This album is the result of a long journey. I’ve spent months searching for this sound, shaping it step by step, and pouring every bit of energy into it. Each track carries the weight of countless hours of work, doubt, and persistence. It’s not just music, but a reflection of how far I’ve come and how much I’ve given to bring this vision to life.

A huge thank you to my wife, my friend, my brother, my universe for support — Plague Muse. This album is dedicated to you.

The Darkness (No One)

I love amphibians and have an affinity for fried okra, loud guitars, and sick beats. expedition 33 and port wine are my thing at the moment, along with hollow knight and rise of the ronin.

go listen to tracks on one of my other platforms 🔥 
https://linktr.ee/NHOFEZ
@nho_fez

Main account : https://soundcloud.com/temple-of-the-haunted-man
Recently, I have reduced my music and internet time. I apologize here that i can't reply to all comments. "2econd Skin" is a sideproject of https://soundcloud.com/temple-of-the-haunted-man for electronic, industrial, metal, ambient and soundtrack music.

Guitar player.


Guitars > Washburn acoustic, Schecter & Ibanez
Amps > Line6 Helix Rack mount, Line 6 Pro X POD HD, Marshall Code
Sound Engineering> EHT Studios

Thank you for listening!
Best Regards,
The Boilerman

All you need to know about Aedos, it's that we live Nowhere... Yes, Nowhere, but behind a Waterfall...

Fatal Nightmare creates a sinister fusion of mechanical beats and horror-inspired narratives

from Tokyo, Japan.

Arranger, Composer, and sometimes I become a producer.
If you want to use my songs as BGM for the Videos that you create and the other events, please contact me.(Sorry, in English or Japanese, please)

I Have YouTube Channels, please come in !

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.”

Rock Band # Among The Vanity
Formed in 2021
The band consists of # Genevieve Lily  (Pianist/Singer/Songwriter) & # Himmih Soren (Guitarist/Songwriter/Producer)