between the buried and me free download Between the Buried and Me - Automata I mp3 flac. Automata I is the eighth studio by the American band Between the Buried and Me. It was released on March 9, 2018 through Sumerian Records, their first release with the label. It is the first part of a two-piece album-the second, Automata II, was released on July 13, 2018. Between the Buried and Me began recording the album on July 31, 2017 and finished on September 6, 2017, announcing it in January 2018 with 2018 tour dates set with The Dear Hunter and . Long-term producer and collaborator. Complete your Between the Buried and Me collection. Really? Someone bought this for 50$ in VG+/VG+ condition when there were a lot more Mint cheaper?(in both EU and US) Sounds like someone is trying to spike the price. Reply Notify me Helpful. referencing Automata I, LP, Album, Ltd, RP, Hal, none. Music is good, but this pressing with the half colors is not good. When my needle is tracking through the red color, there is an audible hiss that is not present when tracking over the clear. extreme music, экстремальная музыка, metal, металл, grindcore, грайндкор, grind, brutal, брутал, black metal, блэк металл, doom metal, дум металл, , дет метал, folk metal, pagan metal, heavy metal, хэви металл, gothic metal, готика, металл альбомы, free music, бесплатная музыка, свободный обмен музыкой, новинки, раритеты, new and rare music, music discussions, discographies, band history, дискографии, истории групп, обсуждение музыки. Listen free to Between the Buried and Me – Automata I (Condemned to the Gallows, House Organ and more). Discover more music, concerts, videos, and pictures with the largest catalogue online at Last. Connect to this site. Between the Buried and Me's 'Automata I' Is No Misdirect. While a tad too familiar and safe, Automata I further cements Between the Buried and Me as the superlative act in modern progressive metal. Automata I. Between the Buried and Me. Sumerian. On his debut album ATAXIA, Rian Treanor has mastered a whole new sonic vocabulary that gradually destabilizes and erodes existing principles and practices of electronic music to create something wholly unique. David Gray Brings Back the Folktronica on 'Gold in a Brass Age'. The 11th studio album by David Gray finds him returning to the "folktronica" through which he made his name in the late 1990s, with some added twists. It’s interesting to hear a band like Between the Buried and Me eight into their career. Not only are they supremely talented at their craft and continuously challenging genre boundaries with each subsequent album, but they’re also experienced enough as musicians to learn from their mistakes. Their sound – essentially melding every style of music known to man – has matured nicely since Colors, and oddly enough, not much has changed. Tracklist. Condemned To The Gallow 6:35 House Organ 3:41 Yellow Eyes 8:45 Millions 4:44 Gold Distance 1:02 Blot 10:27. Versions. Category Artist Title ( Format ) Label Category Country Year SUM930 Between the Buried and Me Automata I ​ (CD, Album) Sumerian Records SUM930 US 2018 none Between the Buried and Me Automata I ​ (LP, Album, Blu) Sumerian Records none US 2018 none Between the Buried and Me Automata I ​ (LP, Album, Ltd) Sumerian Records none US 2018 none Between the Buried and Me Automata I ​ (LP, Album, Ltd, Cle) Sumerian Records none US 2018 none Between the Buried and Me Automata I ​ (LP, Album, Ltd, RP, Hal) Sumerian Records none US 2018 none Between the Buried and Me Automata I ​ (LP, Album, Ltd, RP, Red) Sumerian Records none US 2018 none Between the Buried and Me Automata I ​ (LP, Album, Ltd, Yel) Sumerian Records none US 2018. Tracklist. A1 Condemed To The Gallows 00:06:35 A2 House Organ 00:03:41 A3 Yellow Eyes 00:08:45 B4 Millions 00:04:44 B5 Gold Distance 00:01:02 B6 Blot 00:10:27. Companies, etc. Phonographic Copyright (p) – Sumerian Records Copyright (c) – Sumerian Records Recorded At – The Basement Studios Recorded At – Fidelitorium Mixed At – Fascination Street Studios Mastered At – Fascination Street Studios Pressed By – GZ Media – 167187E. Credits. A&R – Ash Avildsen, Nick Walters , Sumerian Records Art Direction, Layout – Corey Meyers Band [Between The Buried And Me Are:] – Blake Richardson, , Dustie Waring, , Tommy Rogers* Booking [International] – The Agency Group, Tom Taaffe Booking [North America] – Dave Shapiro , The Agency Group, Tim Borror Engineer [Engineered By] – Jamie King Legal – Bryan K. Christner Management – Good Fight Entertainment, Nick "Biggie" Grimaldi* Mixed By, Mastered By – Music By [All], Lyrics By [All], Written-By, Performer [Performed By] – Between The Buried And Me Photography By – Aaron Strelecki, Andrew Strelecki, Corey Meyers Producer [Additional Producing] – Kevin King Producer [Produced By] – Between The Buried And Me, Jamie King Recorded By [Drums And Piano] – Jamie King, Kris Hilbert Trombone, Baritone Saxophone – Cameron MacManus Trumpet – Jonathan Wiseman. Notes. Limited to 500 copies from the North American Sumerian Merch website. Limited to 250 copies from the European Sumerian Merch website. Limited to 750 total. Issued in a gatefold jacket with printed inner sleeve including lyrics and credits. Comes with digital download code. Tracks listed sequentially on inner sleeve. Recorded August 2017 at The Basement Studio. Drums and piano recorded at The Fidelitorium. BETWEEN THE BURIED AND ME. Between The Buried And Me's fourth album, Colors, blew everyone's mind, for the good or the bad. Colors is considered by many (including me) as Between The Buried And Me's breakthrough album. It was in this record when they really started to show their claws and proclaimed themselves as the most innovative progressive metal band since Dream Theater. It isn't really an easy title to obtain, and their three previous prove that: Good, but not astonishing or incredible in anyway. Still, you could tell this band had a lot of potential. And Colors came to prove that they, indeed, had a lot of potential. With a very wide musical spectrum, you could tell each member of this band wanted to show they could do absolutely anything within progressive metal. From metal core, to , to indo-prog, to progressive metal, to gospel rock. the list almost endlessly goes on. And since we're talking about Between The Buried And Me, musical execution and technicality is top notch. The album is made out of eight tracks, although the continuity and flow between the make them feel like a one hour song. While there's songs like The Backtrack and Viridian that serve as bridges between tracks, some others like Sun Of Nothing, Ants Of The Sky, Prequel To The Sequel and the closer White Walls have the whole band doing their best to impress everyone with the dynamism and complexity of each of those tracks, and I must say they truly achieved it. This album can be a tough nut to digest, specially if you're not into growls. If you are, however, then get ready for some of the most impressive music you will ever hear. I will give this album a very well deserved five star rating. Colors is Between The Buried And Me's first grand work. I decided that my first review on this site would be for my favorite progressive metal album since Dream Theater's Metropolis Pt. II, an album that I will probably review very soon. I must say that this album requires quite an extravagant taste. It's not necessarily too melodic or light to be considered progressive rock, or too smashing and brutal to be considered Death or Black Metal. It's in a point in between, combing properties and characteristics of these genres instead. And I must say the last time I saw a band manage such perfect balance, it was with Opeth's Ghost Reveries. This album's main technique is to saturate you with thousands of time signatures and technical passages before you can even process them. This can be tedious for those who don't enjoy musicians showing off, but for those that do, it's heaven on earth. Between The Buried And Me's capability of merging these complex sections that stay for most of the album with growls and clean vocals is also something worth respecting, so big props to Tommy Rogers. Musicality is truly on point and at certain times, close to unmatched, with all five musicians delivering their notes with perfect synchrony in a truly delightful way. There's five main juggernauts that pretty much sum up what this album's all about: Lay Your Ghosts To Rest, Extremophile Elite, Telos, Melting City and Silent Flight Parliament There's three minor tracks that work as smaller juggernauts, they still pack a punch: Astral Body, The Black Box and Bloom There's two SFX interludes that work as a break from the juggernauts: Autumn and Parallax Finally, the opener and the closer, the latter one being a reprise, work together as an amazing way to tie-up things together. However, with all honesty, I recommend that your first impression to this monster of a work is through a full listen. Most Between The Buried And Me albums work that way, in fact. The flow present between tracks is truly admirable. I easily give this album a five star rating. I truly have always referred to it as a masterpiece. Songs like Lay Your Ghosts To Rest showcase Between The Buried And Me's technical side. Extremophile Elite showcases Between The Buried And Me exploring middle-east sounding music near the end. Telos is a brutally heavy and dynamic track that will blow you off your seat. Melting City has amazing melodic sections and guitar solos. Finally, Silent Flight Parliament is an epic track that closes the album amazingly, my favorite from this work! Musicality is flawless, as you would expect from Between The Buried And Me, and the vocals are amazing by how they go from soft and beautiful to dark and heavy, it adds dynamic to the album. Review by Wicket Prog Reviewer. But then