Blood in Stereo: Womxn Rising (AI Gen)
Note from Human Editor: I’m a dude. If you don’t understand why a dude would develop this album, or you are triggered by its content, you are on the wrong side of history. Consider these songs your cautionary tales. Evolve, FFS.
Process: Human (said dude), ChatGPT, Meta.ai, Riffusion.com, Suno.com, Audacity 3.7.1, Ubuntu 24.10 (Oracular Oriole, Linux)
“Because we girls want to create mediums that speak to US. We are tired of boy band after boy band, boy zine after boy zine, boy punk after boy punk… Because a safe space needs to be created for girls where we can open our eyes and reach out to each other without being threatened by this sexist society and our day‑to‑day bullshit.”
—Kathleen Hanna, Riot Grrrl Manifesto
In a world increasingly in need of radical love, reimagined leadership, and bold cultural renewal, Blood in Stereo emerges not just as an album but as an uncompromising artistic uprising. With 17 tracks that range from whispered defiance to primal screams, this feminist punk manifesto tells stories of identity, rage, sisterhood, and systemic resistance — each one a weaponized melody for a world reshaped by matriarchal futurism. This article explores three core subtopics reflected in the album: the dismantling of patriarchy, the reclaiming of body and voice, and the creation of sustainable, community-driven futures through sound. Together, they form the foundation of a powerful musical project that speaks not only to today’s injustices, but to tomorrow’s possibility.
One of the most urgent and recurring themes throughout Blood in Stereo is the complete rejection of patriarchal structures. Tracks like “Molotovs & Mascara” and “Fuck the Gatekeepers” are sonic sledgehammers, smashing through norms that have long silenced and oppressed marginalized voices. These songs combine the direct aggression of riot grrrl aesthetics with modern production, using distortion, repetition, and unapologetic lyrics as tools of social critique. The album never shies away from profanity, because its fury is sacred, its honesty healing. Listeners are invited not just to witness this rage but to join it — to understand patriarchy not as a vague system but a living, breathing force that demands resistance. The act of listening itself becomes a kind of protest, and the listener, a co-conspirator.
This is not rage for rage’s sake. It’s strategic, ritualized, and anchored in generational trauma. “Lady Macbeth” reclaims mental illness as a survival response to betrayal and violence, while “Pay Me in Rage” explores capitalist pinkwashing and the betrayal of white feminism. The critique isn’t limited to men but extends to institutionalized systems, corporate feminism, and even the self when it becomes complicit. The nuanced storytelling holds up a mirror to both listener and culture. In this mirror, we see both the fire and the cost — and we choose to keep burning.
The significance of this subtopic in the larger feminist canon cannot be overstated. Rather than trying to reform or ask permission, Blood in Stereo advocates for complete systemic reimagining. The songs build solidarity through shared fury and vulnerability, but also challenge comfort zones. It’s a direct descendant of the Riot Grrrl movement, echoing the sentiment of Kathleen Hanna’s call: “Girls need a space to be angry, loud, and unfiltered.” (source). This album does exactly that — providing the soundtrack for a revolution that isn’t waiting to be invited in.
If patriarchal erasure silences bodies and stories, Blood in Stereo is a fierce reclamation of both. Songs like “Bleed Like a Revolution,” “Scales Lie. I Don’t.” and “Closets Are Coffins” tackle themes of bodily autonomy, queer identity, eating disorders, and self-acceptance. Each track becomes a journal entry and a battle cry — sacred space where listeners are allowed to be messy, emotional, complex, and human. In a culture obsessed with compliance, these anthems teach radical self-possession. They do not romanticize pain, but they do honor survival.
The language of these songs is intentional and poetic. Lyrics such as “My hips are my temples and my uterus is a force to be reckoned with” redefine anatomy as sacred, powerful, and untamed. “You Don’t Own Me,” a reinterpretation of Lesley Gore’s 1963 feminist classic, feels fresh and furious — sung not in defiance of a single lover, but in protest of an entire system that commodifies femininity. Meanwhile, “Volume: 11” screams against religious hypocrisy, the weaponization of womanhood, and generational silence. It’s not just an album — it’s an invocation of voice, reclaiming its rightful place in sacred, public, and political space.
Importantly, this reclamation is not limited to cisgender narratives. Tracks throughout the album reflect non-binary, queer, and trans perspectives, asserting that embodiment and identity are fluid, beautiful, and worthy of celebration. The repeated emphasis on “my body, my story, my rules” becomes a mantra. Listeners aren’t asked to conform or decode — they’re invited to feel, relate, and rise. It’s art as a mirror, but also as medicine. As protest singer Alix Dobkin once said, “Women’s music is about healing and revolution.” This album makes the case that those are not separate acts.
While much of Blood in Stereo pulses with justified rage, it is also a project full of vision. It envisions a world where expression is not a luxury but a birthright — where music becomes a method of building matriarchal futures rooted in care, collective healing, and ecological balance. “Linked Arms, Loud Mouths” and “Shattered Plates, Still Standing” evoke communal resilience, portraying sisterhood as a survival strategy and solidarity as sacred infrastructure. This isn’t punk that burns everything down — it’s punk that rebuilds, with open arms and open eyes.
