first Afrikaans friend in Joburg. A very loud mouthed, short tempered Klipdrift-loving guy named Emile Potgieter. One day after a quite a few drinks at the Dros in Melville Emile, Daan and another friend Tienie ended up at Daan’s tiny flat with Daan on the guitar playing one of the only two Afrikaans songs he ever wrote. A song he wrote in high-school just for shits and giggles called Sy Fokken Haat My. An Afrikaans cover/translation of Puddle of Mud – She Hates Me. Rolling with laughter Emile said that he’d definitely buy that on a CD and being a very, very persuasive person convinced Daan to go Afrikaans. Up until then Daan used the stage name Dane Constantine. Daan discussed the idea of a new stage name with comedian/actor friend Grant Wilson in a pub called Unplugged in 7th Street, Melville. Grant simply said, “Why don’t you just call yourself Daan Punaan? It’s catchy and people will remember it. It also suites the Afrikaans style.” And thus began Daan’s new journey down a very different road. Emile one day rocked up at Daan’s place and said, “Let’s write a song.” This is the first and only song Daan ever wrote with a non-musician. A very commercial and catchy song called Wats Jou Naam? Daan Punaan then left college after finishing his second year but not his degree to attempt to pursue his music full-time.

Daan Punaan has played a few gigs around Jo’burg, some successful, some not so great. He also played at the Keg Battle of the Bands in Kempton Park as the only solo artist and was put through to the next round. Unfortunately he got really sick though he says “I never get sick” and couldn’t participate. He moved back to his hometown shortly after and joined up with his first fully fledging band. Borderline only lasted just over a year though as some members had to move to pursue their careers (Daan was by far the youngest member). During this time though Daan Punaan improved his singing, stage performance and guitar playing greatly. “It’s quite easy when the role of frontmant/lead singer has been taken of your shoulders. You get to mess around more on stage and focus on just doing weird shit with a guitar. Although being a backing singer was hard since I have such a loud voice. I had to stand like a metre away from the mic to not kill the lead singer’s vocals.” Daan Punaan also wrote quite a few new songs having learned over 60 classic rock songs in the band. He now lives in Fourways, and has a renewed vigour to pursue the dream of jamming all over.


Pagan Black Metal project from Ukraine.
In Norse mythology, Vígríðr or Óskópnir is a large field foretold to host a battle between the forces of the gods and the forces of Surtr as part of the events of Ragnarök. The field is attested in the Poetic Edda, compiled in the 13th century from earlier traditional material, and in the Prose Edda, written by Snorri Sturluson in the 13th century. The Poetic Edda briefly mentions the field as where the two forces will battle, whereas the Prose Edda features a fuller account, foretelling that it is the location of the future death of several deities (and their enemies) before the world is engulfed in flames and reborn. A huge expanse of land, Vigrid was said to stretch 120 leagues in every direction. Even so, it was predicted that the assembled hosts covered it completely.

jesus follower. full-time farmer. part-time storyteller. enneagram 8w7. entj. huge nerd. coffee addict. low-key pianist. big sister. uga grad.

things that give me life: houseplants, overzealously knocking down weeds with a machete, yoga, teachin' people stuff about plants... or whatever, going to counseling, climbing a mountain, listening to music that makes me feel like I'm more of a BA than I actually am, dad jokes, hand-written letters, poetry, books, music,  fans (Don't judge! I live in Nicaragua with no air-conditioning... they really give me life and also prevent dengue because they keep the mosquitos from sucking the life out of me), español, nerding out, etc.

things that make me go for long, angry runs: injustice. full stop. all of it will, to varying degrees, send me into a rage that I then run off doing laps around our neighborhood

some truths for today: black lives matter, you are enough, & I believe in you

places I've lived:
Athens, Georgia
San Luis, Costa Rica
Chinandega, Nicaragua

for further information: moth3rh00d@gmail.com

http://www.myspace.com/570044050

Gigs: 

26 January: Heroes, Camden 7pm. THE RETURN OF GIGS!

24 November: Launch of Thank You, My Dog EP; George Orwell Tavern (Essex Road) w/No Colour, Frog Morris, and Great Men plus special performances by Paul Haworth and an exotic film screening. Video teaser (expect this and much more, homie(s)): http://www.youtube.com/watch?v=0sg4jJ0YVow

17 November: Blag Club (Notting Hill Gate) (acoustical)

15 November: Monto Water Rats (Kings Cross) w/Sweet Sweet Lies

13 November: Start the Bus (Bristol, UK) w/Jeff the Brotherhood (video below):
http://blip.tv/yourmusic-productions/13-11-11-at-start-the-bus-motherhood-pt-1-5738117

8 November: The Good Ship (Kilburn)

29 October, The Enterprise (Chalk Farms/Camden)CANCELLED FOR SOME UNKNOWABLE REASON

20 October: St. Paul's

15 September 2011: Book Launch Partnership Friary Road House: 

Just to announce that the increasingly legendary South London Publishing House Friary Road House and Motherhood are working together to draw attention to FRH's latest almighty poetry anthology: "noetpy"--doing my best to mimic the cyrillic orthography of the journal with Roman letters. 

