Longing

Welcome to my Soundcloud Page. I am a songwriter based in St Helens, a town in the Northwest of the UK.
You will find songs in a singer-songwriterly vein, written and recorded by me, taking in a range of musical genres,  alt/indie rock songs recorded by The (Now Legendary) Maybees in the 1990s, some classical sounding music by The Lucem Symphonia, as well as banging EDM/electronic tunes by Casaubon and a few mixes of a collaboration with Bentcousin,. Unknown Unknown is another alias I have used for one release and Firenze Anemones is a new project. Most recently, I have collaborated with Massachusetts composer Betsy Breitborde on The Ghosts of Christmas Past.
Whether it's plainly a demo or a painstakingly mastered recording, I hope you enjoy what you hear. Please leave comments and don't be afraid to get in touch, I am always interested in getting feedback and connecting with other lovers of music. If you want to download anything, many of the finished recordings are available on Bandcamp and an increasing number are on all of the usual digital platforms. If you use other platforms, you can find music from me (and some others) there under the names:
Terry Naylor
Casaubon
The Lucem Symphonia
Firenze Anemones
Unknown Unknown
Bentcousin Terry
Atlantic Zipwire


Happy listening!

Musician & Producer based in the United Kingdom

Contact: hypersyncuk@gmail.com
linktr.ee/hypersync

Debut album 'Post War Plans' out now on AnalogueTrash Records. 

Debris Discs is the solo venture of former Coves & Caves/My Side of the Mountain member James Eary. Nestled up in the hills of the High Peak in Derbyshire, James contrasts rural, understated songwriting with an arsenal of dusty synths, drum machines, effects pedals and a trusty old telecaster. The result is a kind of windswept, cinematic yet lo-fi soundscape with a resolutely pop sensibility. 

This is DIY music, homemade by someone probably too old to be sat at the end of the bed sharing songs on socials. This is spare-bedroom pop. Crafted while the kids are asleep and making use of any musical toys left lying around. Lyrics written on post-it notes stuck to the work laptop, melodies hummed on the school run and beats tapped-out while unloading the dishwasher. Humdrum origins that evolve into dreamy, enveloping washes of electronic, harmonic pop music.

2nd Hyper Sync account
Main Account: https://soundcloud.com/hyper_sync

Indie, Acoustic & Psychedelic music from The Western Isles of Scotland.

Hidden away in the windswept landscapes of the Outer Hebrides, flakebelly shapes songs that wander between psychedelic indie rock, folk-jazz, and the quiet strangeness of the everyday. Acoustic warmth, blues-stained guitars, jazz-streaked piano, and dreamlike textures fold into each other, creating music that drifts between clarity and haze.

His track In Parks Of Tall Trees found its way to Tom Robinson’s BBC 6 Music Introducing Mixtape, a small ripple in what has become a steady tide of restless ideas. From first picking up a guitar in the late 90s and stumbling through those formative songs in the early 2000s - many of which later resurfaced on Apprentice Green - flakebelly’s path has been one of constant diversion and reinvention. The early singles collections - The Orkney Tapes (2022) and The Christmas Morning Outcome (2023) - were restless, experimental documents of sound-searching, sketchbooks where ideas were tested, broken apart, and pieced together again in the pursuit of a voice. Those experiments fed directly into the indie-folk EP Behaviours (2022), the rough-edged Lo Fidelity (2024), and the kaleidoscopic album Apprentice Green (2024), described by SNACK Magazine as “like being Alice in Wonderland, transported through a maze of moments in flakebelly’s imagination.”

Now comes The Boy In The Diving Bell - out now - a 17-track reckoning with past ghosts, unfinished business, and the fragments of memory that refuse to settle. It is a psych alt-folk soup of acoustic laments, fractured tape loops, and warped dreamscapes. Much of the sound was dragged through the teeth of a battered 1960s reel-to-reel, used not as a recorder but as an instrument - reels halted, jolted, rewound, coaxed into blurples, screeches, and ghostly echoes. Mistakes are left in, first takes are preferred, imperfections celebrated. The result is an antidote to the sterilised sheen of digital perfection and the creeping spread of AI-reproduced music: deliberately irregular, defiantly human.

The Boy In The Diving Bell is only the beginning - the first of three interconnected albums, the demos for which are already written. Yet even as that arc unfolds, flakebelly has begun detouring into a very different landscape: a new project built from vinyl samples, drum loops, and dirty guitars driven through vintage outboard gear, cassette recorders, and battered mixers. It is dark, abrasive, and deliberately uncomfortable - sound pushed to the point of collapse, distorted tape glued together with transformer saturation, live mixes through old delay units, dials twisted until frequencies scream. If The Diving Bell trilogy is haunted by memory, this parallel work dives into raw sound destruction and the strange beauty of degradation.

True to his solitary instincts, flakebelly writes, records, and produces everything from his home studio. The result is music that feels lived-in and handmade - always shifting, never fixed, and forever searching for new shapes in the sound.

All socials: @flakebelly //

"Extensive and wildly eclectic sonic adventures" - Tom Robinson, BBC 6 Music

"flakebelly is ultimately the sort of the artist we need more of – a genuine weirdo-auteur carving his own path purely for the love of the game." - Lewis Wade, Is This Music?

"Refreshingly individual and very likeable" - Neil March, Trust The Doc Media