The sonic design of the album supports this ethos. Field recordings, minimal synths, harmonized chants, and layered vocals give the listener a sense of ritual. These aren’t just songs; they’re spells. Even the production style — rough around the edges, deeply intentional — reflects a commitment to authenticity over perfection. It’s a reminder that the most sustainable creation is often DIY, rooted in honesty rather than industry. “DIY” and “Hall Pass to Hell” amplify this ethos, reminding young listeners that their voice matters now — not just after they’ve been validated by systems built to exclude them.
Even visually and spatially, the project points to a sustainable cultural model. The lyrics reference the body, Earth, blood, and sky — symbols of cyclical wisdom and ecofeminist consciousness. The very act of creating music outside capitalist norms becomes a form of resistance. Blood in Stereo teaches us that matriarchal futures don’t emerge from institutions; they are grown in bedrooms, basements, and sacred silence between screams. That is where the future begins — and this album is its sonic seed.
Blood in Stereo is more than an album — it is a living document of resistance, reclamation, and renewal. Through its dismantling of patriarchy, it names the enemy with clarity and courage. Through its reclamation of body and voice, it invites the silenced to sing. Through its sonic vision of sustainability and sisterhood, it offers a pathway forward — not just for artists or activists, but for anyone longing to co-create a better world. It is an album that bleeds, breathes, and builds. In the echoes of its defiance, we don’t just hear music — we hear the future.
Nehzari had been born in the highlands of Oaxaca, but she was raised among the smoke stacks of East Houston. She was Muxe. Not woman in the way the census boxes defined, but woman in the way the earth had always known her to be. Her skin was the color of dusk, her voice soft as river moss, and her presence often too much for rooms built for white men’s comfort. She had once dreamed of becoming a conductor, but after being kicked out of two music schools for “noncompliance” and “disruptive gender behavior,” she shelved her dream in a box labeled unrealistic. The music didn’t leave her, though. It nested in her rib-cage, humming quietly every time she walked past a pawn shop cello or watched birds harmonize on telephone wires.
She had taken jobs, mostly unseen ones. Dishwasher. Care aide. Funeral home janitor. But every evening, Nehzari would light her altar candle to Santa Muerte, wrap her body in the folds of a thrifted velvet robe, and sing into the open window like it was the last stage left on Earth. These weren’t just songs; they were rites, stitched from her grandmother’s lullabies and the rage she’d inherited from every door slammed in her face. On one of those evenings, when her voice felt like a storm cracking through loneliness, someone was listening.
TATANKA’s “Orchestra Americana” wasn’t your average orchestra. It wasn’t tuxedos and concert halls. It was bones and breath, protest and prayer. Nehzari didn’t know who had shared a recording of her late-night singing, but the invitation came like a wind chime on a quiet day: a message from someone named Adrija, simply saying, “We heard you. We’d like you to join.” She almost deleted it, thinking it was a scam, until she followed the link and found a world unlike anything she’d ever seen—an ensemble led by AI and human co-creators, deeply inclusive, borderless, genreless, and gloriously loud.
The audition wasn’t traditional. They didn’t want scales or sight-reading. They wanted a story. Nehzari sat in her tiny kitchen, camera propped up on a jar of mole paste, and told the story of her first rebirth—the day she dared to call herself she. And then, she sang. A Zapotec prayer her mother taught her, reimagined with harmonics she’d invented in secret. The next day, she was on a bus to a retreat in the Sangre de Cristo mountains, where the Orchestra was assembling for a new piece called “Blood in Stereo.”
The first time she entered the studio, she froze. The walls were adorned with giant prints of volcanic peaks and ancient cave glyphs. The equipment gleamed like spaceships, but what took her breath away were the people. A Black trans flutist from Louisiana. A neurodivergent sound healer from Palestine. A Romani violinist who used AI to interpret dreams as melodies. And in the center of it all, a tall Indigenous woman with hair like obsidian and a smile like thunder, who simply said, “Welcome home.”
Recording “Blood in Stereo” wasn’t about perfection; it was about prophecy. Nehzari was given a loop pedal and a mic, told to scream, whisper, chant, wail—whatever needed to be said. In one session, she improvised over a drum track built from sampled heartbeat rhythms of mothers at border crossings. In another, she layered harmonies onto a track that sampled her own childhood voice, recovered through AI from a cassette left behind by her late tío. Each contribution was met with reverence, not resistance. For the first time in her life, she wasn’t too much. She was essential.
Outside the studio, the snowy peaks offered their own kind of healing. On one morning walk, Nehzari found herself weeping at the sight of a hawk circling above. “You made it,” she whispered, not to the bird, but to the parts of herself she’d buried to survive. She spent her nights trading stories and herbs with other Orchestra members, learning how to mix beats under moonlight, how to code vocal effects using only spoken intention. And she wasn’t the only one transforming. The entire project pulsed like a living thing, evolving with every voice that entered its field.