Among the amazing writers included are Bobby Dowler, Vincent Clay and the incomparable Alexander Nemser 

Motherhood is including a free CD complete with artwork/lyrics sheet and a lovingly crafted personal message with copies of "noetpy". If you'd like a copy of the anthology, just email us here and we'll get it out to you. The collection is £6 plus postage. 


9 August, 2011, Buffalo Bar (video of "Punk for Life/Punk for Death")

http://www.youtube.com/watch?v=ZR1xr3U5Flo


17 August, 2011, Good Ship (Kilburn) 8pm.ish.

in the meantime, a pseud0-bandifest0 for downpressing grourmandisers who recreate the punk club of their youth in Vegas:
 
			Motherhood Manifestations 

The markets reject sleep. The European vortex howls outside. Null and void, full of economic rationalisations, the confrontation of the past, with the bad dream. Horrible, misplaceable freedom is dancing in the cappuccino froth. The sea monster roils beneath, scrapings from the drama are reconfigured and sold back via satellite packages and living room sets. Daily anthracite inhalings, arctic seepage, briefly, heavenly forgotten poisons are inhaled in spas; back in style. Turn every page, hoping that the last newspaper will disintegrate before dawn. Listen to every plane and helicopter as it passes, chopping its way into deeper darknesses. Which will be the day it chops for you? An X-Factor Saturday?

Primordial scouring of the ideologies is producing nothing, writers blocs and idiolecterns for the worst. It’s fun to drag flags through teargas and watch the club descend into hazy double vision. Dog runs are breeding, rats and hocus-pocus are breaking teeth on the gates of Vienna in the dream of an extraordinarily stupid ape.  Tune in for the carcass videos, and the fright-faces of the masters and their press secretaries, securities and exchanges are commissioned, call me a fledgling, I’m fledging my allegiance to the only thing I’ve ever loved: hiss and noise and total disobedience. 
Nostalgia for air raid sirens, motility of borders, the old fashioned in-and-down-and-out. Common enemies proliferate in the auto-recessional and in the mildew towers. Jubilee year came and went without any jubilation. The securitisation of the cathedral seat also came and petered out. Enter the venerable mosque paranoia, the soul on icicles and icecap retreat. I’m feeling the stoppage of the genre, the inevitable every day slowing of the thermo-haline deregulation. Aristocrats love Aristaeus, written on papyrus, buying copies of Frieze and The Big Takeover, reading until fingers bleed and consciousness manifests itself as something greater than a fashionable malady. Inside the mouth organ, inside the portcullis, David Foster Wallace fell out of race for rattiness, what does the aerial surveillance tell? The coconut and tear ice cream is melting on the sidewalk, suck the spoon until all the goodness goes out. After dinner mincing, supply lines are tight, the fear of a dark future looms on a black planet, that there won’t be enough black blood to keep the tanks and caterpillars humming. Harmony is a kind of conspiracy. 

 Down at Lourdes, various accidental members of the human race accrue. Dive into the illustrious illusions, accidental interpretations accrue. The kids of yesterday become the eternal kids of today, the calumny of the 1970s is being rerun, nurturing the harrow of the 1980s, homogenising the milk of the 1990s, which is lead, sleepwalking, in a financialised sleeping bag called the 2000s. We’ve counted up to slaughterhouse six now, preparing to unleash our special brand of mistake on everything, Klingons, giraffes, the noble presence gone absent since something like the Edwardian age, the pointless in-between. 

Tear gas for tear masks, hobo jamborees erupted from the nothingness in the wake of the RNC Welcoming Committee and the media flare gun pointed at its heart. Credit line lassos evoked Buffalo Bill et al. defunct. The zero radiates and pulls the unhappy constant of the present into one piece. No one has a freedom pass any more for the freedom bus. Neal Cassidy and Ginsberg are rotting beneath the Stealer’s Wheel licensing fees and T-Shirt assassins gathered at the foyer. Welcome to the industry, kid(z). 

