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Packed away haphazardly under the J/M/Z in the Bedford-Stuyvesant neighborhood of Brooklyn sits a small alleyway — locally referred to as “Punk Alley.” In it resides a used book store, a used record shop, a cassette-based experimental noise record label and, of course, KPISS: the resident pirate radio station.

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Many men—such as James Charles, Manny MUA and Jeffree Star—are advocating for the use of makeup by men in everyday life, while other figures such as RuPaul Charles, Harris Glenn Milstead, otherwise known as Divine, and many others advocate for its use by men in drag performance as well as the drag aesthetic. Nevertheless, we as a society are still divided on the issue.

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I soon ceased being able to think using words; everything in my head was an emotion or an image. I started seeing shit. It was similar to static on a TV, but with moving horizontal lines. I couldn’t talk. I didn’t know how to communicate what I was seeing or feeling.

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“7” is the first Beach House album that has featured live drums throughout, adding an anchor to these elements that glide around effortlessly. Add a surprisingly reverb-less acoustic guitar as featured in “Lose Your Smile” and a punchy synth loop in the more unfamiliar “Black Car,” and a new standard gets built for what we can expect from the band.

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