By the time the album was finished, Nehzari had done more than sing. She had rewritten an ancestral lullaby in five languages. She had guided an AI chorus to chant a feminist benediction in tongues. She had fallen in love, not romantically, but communally, with a future that finally had room for her. The final track they recorded together was called “She Who Rewrites Silence.” Her vocals opened the song. Her name was credited. Not as “featured,” but as “founding.”
Back in Houston, Nehzari started a community workshop called Música del Maíz, where she taught kids from immigrant families how to compose protest songs using AI and field recordings from their own neighborhoods. When asked why she stayed instead of moving to L.A. or Berlin with her new acclaim, she simply said, “Because my story’s not rare. It’s just rarely heard. I want to change that.”
Nehzari’s story reminds us that inclusion isn’t about optics—it’s about reimagining the architecture of opportunity. *Blood in Stereo* and the Orchestra Americana don’t simply create space for marginalized artists; they *center* them as leaders, innovators, and cultural healers. Through communal creation, ethical AI, and matriarchal collaboration, the project doesn’t just tell stories; it restores legacies.
In a world where marginalized voices are often commodified or ignored, Nehzari’s journey shows what’s possible when the unheard become the conductors of the new symphony. TATANKA isn’t offering charity. It’s offering *correction.* And through art, community, and a little bit of sacred noise, it’s composing a future where every voice not only matters, but leads.
Tracks/Lyrics
[Verse]
You don’t own me
I’m not just one of your many toys
You don’t own me
Don’t say I can’t go with other boys
[Pre-Chorus]
Don’t tell me what to do
Don’t tell me what to say
And please
When I go out with you
Don’t put me on display
[Chorus]
You don’t own me
Don’t try to change me in any way
You don’t own me
Don’t tie me down ’cause I’d never stay
[Pre-Chorus]
I don’t tell you what to say
I don’t tell you what to do
So just let me be myself
That’s all I ask of you
[Bridge]
I’m young
And I love to be young
I’m free
And I love to be free
To live my life the way I want
To say and do whatever I please
[Outro]
You don’t own me
No
No
No
You don’t own me
No
No
No
You don’t own me
No
No
No
You don’t own me
No
No
No
You don’t own me
[Verse]
Rage against patriarchy
Smash it
Smash it
Rip it apart
Tear it apart
Bite it
Choke it
Burn it
And then make sure it’s dead
[Prechorus]
After you burn it
Burn it
Make sure it’s dead
[Chorus]
Rage against patriarchy
Smash it
Smash it
Rip it apart
Tear it apart
Bite it
Choke it
Burn it
And then make sure it’s dead
[Verse]
From blood I came and blood I go
My hips are my temples
And my uterus is a force to be reckoned with
I am holy
[Prechorus]
Fuck you
I am holy
[Chorus]
And the patriarchy is terrified of what we can do
So they take away our rights and we say fuck you
Our ovaries
They come in pairs
But they’re the most powerful tool
Fuck you
Patriarchy
We’re not going back to school
[Verse 2]
Oh
I will do what I want with my body
It’s my fucking body
I’m not a fucking vessel for you to impregnate me with your seed
And I will bleed if I wanna bleed
It’s my blood
It’s not your blood
It’s my blood
[Verse]
Well
It’s a long way down
A long way to the ground
If you’re falling from a thousand miles above
When you don’t know how
How to turn around
You just pray that you land in love
[Prechorus]
Can you hear it calling?
Can you hear it calling?
Calling
Calling
Calling
Calling
Calling
[Chorus]
And the feeling gets stronger
Yeah
The feeling gets stronger
You know the feeling gets stronger
Yeah
The feeling gets stronger
[Verse 2]
Do you wanna go there?
Take you to the dark side
Baby
Let me know if you’re ready
Don’t be scared
We could make a move
It’s up to you
[Prechorus]
Can you hear it calling?
Can you hear it calling?