Gone commando, the night before I enlisted, I decided to drink that beer and enlist the jizz goggles and all that entails. I peered into the future for long enough to realise that all the world is a stage and all in it are soundmen/soundwomen waiting for Gyges and the Lychees to take the stage, to emerge from the cave and give us a round of ring-around-the-warhead before departing on the private hell-jet to nowhere, to play a gig for Ilham Aliev and companies—Spoek Mathambo on percussion. Before they left, I stole the set list which contained Hugh Fearnley-Whittingstall’s recipe for rock’n’roll rebellion: push a button and nothing drips out. As soon as an idea bubbles over it is frozen by the coolness of the advertising avant-garde. Sob if you will, ideally on to a plate of bone china porcelain with intellectual property rights, to be projected on the Jumbotron. Farewell, moon. 
Flowers and allergies, and rhapsody can be imported. Punching a hole in the romantic outlaw is a fine way to pass through time. Camelot was a lie before it became a legend, now there’s only the Barbary pirates’ radio station brought to you by supermarkets and monks retreating down the demand curve, obsessed with giving something back to the no ones and antibodies.  As soon as you feel it, you can buy it because someone felt you while you were feeling it. 

All manifestations are the reification of irrelevance. How can the present be different from the past when the past is sitting there drunk and passed out on the couch with a dick drawn on its cheek and “Obama 2012” written on its shin-bone?  A loop, as they say, is a loop, is a loop is a wolf is a woolf is an allegiance to a particular place and time and estimate of bohemian credibility. You feel strangely attached to it, but still want to see it ruptured and its guts spilling on the ground. 
Sooner or later someone asks you to stand outside yourself and make a long list of plausible things to reject:


 				Bullet Point/Going Ballistics 
--Art is a strawberry jar effect followed by a strawberry fields effect.
--Art is a long haired dude effect (black T-shirt with oozy writing optional).
--Art is a cleansing of the synaptic cleft.
--Art is a Tom Petty and the Heartbroken effect.
 		--Art is a sustained love for that which can and does destroy you effect.
 		--Art is a modality of crapulence effect.
 --Art is an I didn’t do it and he throws up his hands; I was only robbin’ the  register, I hope ya understand effect. 
 		--Art is a subsidiary of the cigar effect. 
 		--Art is a worst left to the professionals effect. 

This is the day of the fetishising of the lunatic. Donks have touched everything. One sunny afternoon, irony vomited misogyny into its present form; no amount of hate is too volatile to be commodified. Rock’n’roll was born as a paisley camera, and a floating signifier after a shipwreck, as a cartoon starring Savonarola, micro-fish mircosoflty melting in an endless desert of the unreal, annealing in the endless descant that is glass, from the friction of its own masturbation. 

Today donuts are rock’n’roll. Rock’n’roll is as much of a ritual as the sex it parodies. But rock’n’roll is a mistake worth repeating. Rock’n’roll is the bellhop for hip-hop. Rock’n’roll is a designer balaclava. Rock’n’roll is an allusion to the Battle of Sevastopol made on Rue Sebastopol. Rock’n’roll is sodomy with a cigar. Rock’n’roll is the plosive and the fricative in history.  Rock’n’roll is a pig destined for Serrano ham. 

Q: What makes a band start pyres? 
A: Paranoia about 19-year-olds not going broke to feed the bonobo dairy farm in your backyard. 

Self indulgence leads to cultural gout—were you too gently raised to feast upon yourself, Bajazeth?  Rock’n’roll is the machine without the ghost. It runs all night and only scares itself. Rock’n’roll needs a good schism. 

Type powerlessness into search engines: there’s an image of a bar-back in a band. Turn the lights out once a generation and watch everyone eating their young in the narcolepsy of cheap holidays: express the same hopeless, powerless, shamelessness in a different city with a language barrier and, fatally, the barrier persists when you wake up, unaware how you got home, as you thread the passersby in the streets. Caring becomes a subculture, compassion a mode of assassination of the political discourse as permitted and mitigated. Leaving water in the desert of the real is understood by the barbarians who created it to be the act of greatest infamy.  Criminalising humanity will be the final test and expression of professional credibility. 
Long shadows of power stretch back into the dark ages and create strange topologies. The Creature from the Black Lagoon was a communist, same as aliens and virons of various stripes are stand-ins for Orientalist spiders in the present. We end up, sooner or later, on one side of the glass partition, where the past and the future stand staring each other in the face in blind terror as plastic reinforcement lends greater flexibility and licensing the blind thrashing continue without fear of splinters. 

Nothing so beautiful as glass breaking, nothing so beautiful as the silence of sarcophagi, nothing so beautiful as the mound built of love sloping and exhaling beside you, nothing so beautiful as money exposed to daylight. All children will be trained in business suits and graduate into permanent retirement. The fortunate sonneteers who learn the corporate bleat fluently-fruitlessly will man the pilotless reconnaissance reapers, telling us what we think of ourselves and providing the subject matter for photorealist meditations on the distance between post-democracy and desire. 
In the next life (more or less), we will write poetry that is easy to understand and be invited to the White House Press Dinner so that we can shake hands with our own hubris and timidity. Gideon hisself will read the Bible to the taxidermist who immortalised Rocky Raccoon. The discussion will centre on the pleasures of watching yourself evanesce without disturbing the galaxy or, more referentially, the universe, and the pleasures of dealing yourself out of the fun and games and into the chain gang. 

