Joshua Zachary Tan's Album

Read Between the Lines (original composition)

It's a blessing to be able to create music and if someone enjoys my work, that's icing on the cake! All blessings come from God.

As a retired DOD Civil Service worker, I have time to record some. I have been recording at home for around 23 years and some of my tracks are very old.  I‘ve had 50+ years in bands playing music of many types. I still play the club scene 3 to 4 times a month. Life is good!

I'm a Guitarist who likes to write, record and sing many styles of music. Please check out my tracks. I'm also enjoying the occasional collaborations.  Meeting some good friends on here and continuing to grow. Thank you for listening!


Es una bendición poder crear música y si alguien disfruta de mi trabajo, ¡eso es la guinda del pastel! Todas las bendiciones vienen de Dios. Como trabajador jubilado del Servicio Civil del Departamento de Defensa, tengo tiempo para registrar algunos. He estado grabando en casa durante unos 23 años y algunas de mis pistas son muy antiguas. He tenido más de 50 años en bandas tocando música de muchos tipos. Todavía juego en la escena del club de 3 a 4 veces al mes. ¡La vida es buena! Soy un guitarrista al que le gusta escribir, grabar y cantar muchos estilos de música. Por favor, echa un vistazo a mis pistas. También estoy disfrutando de las colaboraciones ocasionales. Conocer a algunos buenos amigos aquí y seguir creciendo. ¡Gracias por escuchar!

Engraved roots is a ominous solo project, born from a dark side of a soul and bitter experiences of a life. Composed with guitars and unique ideas.

Main gear, Rode NT2000 mic, tube mic amp. ESP Horizon, ENGL Powerball. Sandberg California and Laney DB300. Takamine steel string electric acoustic. Cubase 12 Pro, EZ Drummer 2 & PC.

I also play in new rock band A Proper Quantum, please check out : https://soundcloud.com/a-proper-quantum

Stay tuned, many new songs are on writing process! I will release more songs soon!

Contact:
Pasi Lindholm / pslindholm2020@gmail.com

Welcome to the Lab 💀 
Creator sound designer
40 plus years in live sound reinforcement

• Comic Book Creator @zodiality
• Songwriter 
• Multimedia Artist

Ladat, born Ladislav Tesar, is Litomerice (Czech republic) native, body and soul, who writes and composes his music in Chatel-St-Denis, Switzerland. Ladat is not a band in the true sense of the word, but rather a musical project that emerged in 2019 as an escape from reality, because things go better with music.

Ladat's musical odyssey defies conventional labels and freely blends elements of rock, folk, country, and jazz into a rich and genre-bending style that invites listeners to explore the diverse spectrum of influences that shape his emotional and diverse compositions.
As an experienced composer and lyricist, Ladat weaves stories that deeply resonate with audiences and offers a captivating and immersive musical experience, where each song is an expression of boundless passion, creativity, and an unapologetic celebration of musical diversity.

Since 2021, Ladat has been collaborating freely with the Slovenian A7 Recording Studio and musicians around guitarist and drummer Blaž Pavšič, such as Uroš Mohorič (guitar), Gregor Alič aka Hanson or Peter Beznec (bass), and singers Anton Premec, Kristina Jelić, Maja Štebih, Hana Pavšič or Oliver Neff aka Titanic Jack.

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.”

Read Between the Lines (original composition)

Joshua Tan