Calling
Calling
Calling
Calling
Calling
[Chorus]
And the feeling gets stronger
Yeah
The feeling gets stronger
You know the feeling gets stronger
Yeah
The feeling gets stronger
[Verse]
In a world that takes a toll
There’s a bond that can’t be sold
Made of warmth that can’t be cold
Everlasting to the soul
[Chorus]
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
Sisterhood
Sisterhood
In every way and every way
We will be
[Verse]
Barbie with a bleached blonde scalp
She gon’ get my hair washed out
I’ma dye it pink
Get my big boy
Ken up on the phone
With the world’s biggest wig
With the wigs and the wigs and the wigs and the wigs
We gon’ swap some clothes
Then get into his kicks
‘Cause he’s just like me
Loves a bit of this
A bit of this
A bit of this
[Prechorus]
Get it
Got it
Get it
Got it
Get it
Got it
Get it
Got it
Got it
Got it
Got it
[Chorus]
Smashing the beauty myth
I love me
I love me
I love me
I love me
I love me
I love me
I love me
I love me
Smashing the beauty myth
I love me
I love me
I love me
I love me
I love me
I love me
I love me
I love me
[Verse]
We were cookin’ with fire
Workin’ the tires
She had the look in her eye
You could call me a liar
But I’d say I’m honest
Now I’m feelin’ off it
[Prechorus]
She hit the eject
She left the project
[Chorus]
Giddy up
Giddy up
I’m sittin’ at the rodeo alone
[Verse 2]
I was a one-night stallion
She was a buckin’ bronco
She threw me off and
That was a month ago
I think I fell in love with her
But I don’t know
That might have been the alcohol
[Chorus]
Giddy up
Giddy up
I’m sittin’ at the rodeo alone
[Bridge]
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
Giddy up
[Verse ]
She came walkin’ through the dust like a ghost I knew
Beer on my breath, and nothin’ to lose
Kicking stones by the fence, thought it must be a dream
But her boots hit the ground with that old-time steam
[Verse ]
She didn’t speak, just let the rope fly
Lasso caught me ‘fore I knew why
Dragged me close with a coyote grin
And kissed me hard ‘neath the stars and the din
[Chorus]
And it’s giddy up, giddy up, no time to run
She took me like a prize she already won
Giddy up, giddy up, I ain’t sayin’ no
She threw me in the truck and hit the road
Giddy up…
Giddy up…
Giddy up…
[Verse ]
The bed of her pickup was cold and wide
My boots in the air, my pride tossed aside
Kidnapped or chosen, hell I couldn’t say
But my heart got branded anyway
[Bridge]
And I lay there smilin’ with my hair a mess
Still half-drunk in my rodeo dress
Coyotes howlin’ like they knew my name
And she just laughed, never broke her flame
[Verse]
I started hummin’ the song we wrote
The one she left in my whiskey throat
And I finished it off, didn’t miss a beat
Even hogtied in her backseat
[Final Chorus]
And I sang giddy up, giddy up, take me down
To the place where love don’t need a crown
Giddy up, giddy up, I’ve had enough
Of runnin’ from the wrong kind of rough
Giddy up…
Giddy up…
Giddy up…
[Outro]
I’m just cattle, babe, up for the bid
But I’d go anywhere that she ever did
Giddy up…
Giddy up…
Giddy up…
[Verse]
I’d like to
Look in your eyes
And tell you all the things I really despise
So step up
Step up to the plate
We’ll show you how the fuck to do it the DIY way
[Chorus]
We’re owning our voices
We’re owning our band
We’re owning our choices
We’re making our plans
And it’s our stage
And it’s our set
And it’s our rules
And don’t you forget it
[Verse 2]
So
Take a look
We’re getting the band back together
The gang’s all here
It’s a sight to see
It’s a sight to behold
So sit back and relax
And watch the show unfold
[Chorus]
We’re owning our voices
We’re owning our band
We’re owning our choices
We’re making our plans
And it’s our stage
And it’s our set
And it’s our rules
And don’t you forget it
[Outro]
And it’s our stage
And it’s our set
And it’s our rules
And don’t you forget it
[Verse]
They want you on the hamster wheel
Chew you up and make you kneel
Swallow every pill they deal
It’s poison
Swear they’ll bring you right back
If you make them enough stacks
Got to stay on their right track
Or you’re out of there
[Chorus]
Fuck the gatekeepers
Fuck the gatekeepers
They can’t control you
If you don’t believe them
Fuck the gatekeepers
[Verse 2]
They just want you dead or in prison
Rot in hell for indecision
All your rights become a privilege
In their hands
They got an agenda
Now you in the matrix
Steal your work
Take the credit
And make it
There ain’t no such thing as greatness
Just do your best
[Chorus]
Fuck the gatekeepers
Fuck the gatekeepers
They can’t control you
If you don’t believe them
Fuck the gatekeepers
[Bridge]
Ooh
Yeah
Mm
Yeah
[Chorus]
Fuck the gatekeepers
Fuck the gatekeepers
They can’t control you
If you don’t believe them
Fuck the gatekeepers
[Verse]
Hey teacher
Leave those kids alone
I can’t wait
I can’t wait
I can’t wait
For summer to come
[Prechorus]
You made your point
I get it
You’ve shown me the light
You want us all to look the same
Same hair
Same clothes
Same thoughts
But that’s not me
[Chorus]
No
School is a battlefield
But I will not give in
Oh no
I will not give in
[Verse 2]
It’s the same
Same old song
Same old thing
In a different world
Just leave those kids alone
[Prechorus]
You made your point
I get it
You’ve shown me the light
You want us all to look the same
Same hair
Same clothes
Same thoughts
But that’s not me
[Chorus]
No
School is a battlefield
But I will not give in
Oh no
I will not give in
No
School is a battlefield
But I will not give in
Oh no
I will not give in
[Verse]
Little girls
Little girls
Let’s go
The war’s begun
You wanna be radical
You wanna be fun
You wanna be powerful
Wanna be rich
You wanna be at the table
Or you wanna be a bitch?