once they make that one, singular defining album, the question then becomes "how do you top that"? And frankly, that's harder than the first question. BTBAM began swimming the cult tech death underground with furious chaotic shredding, growling and mashing of drumsets with the occasional soft parts thrown in between. They started throwing in more of their what would be signature arpeggios in "The Silent Circus" and "Alaska", the latter of which stirred the hype train a bit. But once "Colors" dropped, the whole game had been changed. Hell, "Prequel to the Sequel" landed on Rock Band! Not many really heavy bands can do that. So of course, when you release game changing material like that, the question is how you top it. But BTBAM decided otherwise, instead saying "We don't have to follow up Colors", we'll just push our sound in different directions, that way no two albums sound the same." It's a brilliant strategy, albeit one that's rarely successful, but by the time "The Great Misdirect" came out, BTBAM had already established their sound, while still evolving it from album to album (i.e . ""). "Mirrors" is a slow opener, but not like "Color's Backtrack". There's no real buildup, just a slow, plodding melodic tune, but then "Obfuscation" kicks in and so does the headbanging, and while I don't believe this album is really comparable to "Colors", this song in general I find a lot of connections to "Prequel to the Sequel", the closest you could call "hit songs" of their respective albums. It's a roller coaster of a ride, as almost all BTBAM songs are, but the guitar melodies are really pronounced so that you latch onto them like a safety net. Throw in a heavy hitting chorus, a crazy tension building bridge/interlude/face-melting guitar solo/cacophony-of- endless noise section and you've got a heavy hitter of a statement piece. "Disease, Injury, Madness" and "Fossil Genera" are all right, similarly composed as before, with chaotic sections with repeating motifs with mellow and melodic interludes and bridges in between, with each song bringing a unique "X-factor", the former being a cool blues rock groove towards the end and the latter bringing a haunting circus-esque motif throughout and ending with a haunting and repeating melody on the finishing chorus. "Desert of Song" is probably the closest BTBAM has ever gotten to an accessible or daresay, even "pop" hit. It begins almost like a cinematic western tune, featuring a very rare vocal spot from guitarist Paul Waggoner, and quite jarring comparing it to the constant thrash and violent furry of "The Silent Circus" just six years prior. Considering the numerous genres they've sampled and teased even just on this album and "Colors", it's a fresh and unique breath of relaxation from the constant barrage on the ear drums, and yet it still sounds familiar, still somehow quintessential BTBAM. A rare progressive tune that is quite catchy and enjoyable, despite it being somewhat melancholy. "Swim To The Moon" to me is, not just the apex of the album obviously, but it's crowning achievement. Compositionally, it's a brilliantly structured track, with the opening motif also bookending as its closing notes, while also introducing a breakdown motif that's foreshadowed towards the latter end of the song. It's still just as chaotic as any BTBAM song, but the structuring of the verses and bridges just seem a bit more fluid than say "Disease. " and "Fossil Genera". I'm more likely to skip through those two songs to get to the good juicy bits more than I am skipping through "Swim to the Moon". As always, it's unique party piece is the little samba breakdown/Blake Richardson showcase roughly six and a half minutes in, but even before that, the saturation of noise give it an epic persona, and the chorus melody is one of the most striking and haunting I think in BTBAM's repertoire. It's short, sweet and simple, but once Tommy Rogers breaks through halfway through the song and it fades away to subtle guitar plucking, the aftereffect is intoxicating. Then a banjo style plucking comes in soon after followed by a furious distorted repetition of the motif. This sequence right here is straight head-banging inducing. It's a completely instrumental spot that showcases the entire band at its absolute peak and fury. I love the counterplay between soft and loud dynamics, which work to an astonishing effect, especially on an album like this where generally everything is turned past eleven up to a thousand. This instrumental section takes up near about four of the nearly 18 minute long track, and it's probably one of the best instrumental metal sections I've heard in quite a while. Once that fades, the heavy breakdown motif returns in an absolutely crushing breakdown (the distortion is so immense I have no idea what chord it is, besides the lowest). A quick little transition leads back into the thematic western-styled acousitc plucking (complete