Originally ZX Spectrum beeper (1-bit) entry for BOTB Winter Chip XI (2016). Tritone engine. http://battleofthebits.com/arena/Entry/Battle+Mode/20704/

Warlord - Battle Mode (1-bit)

Staytus: Redefining the Sound of Modern Industrial Music

Musician. Artist. Producer. These words are often overused, but Staytus— the musical alter-ego of recording visionary Sam Grundemann—embodies all three in a way that defies convention. With each release, she pushes the boundaries of sound, emotion, and storytelling, crafting immersive sonic landscapes that captivate and unsettle.

Her latest single, “Suburban Gothic”, the second track in her series, takes inspiration from Matthew Gray Gubler’s cult-classic horror films. Produced by Matt McJunkins (A Perfect Circle, Puscifer), the song blends electro-industrial and nu-metal elements with Twisted Frames eerie, deeply personal lyrics about paranoia, fear, and confronting the past. “Suburban Gothic” follows “68 Kill”, an unapologetically raw track that explored emotional manipulation and reclaiming one’s power, further showcasing Staytus’ unfiltered approach to songwriting.

Before launching the Twisted Frames series, Staytus gained attention with “Can You Hear Me?”, produced by Sean Beavan (Nine Inch Nails, Slayer), which tackled themes of isolation and inner turmoil. She continues to build momentum following her 2022 debut Disease of the Mind and her sophomore album Wasteland of Broken Hearts.

At the intersection of cutting-edge production and raw emotional storytelling, Staytus transforms trauma, heartbreak, and resilience into sound—offering an intense, non-neurotypical perspective that speaks to a generation navigating darkness and self-discovery. With her boundary-pushing vision and fearless sonic experimentation, Staytus is carving out a space as one of the most compelling voices in modern industrial music.

I make chiptune, 8bit and demoscene music
Hardware: ZX Evolution, Scorpion ZS-256 turbo+, Sega Mega Drive II (PAL), Korg Volca FM, PO-28, AKAI PRO APC KEY 25
Software: Vortex Tracker, Deflemask, Ableton Live 
e-mail: dimaquiet@gmail.com
[BUY= FREE DOWNLOAD]

My channel for piano music. I use FL Studio for almost all my stuff here.

"山頂晴れて"

Stranger and stranger dreams.

Hope you like what I do and enjoy the dream diary I maintain here.
Due to limits, there also are these links you can check:
https://soundcloud.com/mkayseven
https://soundcloud.com/echosdreamdiary3

There is also this link:
echosdreamdiary.bandcamp.com
Not so much to see there.
50-80% of my works are unreleased and probably will never be.

...'+x+x@x+x+'......
..( __\  \       \ \......
. /. o  .\      )     \....
,'_| ' .../                \.
.",,/  ../    /  /      /...
/___/\          \  /......

Mu names:
Piknik, Alexander Scriabin, Kayhan Kalhor, Edward Artemiev, Buckethead, Haruomi Hosono, RDJ, Ariel Pink, Roman Sidorov (Staruha Mha/Sedativ), Tapani Sysimetsä, Nadishana, Klabautamann, Christian Kolf, Coil, Áron Szilágyi, Orphaned Land, Pinkshinyultrablast, Alamaailman Vasarat, , Dvar, Greg Joy, Susumu Hirasawa, Terry Riley, Dan Deacon

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\    \    \    \                        /
    \    \_\    \                    \
    /    O        O/__o        /
/            _____=/        \
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        /\        \/    /

" 心は時の外"

テクノ水泳部所属　乳首陥没テクノポップユニット
2021 New Album「READY STANCE」
https://itunes.apple.com/jp/album/ready-stance/1583551867?app=itunes
過去作
https://www.tunecore.co.jp/artists/gickshack

i’ve been playing instruments since 6 or 7 years old, when i got my first saxophone from a school subsidy programme. 

i can currently play guitars, keys, and woodwinds (except flute because of the embouchure…).

i primarily love the jazz and electronic genres, they’re so much more interesting compositionally.

please forgive the, uh, clumpiness of my likes. lmao

Warlord ^ Armagon / Benediction / phObos team. 

demoscene/metalscene musician since -97. nowadays semi-active and focusing on writing chiptunes on various platforms/formats.

I primarily write my music using various tracker programs and unless otherwise stated in the track description, the sounds aim to be authentic to the target format/platform and no external post-processing is used (except e.g. adding fadeouts to renders of infinitely looping tracks).