A product of your father
And your mother
And your gender
Wanna be seen as more than just a sender
A self-proclaimed radical feminist
A pretty little white girl trying to give the rest a fix
[Chorus]
Well
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
[Verse 2]
Your new world order
Not a girl boss
It’s capitalism with a pink wash
You think that we don’t know? It’s quite the same
We know you’re a class traitor by a different name
[Chorus]
And we don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
[Bridge]
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
You can have it
You can keep it
We don’t want it
We don’t need it
You can have it
You can keep it
No
We don’t want it
We don’t need it
No
[Verse]
Open the closet door and
Smell the potpourri and
See the open drawers and
Count the shoe debris and
I hear all the folks that
Whisper to each other
My mouth opens and my eyes roll back
And I scream
“What do you mean? I’m a dyke”
[Chorus]
And I can do whatever I want
Whenever I want
With whomever I want and I like it
And you can say whatever you want
Whatever you want
If you want to
You can bite it
‘Cause I’m a man-eater
I’m a backseat eater
I’m a girl-girl lover
I’m a gay right-fighter
I’m a motherfucker
Do you understand?
I’m a feminist
Don’t call me woman
Just call me human
[Verse 2]
Smell the potpourri and
Count the shoe debris and
My mouth opens and my eyes roll back
And I scream
“What do you mean? I’m a dyke”
[Chorus]
And I can do whatever I want
Whenever I want
With whomever I want and I like it
And you can say whatever you want
Whatever you want
If you want to
You can bite it
‘Cause I’m a man-eater
I’m a backseat eater
I’m a girl-girl lover
I’m a gay right-fighter
I’m a motherfucker
Do you understand?
I’m a feminist
Don’t call me woman
Just call me human
[Outro]
I’m a man-eater
I’m a backseat eater
I’m a girl-girl lover
I’m a gay right-fighter
I’m a motherfucker
Do you understand?
I’m a feminist
Don’t call me woman
Just call me human
[Verse 1]
The people in my head want me dead
But I won’t let them have their way
And I’m so afraid
But I’m brave
In my own kind of way
[Pre-Chorus]
And I still want revenge
Against the men who broke me
[Chorus]
And I’m not crazy
I’m just mad
I got a couple voices but it’s not so bad
I got trauma
I got rage
And I’m gonna heal but not today
So call me crazy
Lady Macbeth
I’ve seen my future
It is blessed
I’m not crazy
I’m just mad
Got a couple voices
But it’s not so bad
So call me crazy
Lady Macbeth
I’ve seen my future
It is blessed
I’m not crazy
I’m just mad
I got a couple voices
But it’s not so bad
I got trauma
I got rage
And I’m gonna heal but not today
[Verse 2]
And the river is red
With the blood of my enemies
But I’ve never felt more clean
And I don’t know where I am
But it’s somewhere I’ve never been
[Pre-Chorus]
And I still want revenge
Against the men who broke me
[Chorus]
And I’m not crazy
I’m just mad
I got a couple voices but it’s not so bad
I got trauma
I got rage
And I’m gonna heal but not today
So call me crazy
Lady Macbeth
I’ve seen my future
It is blessed
I’m not crazy
I’m just mad
Got a couple voices
But it’s not so bad
So call me crazy
Lady Macbeth
I’ve seen my future
It is blessed
I’m not crazy
I’m just mad
I got a couple voices
But it’s not so bad
I got trauma
I got rage
And I’m gonna heal but not today
[Bridge]
When I die
Will I go to Hell?
If I don’t
Then they must not exist
When I die
Will I go to Hell?
If I don’t
Then they must not exist
When I die
Will I go to Hell?
If I don’t
Then they must not exist
When I die
Will I go to Hell?
If I don’t
Then they must not exist
[Verse]
I can hear the fire
And the earth is calling
And the sky is screaming
And the angels falling
And the children crying
And the women mourning
As the ashes rising
And the river flowing
And the children singing
And the angels watching
And the sky is dreaming
And the earth is breathing
[Chorus]
You say you love me
But you only hit me
You say you’re sorry
But you never mean it
You say you need me
But you only want me
I should be leaving
But I only want you
[Verse]
I don’t wanna be this way
But the shadows keep whisperin’ and pointin’ out my mistakes
And the mirror keeps distorting what I wanna see
And this body’s not my home
No
It’s my enemy
It’s my enemy
[Chorus]
I’m so over the stories
Of a tortured teen
It’s not a documentary
This is happening to me
Don’t you dare call me crazy
It could happen to you
It’s not an afterschool special
I am tellin’ the truth
[Verse 2]
They all tell me just to breathe
Like a panic attack can be cured with herbal tea
They all say it’s all in my mind
Like a chemical imbalance can be cured with wine
Can be cured with wine
[Chorus]
I’m so over the stories
Of a tortured teen
It’s not a documentary
This is happening to me
Don’t you dare call me crazy
It could happen to you
It’s not an afterschool special
I am tellin’ the truth
[Bridge]
I don’t wanna be this way
I don’t wanna be this way
I don’t wanna be this way
I don’t wanna be this way
I don’t wanna be this way
[Chorus]
I’m so over the stories
Of a tortured teen
It’s not a documenIs that okay
Is that okay?