with some bongos) before the chorus returns in all its glory before signing off just as it began, with the same motif the song opened with 18 minutes prior. It's a phenomenal juggernaut of a track, one of the most complete in BTBAM history, and one of my most favorite "juggernaut" tracks (tracks I personally describe being longer than 15 minutes). Sadly, while I love the song and the rest of this album, this album has to get a 4 star. I understand the need to continue evolving one's sound so as to not be defined and compared to one singular album, but to me it just doesn't have the grandiosity and enough aural catching oddities that littered "Colors" to such an entertaining and refreshing degree. The only real downside song wise is the middle of "Fossil Genera" that gets so lost in the constant barrage of blastbeats and constant dissonant upheaval that it produces headaches quicker than any other section on this album. That aside, this is still a great album, a must for any fan of "Colors" or any technical metal. There's still plenty of screaming (something some people were a tad annoyed at with "Coma Ecliptic" at times, myself included), but also plenty of great melodic sections to break up the monotonous (at times) onslaught of arpeggiated riffs and furious blastbeats. The first song has vocals like if it were an Ayreon symphonic track, accentuated by organ in the background, yet another new territory for the band. After this first candy comes the meat, "Astral body" with a heavy dose of brutality. "Lay Your Ghosts to Rest" is incredible versatile, from the poppy melodic part to long growls. The middle section has a march with death-metal vocals but Hammond in the background, then comes a waltz-like clean section. "Extremophile Elite" reminds me of Haken in the clean parts. At one moment, the band utilizes frenetic death metal speed to magically turn into progressive rock realm. Orientally infused guitar can be heard in the latter part of the track. The short "The black box" is the strongest similarity to Haken up to now. "Bloom" is extremely eclectic and complex with soloing by each member, constant changes. "Silent Flight Parliament" is the climax on that album; it has various highs and downs in terms of intensity. I like the combination is growling and clean vocals at the same time, they are really powerful on entire album, rhough. Overall, this is yet another well executed album by the band that deserves to be stored in the upper echelon of their discography. "Obfuscation" is a typical fast-paced death-metal number with plenty of technical finesse. Worth mentioning is the mid section with equlibristic drums and rock solo, all pretty irregular. More emotional guitar playing comes in the end. The next track has a reflecting part with differently sung vocals. The ending part has the black metal furiosity and evilness. "Fossil Genera - A Feed From Cloud Mountain" sounds like anything else from the band with jazzy piano, keyboards ad playfuk marching drums. Clean vocals not unsimilar to Haken appear in the at what seems to be the dramatic peak of the track accentuated by using bells and solemn singing. "Desert of song" is an coustic-electric song that is warm but a bit shallow; however good for ears to rest a bit before the final epic track sneaks in. It is epic not only becaue of its length; it has proper development from easy going beginning to the Dream Theater+keyboard instrumental ouverture. Growling/Shrieking only come after three minutes and the rhythm is still closer to progressive metal than death. There are plenty of ideas and keyboards can get quite proficient, too. The final guitar motive is excellent. The album cements BtBaM leading position in the field of and they belong among most ambitious bands in that genre. The band is at their peak in creating melodic mellow music mixed with brutal moments. Keyboards are hearable on this album, too, and used effectively but sparsely. From the very first moment on the album represented by piano lines and gentle vocals, it is clear this is going to be an extraordinary piece of music. The vocals remind me of Jenn Lynne a bit. A pretty unusual for a death-metal/ band. "Informal gluttony" provides world-music seconds with interesting percussions. 