Commissioned by talkion for VIP week 3 of Z-I-v Summer Contest 2022: SHOWDOWN ~Unforgettable Experience~

Release artwork by talkion

https://open.spotify.com/track/51aU5HBJvtVNkL18Bkz8yZ?si=575d5251a8dd4413

splitstream ~Type_O~

"LoNe WolF" (a.k.a. Loud Noize) is a solo alternative rock artist that has been evolving within the music scene of northern Illinois since 2018. He's been involved in many open mic and solo concert performances at multiple venues in the Dekalb, IL area including: "The House Café" (before it closed down), "Ax-In-Hand Guitar Shop," "La Calle Bar & Music Venue"(Nov. 2023), and at the Historic Ellwood House...featuring in "Hypnotizame: Beatles Night" at the end of October (2019)...with the latter two events being hosted by "Wooden Box Theater."


His major influences include: Green Day, Nirvana, The Ramones, Social Distortion, Alice in Chains, Bush, Stone Temple Pilots, Staind, and Silverchair.

A self-taught composer, who has found his voice in older and traditional forms and styles of music.
Currently mostly composing for piano, but I have grand ambitions for writing chamber music and symphonies.
My music has a lot of variety in a way that expresses all kinds of sentiments, both intrapersonal and extrapersonal, kept in a cohesion by an underlying narrative; every composition is its own journey or a adventure, and I invite any guests who stumble upon my page to take part in it. 
All my music so far is written in Sibelius 7 (recordings of live performace coming down the line)
My music is available for purchase on Bandcamp: https://dinoljubi.bandcamp.com/music
Sometimes I might write an essay or two:
https://renewalcollective.substack.com/p/beethoven-through-suffering-towards
For inquiries: dinoljub89@gmail.com
Also a father to an awesome little boy.

Christiane Hommelsheim sings and plays on sound objects, Ralf Haarmann electronics and mandoline. With a central interest in loops, they create intertwined acoustic layers. Through the looper all sounds loose their corporality, they resolve within themselves, they appear and
disappear, they become soundfields, and soundshadows. Ocassionally a sentences might appear out of nowhere, and lingers unfinished in the space, like a piece of thought-furniture, that might develop within the ear of the listener before it retreats back out of focus. HAARMANNHOMMELSHEIM create poetics of absence, poetics of nothing.

All recorded at home with Magix DAW and a midi keyboard. Hope you find something you like.

Victor Bouzard is a French pianist and composer. Coming from a musical family and a grandfather who was an orchestra conductor, he trained at the conservatory as a violinist, then discovered a passion for the piano as a teenager that he never left. Today at over 50, he decides to share his compositions which have spanned all his years, hence the album Nostalgia, Melancholy and Dreaming were born in 2024. Between some inspirations from jazz, classical or film music, Victor takes us on an emotional journey that connects him to his memories, his encounters and his friendships

227 tracks of Progressive Grunge Melodic Post Instrumental Psychedelic Groove Rock. A melting voyage of blending genres and sounds. A magical journey of exploration and creativity forever pushing the boundaries of normality.

WEBSITE BY HXSOUNDZ :
https://www.hxsoundz.eu/kopi-af-si-mars/
CONTACT EMAIL :
THOMASKAA@GMAIL.COM

--- ELECTRONIC & CLASSICAL MUSIC ---

Unapologetic musical calamity from around the world. The only way to support: https://gomjabbar.bandcamp.com

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.”

Karl Kim is a man of many musical hats (perhaps too many for his own good, but that's a discussion for another time). 

​​His musical journey started off with piano lessons at age six, and from there he has picked up many other instruments over the years, including but not limited to: violin, guitar, trombone, and various percussion instruments. Karl was also just as quick to branch out to styles of music other than classical; most significant of these styles is rock and metal (especially of the progressive variety), but jazz, EDM, experimental music, and folk music from various parts of the world have also played a role in shaping him as a musician. 

As a concert music composer, these musical experiences, especially those as a metal guitarist, are what make up the voice that he projects into his compositions, especially in recent times. Pieces like "The Jury is Sleepless", "Without a Minute to Spare", and "So Cold, So Dark, So Chaotic" exist at a crossroads between music for the concert hall and music for the mosh pit. His music has been performed by ensembles such as the Rhythm Method, S.E.M., and Bearthoven, and he holds a B.M. in Music Theory and Composition from New York University. 

"Karl with a K" is an alter ego of Karl Kim. Karl with a K, while having the same musical background as Karl Kim, draws upon a fascination for rhythm game music that started with Dance Dance Revolution at the age of eight, and grew considerably to encompass games including, but not limited to, Sound Voltex, In the Groove, beatmania IIDX, Voez, and Arcaea. Karl with a K brings his background in metal and 20th century classical music into rhythm game original tracks such as "!CAUTION! small but deadly", "BELLUM", and "rudimentary methods of overkill", which can be characterized by plenty of guitars, unusual rhythms, and sometimes non-instruments being used as instruments. Much of his output as Karl with a K is written for the purposes of Stepmania simfile creation (though as of BMS of Fighters: EighTeen's "0verfl0w_err0r" this is no longer exclusively the case).

Karl Kim currently resides in Bloomington, Indiana where he is pursuing an M.M. in Music Scoring for Visual Media at the Jacobs School of Music at Indiana University. Karl with a K can be seen lurking around the internet (especially specific Discord servers), occasionally not being above a good meme from time to time. In addition, Karl with a K is working on his first project as a game developer, a typing meets rhythm gaming fusion titled "glyph;".