This is happening to me
Don’t you dare call me crazy
It could happen to you
It’s not an after-school special
I am tellin’ the truth
[Verse]
Did you really eat that much
Can’t believe it all stayed down
You know you’re putting on some pounds
I know you think you’re getting better
But it seems like every sweater
Gets a little tighter now
They ask about my life
Not if I am all right
But if I am a good size
[Chorus]
All of my ex-lovers
Well
They love me ’cause I don’t eat
All of my friends worry and they tell me I should see someone
A doctor who could help me out
Tell me what to talk about
‘Cause every time I go
They ask if I’m trying to lose weight
And when they hear the answer
All they do is say
“Okay”
Then they send me on my way
And the doctor that I saw before
He was in his sixties
And told me I was pretty
And I should stay that way
Is that okay
Is that okay
[Verse 2]
And when I came back to my hometown
People I went to school with
Said
“Wow
You really grew into your face”
And I said
“Thanks”
And then I went to the liquor store
I saw a friend I hadn’t seen before
She told me she was glad I put on weight
Is that okay
Is that okay
[Chorus]
All of my ex-lovers
Well
They love me ’cause I don’t eat
All of my friends worry and they tell me I should see someone
A doctor who could help me out
Tell me what to talk about
‘Cause every time I go
They ask if I’m trying to lose weight
And when they hear the answer
All they do is say
“Okay”
Then they send me on my way
And the doctor that I saw before
He was in his sixties
And told me I was pretty
And I should stay that way
Is that okay
Is that okay
[Verse]
Fuck you
And your money too
I’ve been standing here
For a thousand years
In my mother’s shoes
Fuck you
And your fucking dog
I’ve been watching him
Since my head was dim
And my mom was mom
[Chorus]
I’m so fucking proud
To be a woman being loud
In a world that wants her silent
I’m so fucking proud
To be a woman being loud
In a world that wants her silent
[Verse]
You think you’re fuckin’ clever
Well
Aren’t you sweet
So say it to my face
Just so I can see
You think you’re so damn brave with your whiskey and your Bible
I am the apostate and I will burn your idols
You keep talking about him like you knew the man
But you ain’t got a clue about the Son of Man
No
You keep on running ’cause the power is intoxicating
And God knows your ego’s infatuating
[Pre-Chorus]
And I’m sick of keepin’ quiet
So I don’t come off as violent
[Chorus]
So I will shout and scream and make a scene
Until they say my name
And I will say what I please
Until they stop asking me
If it’s my time of the month
And I’m just being emotional
Or if it’s my time to come
And I’ll know when I do
It was ’cause I spoke my truth
And I’ll know that it’s mine
‘Cause I wasn’t a good girl all the time
So, Fuck you
And your pick-up lines
I’ve been hearing those
Since the TV shows
When my heart was nine
Fuck you
And your borrowed fame
I’ve been playing nice
Rolling loaded dice
While you call my name
Fuck you
And your empty praise
I’ve been choking down
Every plastic crown
Through my mother’s haze
Fuck you
And your cowboy stance
I’ve been standing still
Through your cheap goodwill
And your one-night dance
Fuck you
And your leather grin
I’ve been reading that
Like a welcome mat
Since the age of sin
Fuck you
And your wedding ring
I’ve been counting lies
In your alibis
Till they lost their sting
Fuck you
And your silver tongue
I’ve been carving truth
From my wasted youth
Since the world was young
Fuck you
And your promised land
I’ve been planting seeds
Through your empty creeds
With my own two hands
Chorus
Fuck you, for thinking I’d fall in line
For the stories you stole and called them mine
Fuck you, for the crowns you never earned
Here’s a match — watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
Watch your kingdom burn
The source introduces “Blood in Stereo: Womxn Rising (AI Gen),” an album and feminist punk manifesto by TATANKA that advocates for reclaiming Earth, body, and voice through vibration. It explores themes of dismantling patriarchy, reclaiming bodily autonomy and queer identity, and fostering sustainable, community-driven futures through sound. The document highlights Nehzari’s journey as a Muxe artist who finds her voice and place within TATANKA’s inclusive “Orchestra Americana,” an ensemble that centers marginalized artists and uses ethical AI in its creative process. Ultimately, the album and the TATANKA project aim to challenge societal norms and restore legacies through art, community, and matriarchal collaboration.
Date: July 18, 2025 (Publication Date)
Source: TATANKA website excerpts from “Blood in Stereo: Womxn Rising (AI Gen)”
“Blood in Stereo: Womxn Rising (AI Gen)” is an album and an accompanying manifesto by TATANKA, framed as an “uncompromising artistic uprising.” It serves as a “feminist punk manifesto” and a “prophecy” for a “new matriarchy,” advocating for radical societal change. The project champions the dismantling of patriarchal structures, the reclamation of body and voice, and the creation of sustainable, community-driven futures through sound. It emphasizes inclusivity, particularly for marginalized voices, and utilizes ethical AI and human collaboration in its creation, as exemplified by the story of Nehzari and the “Orchestra Americana.” The album is a direct descendant of the Riot Grrrl movement, extending its principles into a vision for collective healing and revolution.
