Commentary on our current socio economic environmental situation in our status quo.

Marching At A Cadence Into Hell

BBAM, born within @KRTProduction (Brussels), is the vision of @FunkleAce: songwriter, composer, performer, and producer. Blending Reggae, Dub, Electro, and underground sounds, BBAM delivers immersive, powerful, and free-spirited music, where each track is a unique sonic journey.

We make music...
Mark
Miller
Dave
modesaboutme@gmail.com

Heavy Metal and Electronic Music (approved by Corporate) to get you through your work day.

Heavily Video-Game Influenced
I'm a self-taught Composer/Pianist with Autism.
I listen to my music because I get sensory overloads in public
I do not own the art used on my profile besides the 2 logos, drawn by a good guy in the itsBOOFY community! Much love ❤️

Hi, I'm Shaun from North East UK. VARISONIK isn't a band but a solo project that began in early 2022. Back then I had a strong desire to create my own style of alt-rock and alt-pop songs, and found the freedom of going alone is a bonus for creating new songs, as I get to write, compose, play instruments, and produce all of my music and promo videos, which is a lot of work at times but I love doing it. I have released a substantial amount of songs over the last three years so please check them out. VARISONIK playlists can be found on YouTube and Soundcloud, as well as other social media sites. Thank you for checking out my blog and hope you like what you hear! 

Thanks,

Shaun Varisonik 

https://linktr.ee/varisonik


I am dream cultivator, who has a passion for the spirit world 

Shadow Uprising is the creative vision of artist Laszlo A. Toth (LavX), merging the crushing riffs of djent with the intensity of metalcore, electronic pulses, and epic classical elements. This unique fusion crafts a sonic landscape where darkness meets light, blending brutal breakdowns with cinematic sweeps and orchestral moments. Their debut album, "The Great New World," invites listeners on a powerful journey of rebellion and hope, capturing the essence of forging a new future through sound, Join Shadow Uprising and experience the revolution of music that defies boundaries and transcends genres.

Artist working with Guitar and Amp simulators and A.I.

SE IL NOME DELLA BAND PUO’ SEMBRARVI  STRANO SIETE LE PERSONE GIUSTE ,ESSO E’LA FUSIONE DÌ DUE PAROLE BEN DISTINTE YOGY, IL MAESTRO IL GURU LA MENTE MA NON IL BENE E YETY LA BESTIA L’ANIMALE  L’ISTINTO UMANO MA NON IL MALE QUINDI LA FUSIONE  TRA LA RAGIONE E L’ISTINTO ANIMALE CHE E’ IN NOI.

LA LORO STORIA E QUESTA:

CRESCIUTI A LOADSTONE SI ERANO CONOSCIUTI DOPO CHE IAN AVEVA MESSO UN INSERZIONE PER FORMARE QUELLA CHE POI SAREBBE DIVENUTA LA LORO CREATURA, SCRIVENDO SOLO COSI: ”CERCO MUSICISTI PER TROVARE IL SUONO PERDUTO ALLA RICERCA DEL IL SUONO PRIMORDIALE DEL VAGITO DEL MONDO E VOLEVANO FARLO ATTRAVERSO LA LORO MUSICA”.

“LASCIATE OGNI SPERANZA O VOI CHE’ ENTRATE… “ ….A LOADSTONE, PICCOLA CITTADINA AI PIEDI DELLA CITTA FANTASMA DÌ RHYIOLITE NEI PRESSI DÌ ZABRISKIE POINT NELLA VALLE DELLA MORTE, TUTTI LA CONOSCEVANO, MA PIU’ CHE UNA SALA PROVE QUELLA DÌ IAN,JIN, MARS, E COSMOS  SEMBRAVA UN LABORATORIO ALCHEMISONICO, PREGNANTE DÌ RELIQUIE ROCK RINVENUTE COME ARCHEOSONICI RICERCATORI INTENTI A SCOPRIRE  L’ORIGINE DEL SUONO, DEL SUONO AUREO PERFETTO, IL SUONO FILOSOFALE DOVE IL SUONO NON SI CREA NON SI DISTRUGGE MA TUTTO IL SUONO SI TRASFORMA, E TUTTO TRASFORMERA NEL CORSO DELLE LORO VITE.

Pop Punk/Rock
One man's crusade to bring back dickies and sweatbands (by the elbow or not at all)

Darkwave is my experimental music project built on the backbone of old-school metal riffs, with an outlook to a wide variety of musical scenes. Despite its intimate connections with progressive – and even thrash – metal, the musical dynamics I try to accomplish in Darkwave often deviates from the classical concept of the genre (e.g. the catching tempo generated by tight rhythmicity), and incorporates elements with significantly different tonal and emotional characteristics, ranging from thrash, power, doom or symphonic metal themes to electronic, classical or even jazz elements.

Such a diverse mixture of different styles is seldom intentional, but rather a mixture of instinctual and intentional elements reflecting the character of the composer and the impact of influences shaping the songwriting process. Balancing on the razor-sharp edge between these domains of human consciousness, I think it’s always revealing to indentify the composer’s primary influences to understand the core philosophy behind the final product. Despite their essential innervation with thrash metal, my main influences come from somewhere far beyond, from the distant realms of hard rock, NWOBHM (New Wave of British Heavy Metal), and – in certain extent – from classical (or even gregorian) music. I see it as some kind of an evolutionary process: first it was the intensity, then the complexity of the music that grabbed my attention and put a significant emphasis on my way of looking at all things music. Regarding the metal frontrunners, the complexity of the Shermann-Denner duo’s guitarwork as well as the dark, monumental, epic atmosphere of Tony Iommi‘s musical skyscrapers clearly shaped my personal attitude to music. Still, the artistic genius of the late Jon Lord (who aimed at building bridges between “old” and “new”, traditional and modern) was that characteristical influence that put its almost deterministic mark on my musical taste and creations. I started to listen to bands that somehow unite various territories of the world of music: it felt amazing to listen to Mekong Delta’s Suite for Group and Orchestra or the jazz-metal fusions by Atheist until the point that I could finally identify a third essential element besides intensity and complexity: the gloomy, epic, emotional (sometimes sad) and monumental atmosphere: something that I could find so often not only in music, but also in my favorite books and poems. And this is that exact point, where the intentional and instinctual motifs become somewhat indistinguishable from each other, and form a distinct entity of thoughts, feelings, desires and aims that might be characterized as my personal attitude to music, art – and in general, life.

It’s not that hard to grip the essence of that attitude. I tend to agree with G. K. Chesterton‘s paradoxical jeremiad from 1905 on the loss of universals (“…we are more and more to discuss details in art, politics, literature… Everything matters — except everything.“) and accept that it’s always the core philosophy behind art (or “everything“…) that we must understand, if we ever want to grab the creator’s personality that is mirrored in the final product. The secondary details in composition, performance or production are merely consequences of this primary attitude or basic approach behind the creative process. My primary aim with Darkwave has always been (and will ever be) nothing else but to formulate, express and transmit feelings and thoughts without words, while constantly realizing that there exists nothing more suitable to facilitate this communication between human souls than music itself.

“When words fail, music speaks.”

Marching At A Cadence Into Hell

Voice of No-One