4.5 stars round to 5. REVIEW: BETWEEN THE BURIED AND ME – “Automata I” With ‘Automata I’, Between the Buried and Me have crafted a sublime conceptual piece. I recently watched a 2014 episode of “What’s in my Bag?” featuring Dan Briggs , the bassist for Raleigh, North Carolina progressive metal stalwarts Between the Buried and Me , whose new LP ‘ Automata I ’ (part 1 of a 2-part concept record) drops on 3/9/18 via Sumerian Records. The series follows artists and other notable “trendsetters” as they peruse the aisles of LA record superstore Amoeba Music, and discuss their purchases. Briggs predictably praises Robert Fripp and John Zorn , and namedrops an eclectic selection of other artists including Haken, Danny Elfman and Oingo Boingo, True Widow and Failure. When someone off camera laughs at Brigg’s mention of Failure’s Ken Andrews’s production work with nineties alt-rockers Candlebox, Briggs responds with a sincere endorsement of their best known song Far Behind. This anecdote, and the whole interview spot in general, is indicative of the band’s breadth of influences, and their willingness to step outside of the tech death box with aplomb and with little regard to genre purity, perceived taste, or conventions. BTBAM follow their own muse, and that is what makes them stand out. According to the press release, ‘Automata’ and its companion LP ‘Automata II’ (which arrives this Summer) tells the Black Mirror-esque story of a dystopian future where dreams are broadcast as entertainment. Lead-off single, “Condemned to the Gallows” kicks off the proceedings with a tightly woven blast of quintessential BTBAM. Beginning with an acoustic intro, the song takes off into distorted unpredictable rhythms, and aggressive unhinged vocals. By the time the epic melodic arpeggios of guitarist Paul Waggoner ’s lead break arrive, you realize that the band has pulled off the neat trick of an effortless and understated transition through a dizzying array of riffs, rhythms, and moods. Singer-keyboardist Tommy Giles Rogers states that lyrically, “Condemned to the Gallows” sets up the whole story.” With lines like “Warm blood drips on cold snow,” and “the curtain surrounds logical thought,” the lyrics describe a cold, grim, and inescapable nightmare. The beginning of “House Organ” alternates between various combinations of a syncopated beat and a dirge riff, before an excellent piece of drum work by Blake Richardson serves as a transition into a sad, spacy piano led chorus, which finds Rogers repeating an earworm melody with the fitting lines “Hold your tongues and let me speak. There’s more to this than it may seem” over and over. These lines almost serve as a declaration of intent, for a band that’s as committed to delivering an album that’s as rooted in concept and emotion as they are to delivering one that’s technically dazzling. “Yellow Eyes” possesses all of the things BTBAM are known for—memorable choruses, fluid and melodic leads, and tight, rhythmic twists and turns. It staggers a bit with its sprawling arrangement, but repeated spins reward the listener. In direct contrast, the focused melodicism of “Millions” is refreshingly direct, and is the first song on the album where the band truly breaks new ground. Stripped of the complex rhythms and adornments of the previous songs, the band lets their more traditional songwriting chops shine through to great effect. The atmospheric synth-driven instrumental track “Gold Distance” aptly sets the mood for epic closer “Blot.” The song begins with a moody sitar- led theme which dissolves into an angular melody married to a start-and-stop riff à la Pain of Salvation, before alternating a hypnotic verse groove with the sitar led theme. This is followed by a detour into a heavier, more aggressive riff, before eventually resolving into a Muse by way of The Human Abstract-like chorus. Waggoner and rhythm guitarist Dustie Waring then lead the band into a mid-song riff fest that ebbs and flows through a variety of moods, tempos and nicely woven recurrent themes before the band closes the book on long player #8 with a welcome and triumphant return to the chorus theme. With ‘Automata I’ , Between the Buried and Me have crafted a sublime conceptual piece in the same vein as its immediate predecessor, 2016’s excellent Coma Ecliptic . While it does not break a lot of new ground stylistically, there is an extra emotional heft in the singing and melodies, and an atmospheric touch, which is reflective of the lyrical concept. These new elements elevate the overall song-craft and record cohesiveness, and serve to effectively anchor the set in spite of its complex and often disparate motifs and arrangements. Automata I. What other items do customers buy after viewing this item? Product details. Is Discontinued By Manufacturer : ​ No Product Dimensions : ​ 14.3 x 12.6 x 0.99 cm; 66.05 Grams Manufacturer : ​ SUMERIAN Original Release Date : ​ 2018 Label : ​ SUMERIAN ASIN : ​ B0794QVXVR Number of discs : ​ 1. Best Sellers Rank: 36,247 in CDs & Vinyl (See Top 100 in CDs & Vinyl) 178 in Progressive Metal 2,058 in Heavy Metal. Product description. The first part of the eighth studio album by the American progressive metal band, originally released in March 2018. Between the Buried and Me began recording the album on July 31, 2017 and finished on September 6, 2017, announcing it in January 2018 with 2018 tour dates set with The Dear Hunter and Leprous. Longtime producer and collaborator Jamie King returned to produce the album. Between the Buried and Me. Between the Buried and Me are a thinking man's rock & roll outfit