Warish - Down In Flames - COMPACT DISCS [CD]

With a name like Warish, the San Diego noisy punk-metal trio assured listeners they were in for a maniacal bludgeoning from the get-go. But the band has never been as dark and bitingly vicious as the wholly ominous Next To Pay. The band's mix of early AmRep skronk, dark horror rock and budget doom antipathy is taken to a whole new level on this thirteen song invective. InchNext To Pay is about a sense of imminent doom, everyone is going to die,Inch vocalist / guitarist Riley Hawk says. InchIt's not the happiest record, I guess.Inch To say the least. On the title track opener, Hawk screams through shredded vocal chords with the tuneful rage of Kill 'Em All-era James Hetfield and the seething desperation of Kurt Cobain. InchThis album is more of an evolution, it's a little more punk-heavy,Inch Hawk says of the group quickly founded in 2018. InchWe figured out what our sound was.Inch And with that evolution comes a change in the lineup. Original drummer Nick (Broose) McDonnell plays on about half of the songs, while new drummer Justin de la Vega brings an even tighter urgency to the remaining, more recent tracks. Bassist Alex Bassaj joined after the debut album was recorded and here showcases muscular and melodic low end previously missing. Riley Hawk is also the pro-skater son of Tony Hawk. Inspired by early-Nirvana, The Misfits, The Spits and Master Of Reality-era Black Sabbath, Next To Pay keeps things heavy and pummeling at all times. The guitars are heavy and powerful, though decidedly not straightforward cookie cutter punk; more like Greg Ginn's and Buzz Osbourne's wiry contortions, and occasionally drenched in chorus effects. The rhythms bash right through it all with aggressive force ensuring that nothing gets overly complicated. Warish's cover of '80s Dischord Records punks Gray Matter turns the emotive flail of InchBurn No BridgesInch into a Motörhead-style bas

This is the original debut album by pianist and composer Edoardo Bruni and his modal musical writing technique - in this way disconnected from the rules of tonality or other note's succession systems experimented until now - 'expanded' to the extreme of it's possibilities. A full-bodied chamber trio for clarinet, cello and piano, and seven tracks for solo harp constitute the content of this album that is the first stage of the Ars Modi project, based on the principle of the Inchpan-modalityInch with which the composer forges a new and personal sound aesthetic.

Raices Latinas Smithsonian Folkways Latino Roots Collection features tracks by Ernesto Guerra y su Conjuno, Los Reyes de Albuquerque, Gruop Afrocuba de Mantanzas, Luiz Bonfa and more!