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And those shoegazers Ride are back after twenty years! Except: in rock music time, each year is multiplied by the number of wrinkles in Keith Richards’ face and then divided by the exact number of words those lovable moptops, the Fab Four Beatles, managed to rhyme in their hit single “Love Me Do.” That might gauge the chasm between experience and innocence. well, the dearth of my mathematical skills is well chronicled in my album review of Valerian Swing’s album .So just reference that review, don’t ask about the accuracy of my checkbook, and take Mark Twain at his word and just say it’s a “High Figure.”* Meanwhile, back at the ranch, we last heard from our guys Ride as they delivered their swansong of an album, , which was pretty much devoid of their trademark shoegazing signature of guitar distortion, obscured and choir-like vocals, and a general blur (no pun intended) of deep ethereal sound. And, just so you know, fans of Ride from all those years ago will love this album. He's written about music for The Village Voice, The Singles Jukebox, two EMP Pop Conferences, his church newsletter, and his blogs Norteño Blog and Surfing in Babylon.We all know how critical it is to keep independent voices alive and strong on the Internet. We are a wholly independent, women-owned, small company. A true peak moment occurs with “Today”, as the band turns the clock back to 1967 with the psyche...Lamar may have missed his own self-imposed deadline by a week (hey, it happens to the best of us), but was it worth the wait? The album opens with a very Kendrick parable set to film soundtrack strings, as he tells the story of helping an old blind woman only to be shot in return.

It’s all white, emblazoned in black in with the band’s name, the album title, and the text of the First Amendment: “Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridging the freedom of speech, or of the press; or the right of the people peaceably to assemble, and to petition the Government for a redress of grievances.” 8. Tragically, Xiola died at from a heroin overdose in 1987.

The instrumentation takes a backseat here to Lamar’s stinging flow.

In a climate where ‘Hotline Bling’ can take home Best Rap Song at the Grammys (in the words of Drake, it’s not even a “rap song”), Kendrick aims to bring the focus back to rhymes and he’s on the same fine form as we last heard in his verse on Kanye’s ‘No More Parties In LA’.

But beyond the track’s slapping production, Kendrick’s message is also potent.

It goes from assessing the good and the bad in his bloodline to dissing an unnamed foe’s DNA as “an abomination.” Then, it takes a dramatic turn for a closing line that looks at the globe at large, something we’ll see more of later on.

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