Sooner or later, the permanent disorder pays off. The heavy hands blunder in to a Fashoda Incident by for and of the cameras, expect any faces you see to be dispersed like cherry blossoms as soon as they appear, in transit to the cherry moon. Come on, you wilderness enthusiasts, come on, you wolf children with wolf shoulders who name your bands after wolves. Come on, you up-and-comers. Come on, you down-and-goers. Come on, you fuckwads and fucksticks, and fuckwits. Lets meet in the utterly ruined roses, the pansy-dotted flunky city farms. Come on, last bad ideas! Let’s meet in the fragment of the frangipani future bequeathed to us. Let’s have our table talk, our autumnal folk flutter, our embrace before the wings close over us. If one person can change, lots of people can transmogrify. Don’t you dream of a bike basement made out of rosewood and lover-fuckdom? Of a woodland compound and the song of deliquescing nymphs in the shower? Of punks falling into your reflection in the black water of home? No? 

excess = success = excressence.

Rock on, dog.  




Drums: Casper 
Guitar: JT 
Bass: Stretch 
Vocals: Jimmy

Tremors are a Rock band from West Auckland. They come from varying musical back rounds to create a unique rock sound. After making it to the final of Battle of the bands Tremors started recording an ep set to be released in the upcoming months. 
Stay tuned for more!!


a Review of Bilal G a ‘Different’ Underground Recording Artist 

April 27, 2015
Read more       



artists, ReviewsLeave a commentbilal g different fickle public quick review recording artist showmanship the neighborhood's spotlight artist of the month unusual voice	  


I’m different, yeah I’m different. 
Pull up to the scene with my ceiling missing.
Middle finger up to my competition.
I’m different, yeah I’m different. 
– 2 Chainz



Bilal G
lives: Prince Anne Maryland
from: Philadelphia
age: 26
genre: rap
The Neighborhood Show: The Battle

bilal g
a Review of Bilal G a ‘Different’ Underground Recording Artist
 by Kendall F. Person

Bilal G is different. Different good or different bad is based upon our willingness to stretch the limits of our musical taste. A baritone so deep, I am at a loss of comparisons, especially in the rap genre, but even that can work for or against him, a fickle public may love or hate.

I am a fan of his limited arsenal of work, his choice of beats and his lyrical style – the way he force feeds his words, holding you as prisoner, imprinting his name. But even if he had a number one best seller, he must learn to control his unusual voice, make it work to his advantage, or the one hit will be all he will get. But what thepublicblogger really likes about this young recording artists is that he listens, because he understands what he does not know, and that wisdom can make him better. 

The Neighborhood has yet to shine the spotlight so bright on such an untested artists, with so few songs and only meeting him but a month ago, he has already starred in his own show (The Battle) but he is different and deserves a different approach, so we said “Why not?” But if he is patient and continues to hone his craft, we think that different can help him rise, but not quite ready to deliver the mantle, that still belongs to the indisputable ruler of the underground, Detroit’s Hussle Crowe.

But for his difference in style and for his ‘listen to my shit’ way of self-promotions, his showmanship on stage,his spinning on a dime in going after original music with proper credits, and his respect for and the way he fits into thepublicblogger’s hustle…..

Bilal G is The Neighborhood‘s Spotlight Artist of the Month.
 *********************************************************************
the IvySoul Sound & Fran Daddy Artists Stage
 is where underground recording artists start out,
 before their introduction into The Neighborhood 
or….. being knocked out.
https://www.youtube.com/watch?v=4kEUTVyFM2w

whatever supply it how people still say to me when you use to used to say you use to not be this way use went changes com change I'm Majesty wall for a butterfly you know was once a caterpillar capsular crawl around on its belly it home with the caterpillars what shoe graduate from capsule into butterfly no longer hang out with caterpillar’s you know how to do things they catalyze still you'll fall which it is not to say you better you just marched into something no is so everyday have to fight that battle steel almost seven years later seventy years later almost install I want to see me Howard <a href="http://safercolonreviewss.com/">Safer Colon</a> Sonoma I watched incursion on that because the future me hit is here I know it out one day and I know what I wanted to get some who some myself alone got home a sack 18 toe size 20 ape be Act the Act but I can't stress enough the nasty look in the mirror and I still find things that I don’t like about myself steel fun stretch marks a little bit a little scheme that I don’t really care to see and no this wasn't mentioned in the video still not winning battles warm walls I accepted but also the consequences of my choices paste they are just like with anything we have consequences for the decisions that we make it is necessarily say we're big hug each is access a but me you do care’s carry some can obey each Matt ninety .

User 148247109 is following