Lyrics:
Started off young
But there's not much to grasp
But my feet in the grass
With a note from the past
All I wanted was to run
Umbrella clasp
River rocks from my bag
With a treehouse to laugh
Crying through the phone
Was it too much to ask
Just create me to last
Takeoff just to crash

Hold on nostalgia I can't lose another
Another month I'll give up until its
Soft like the summer
I move like the rain in july
In your eyes
I could almost see
Gold on
Gold on the scars that you cover
Forest of knives and guns until we
Love one another
I knew the pain in goodbye
I couldn't cry if I wanted to

But I don't need saving
No money could buy
Buy my health by myself
Feelings cave in
These four walls
Calling me names
Playing games

Crying through the phone
Was it too much to ask
Just create me to last
Takeoff just to crash
Hold on nostalgia I can't lose another
Another month I'll give up until its
Soft like the summer
I move like the rain in july
In your eyes
I could almost see
Gold on
Gold on the scars that you cover
Forest of knives and guns until we
Love one another
I knew the pain in goodbye
I couldn't cry if I wanted to

Treehouse

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alt acc: @february14th
mgmt: deadboymikemgmt@gmail.com

NEW MUSIC NOT ON HERE 🤧 YT, SPOTIFY, APPLE MUSIC

More music on my Bandcamp site.   https://patrickedgington.bandcamp.com/

For fans of The Strokes, Arctic Monkeys and The Beatles.
https://ditto.fm/the-way-things-are
https://www.youtube.com/@VinnyPereira

Vinny Pereira is an English Indie/Rock/Pop artist from Liverpool, who established himself in May 2023. 

The project is a one man band which consists of Vinny Pereira alone.

Pereira originally started playing music at the age of 13 on piano, then at age 15, he ventured into the world of guitars and never looked back. 
He produces all his own music and plays all instruments on the tracks as well as vocals. 

Even though he is a solo artist, many have noted similarities between him and The Strokes, Arctic Monkeys and even The Beatles.

He has worked alongside the likes of Chris Helme (The Seahorses), The Bluetones, Dodgy and also worked with the band Space to name a few! 

Vinny has been gigging and writing in various bands throughout his career but now he is focusing on himself and his own potential. 

Pereira’s debut track ‘The Way Things Are’ is set to be released in July 2023.

From start to finish, Vinny Pereira is truly independent and has a lot of new material coming soon!

Vocals/Guitar/Bass/Lead Guitar/Producer and Engineer - Vinny Pereira

22 | ✧𝘉𝘢𝘤𝘬𝘺𝘢𝘳𝘥 𝘉𝘢𝘣𝘺✧

@timeless-archive
@bts-podcast
𝘝𝘰𝘤𝘢𝘭𝘪𝘴𝘵/𝘎𝘶𝘪𝘵𝘢𝘳𝘪𝘴𝘵

Biggest influences: 

Pixie McCann
Devon Gabriella
Liv Romano
Chelsea Cutler
GRAHAM
Alice Shone
Sydney Rose
Garr
ken xox
broken record

静けさ - shizukesa

alt rap
[Ｔｉｍｅｌｅｓｓ]
             22
feel free to dm<33

influences: aries, supachefm, 9tails + sewerperson, shinigami, kevin kazi, 49bags, guardin, atlas, noname

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.”