hailing from Raleigh, North Carolina. Moving from death growls to mellow singing, and death metal to blues to prog, technical death and math metal are qualities not usually found in the poster-boy megaband. For BTBAM, it's not how the music is written that matters, it's in the execution, both in the studio and on the stage. Beginning with 2003's The Silent Circus, where they ground through extreme music's subgenres, to 2007's Colors, which the band called "a 65-minute opus of non-stop pummeling beautiful music. " they professed distaste for staying inside the lines, stifling almost no creative impulse to get the material across even if it meant forsaking one genre for another. While metal was always the outfit's referential touchstone, they emerged from the hardcore and indie rock scenes to get there. When recordings became more conceptual with 2015's relatively accessible Coma Ecliptic, BTBAM had widened their musical circle so much that critics lauded them under the "progressive metal" tag, since it was easier to categorize. Live, they are a contradiction in terms, displaying an intense energy and playing music almost theatrical in its immediacy. The band formed in 2000 after the dissolution of vocalist Tommy Rogers and guitarist Paul Waggoner's previous group, Prayer for Cleansing. Rogers and Waggoner completed their new lineup with the addition of guitarist Nick Fletcher, bassist Jason King (ex-Azazel), and drummer Mark Castillo, formerly of Bury Your Dead. An eponymous debut soon appeared, issued through the German indie Lifeforce, and the band supported its release with an avid tour schedule. Between the Buried and Me signed with Chicago hardcore powerhouse Victory in the summer of 2002 and began work on their debut for the label. The Silent Circus appeared in late October of the following year and showcased a more focused fusion of the group's math rock, heavy metal, and post-hardcore influences. Several lineup changes ensued that saw Rogers and Waggoner rounded out by guitarist Dusty Waring, bassist Dan Briggs, and drummer Blake Richardson. Joining forces with producer Jamie King, who had recorded their self-titled effort, Between the Buried and Me released Alaska in September 2005. Various tour dates with the Dillinger Escape Plan, Every Time I Die, Bleeding Through, and Haste the Day followed. The band next paid tribute to many of its influences -- from Pantera to Queen to Pink Floyd -- on the covers album , which surfaced in June 2006, before hitting the road on a subsequent headlining tour. That fall, Victory reissued The Silent Circus with an additional bonus DVD of material. In 2007, they went into the studio with producer Jamie King and recorded Colors, which was released that September through Victory Records and described as "new wave polka grunge" by the band. The Great Misdirect, the band's fifth studio album, appeared two years later. Victory put out a Between the Buried and Me greatest-hits album in 2011, just weeks before the band released its first EP on Metal Blade, The Parallax: Hypersleep Dialogues, the first entry in a two-part concept album. The second part, The Parallax II: Future Sequence, followed in 2012. In 2013, they embarked on the Future Sequence Tour, where they played The Parallax II in full. The group reentered the studio in late 2014 to begin work on a new concept recording -- Metal Blade referred to it as a "rock opera." Coma Ecliptic was produced by Jamie King and mixed by Jens Bogren. The set's pre-release single, "Memory Palace," appeared in April of 2015; the album followed in July. In 2017, Between the Buried and Me released the concert LP Coma Ecliptic Live, which featured the band playing the album live in its entirety at the Observatory North Park in San Diego, California. It was their final album for Metal Blade. The band signed to Sumerian that year and quickly hit the studio with King returning as producer. They developed a double-length concept album, Automata, to be issued as two separate recordings with different release dates. According to Rogers: "We can get music instantly, and with this luxury, the listener has a hard time sitting down with albums and exploring their every twist and turn. Because of this, we have decided to release our new album in two parts." The album's songs explore several central questions: What if dreams could be broadcast for the purpose of entertainment? Could you consume the innermost thoughts of another person onscreen? If you could, what does that say about an attention-starved audience? More importantly, what would become of the dreamer? The truly accessible Automata I was issued in early March of 2018; in July, its existence was nearly contradicted (musically) by its companion release, Automata II, an epic, emotional, and eccentric journey that found the group working not only through the usual panoply of genres but also jazz, swing, improvised music, and avant-rock.