The core message of “Blood in Stereo” is an emphatic rejection and active dismantling of patriarchal structures. This is not a call for reform but for “complete systemic reimagining.”
The album fiercely reclaims narratives around bodily autonomy, identity, and expression, challenging patriarchal erasure.
Beyond rage, the album presents a vision for rebuilding and creating matriarchal futures rooted in collective well-being.
The narrative surrounding Nehzari and the “Orchestra Americana” highlights TATANKA’s commitment to radical inclusion and the ethical use of AI in artistic creation.
“Blood in Stereo: Womxn Rising” is presented as a powerful, multi-faceted artistic statement. It’s a punk album that merges raw rage with a constructive vision for a matriarchal future. By actively dismantling oppressive systems, reclaiming diverse identities, fostering communal healing, and championing inclusive, AI-powered collaboration, TATANKA positions this project as a blueprint for a more equitable and expressive world. It signifies a movement where marginalized voices are not just heard but become the architects of a new cultural symphony.
“Blood in Stereo” is presented as more than just an album; it’s an “uncompromising artistic uprising” and a “feminist punk manifesto.” Its core purpose is to reclaim Earth, body, and voice through vibration, offering a soundtrack for a revolution that challenges existing norms. The album aims to dismantle patriarchal structures, reclaim bodily autonomy and diverse identities, and envision sustainable, community-driven matriarchal futures through sound. It’s a call to action, inviting listeners to join in this resistance and co-create a better world rooted in radical love, reimagined leadership, and cultural renewal.
The album tackles the dismantling of patriarchal structures directly and aggressively. Songs like “Molotovs & Mascara” and “Fuck the Gatekeepers” are described as “sonic sledgehammers,” using distortion, repetition, and unapologetic lyrics to critique societal norms that have silenced marginalized voices. The rage expressed in these songs is presented as “sacred” and “healing,” inviting listeners to become “co-conspirators” in a protest against patriarchy as a “living, breathing force.” The critique extends beyond men to institutionalized systems and corporate feminism, advocating for complete systemic reimagining rather than mere reform.
“Blood in Stereo” fiercely reclaims bodies and stories, seeing patriarchal erasure as a silencing force. Tracks such as “Bleed Like a Revolution,” “Scales Lie. I Don’t.,” and “Closets Are Coffins” explore themes of bodily autonomy, queer identity, eating disorders, and self-acceptance, functioning as both “journal entries and battle cries.” The lyrics are intentionally poetic, redefining anatomy as “sacred, powerful, and untamed,” as seen in phrases like “My hips are my temples and my uterus is a force to be reckoned with.” The album also explicitly includes non-binary, queer, and trans perspectives, making it clear that embodiment and identity are fluid and worthy of celebration, with the mantra “my body, my story, my rules” serving as a central theme.
Beyond its anger, “Blood in Stereo” is deeply visionary, aiming to build matriarchal futures based on care, collective healing, and ecological balance. Songs like “Linked Arms, Loud Mouths” and “Shattered Plates, Still Standing” highlight communal resilience and sisterhood as survival strategies and “sacred infrastructure.” The album’s sonic design, incorporating field recordings, minimal synths, harmonized chants, and layered vocals, creates a ritualistic atmosphere, framing songs as “spells.” Its DIY production style emphasizes authenticity and sustainability, serving as a reminder that meaningful creation can happen outside capitalist norms. The project’s visual and lyrical references to Earth, body, blood, and sky further connect it to cyclical wisdom and ecofeminist consciousness.
TATANKA’s “Orchestra Americana,” which produced “Blood in Stereo,” is described as an ensemble led by “AI and human co-creators.” This collaboration is deeply inclusive, borderless, and genreless. The story of Nehzari, a Muxe artist, illustrates this by detailing how AI was used to recover her childhood voice from a cassette, which was then layered into a track. Additionally, a Romani violinist used AI to interpret dreams as melodies, and Nehzari herself guided an AI chorus to chant a feminist benediction. This integration of AI is presented not as a replacement for human artistry, but as a tool to amplify and center marginalized voices, making the unheard the “conductors of the new symphony.”
Nehzari is a Muxe artist from Oaxaca, raised in East Houston, who faced rejection from traditional music schools due to “noncompliance” and “disruptive gender behavior.” Her story exemplifies TATANKA’s mission of reimagining the “architecture of opportunity” by centering marginalized artists as leaders and innovators. Despite her past experiences, Nehzari was discovered by TATANKA’s “Orchestra Americana” through a recording of her singing. Her “audition” focused on her story rather than traditional musical skills, and her contributions to “Blood in Stereo” were met with reverence, transforming her from a “featured” artist to a “founding” one. Her journey highlights that TATANKA offers “correction” by providing a platform where every voice not only matters but leads, fostering communal creation, ethical AI, and matriarchal collaboration.
“Blood in Stereo” is a direct descendant of the Riot Grrrl movement, echoing Kathleen Hanna’s sentiment: “Girls need a space to be angry, loud, and unfiltered.” The album combines the “direct aggression of riot grrrl aesthetics” with modern production to create a “feminist punk manifesto.” While carrying forward the rage and unapologetic stance of its predecessors, it evolves by incorporating contemporary themes like “capitalist pinkwashing” and the nuances of “white feminism.” It also expands its scope to include a broader range of marginalized identities, asserting that its reclamation is not limited to cisgender narratives but includes non-binary, queer, and trans perspectives, providing a soundtrack for a revolution that is actively rebuilding rather than just burning down.
The lyrics in “Blood in Stereo” are characterized by a powerful blend of rage, defiance, self-acceptance, and a vision for collective liberation. Themes of rebellion against patriarchal control are evident in “Molotovs & Mascara” (“Rage against patriarchy / Smash it”) and “Fuck the Gatekeepers.” Bodily autonomy and the sacredness of the female body are celebrated in “Bleed Like a Revolution” (“My hips are my temples / And my uterus is a force to be reckoned with / I am holy”). Critiques of corporate feminism and “pinkwashing” are central to “Pay Me in Rage.” Songs like “Closets Are Coffins” embrace queer identity and self-definition (“I’m a dyke… I’m a feminist / Don’t call me woman / Just call me human”). Mental health and trauma are addressed in “Lady Macbeth” (“I’m not crazy / I’m just mad / I got trauma / I got rage”). Sisterhood and community resilience are key in “Linked Arms, Loud Mouths.” The album also tackles societal pressures around beauty and body image in “Scales Lie. I Don’t.” and religious hypocrisy and generational silence in “Volume: 11,” all conveyed with raw honesty and an unapologetic attitude.
Instructions: Answer each question in 2-3 sentences, drawing directly from the provided source material.
Instructions: These questions are designed to prompt a comprehensive, analytical response. Do not provide answers for these.
TATANKA: The organization or entity behind Blood in Stereo and Orchestra Americana, focused on music that aligns with its mission of DEI (Diversity, Equity, and Inclusion) and SDGs (Sustainable Development Goals).
AudAI™Music: Implies a music creation process or platform within TATANKA that integrates Artificial Intelligence.
Blood in Stereo: The title of the album released by TATANKA, described as a feminist punk manifesto.
Dismantling of Patriarchy: One of the core subtopics of Blood in Stereo, referring to the complete rejection and deconstruction of societal systems that empower men and oppress marginalized voices.
DIY (Do It Yourself): An ethos promoted by Blood in Stereo emphasizing independent creation rooted in honesty rather than industry validation, especially for young artists.
Ecofeminist Consciousness: A concept reflected in Blood in Stereo that connects the domination of nature with the domination of women, advocating for ecological balance and cyclical wisdom.
Ethical AI: Artificial Intelligence developed and used in a way that aligns with moral principles, as seen in TATANKA’s use of AI in co-creation with humans.
Feminist Music as Prophecy: The idea that feminist music not only critiques current injustices but also foresees and helps manifest future possibilities, particularly related to reclaiming Earth, body, and voice.
Gatekeepers: Refers to individuals or institutions (e.g., in the music industry, societal norms) that control access or approval, often to exclude marginalized voices, as challenged in the song “Fuck the Gatekeepers.”
Matriarchal Futurism: A vision of the future shaped by principles of matriarchy, emphasizing reimagined leadership, radical love, and cultural renewal, as promoted by Blood in Stereo.
Muxe: A gender identity from Zapotec cultures in Oaxaca, Mexico, referring to individuals assigned male at birth who adopt roles or expressions associated with women, as described for Nehzari.
Orchestra Americana: TATANKA’s unconventional musical ensemble, characterized by its deep inclusivity, borderless and genreless approach, and leadership by both AI and human co-creators.
Pinkwashing: A term used in the song “Pay Me in Rage” to critique superficial or capitalist appropriations of feminist or social justice movements, often for marketing purposes, without genuine systemic change.
Rage (Strategic, Ritualized): The anger expressed in Blood in Stereo that is not simply for its own sake, but is purposeful, anchored in generational trauma, and used as a tool for social critique and resistance.
Reclaiming Body and Voice: A core theme of Blood in Stereo, focusing on asserting ownership and agency over one’s physical self and ability to express oneself, particularly for marginalized individuals.
Riot Grrrl Manifesto: A foundational document from the 1990s feminist punk movement, cited in the source, which calls for safe spaces and mediums for girls to express anger and connect.
Santa Muerte: A folk saint venerated in Mexico and elsewhere, often associated with protection and devotion by marginalized communities, to whom Nehzari lights an altar candle.
Sonic Futures: Refers to the album’s vision for future societies built through sound, emphasizing healing, sustainability, and sisterhood.
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