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In the darkness of the night, I found light,
Illuminated shining so bright.
Something unknown, unseen by thee,
A mystery you'll never be, never see.

This is a genre called Talking Rock. I love '70s West Coast American music. It's the music that inspires me. I also like Ennio Morricone's style. Then I mix it all up. I play electric, classical, acoustic, and 12-chord guitar. I also play bass.
YouTube Channel: https://www.youtube.com/channel/UCeCBZ4l-tqzB1iYK4sdhYzw

HexLab is a UK-based music collective pushing boundaries through genre-fluid, emotionally charged sound. Blending elements of rap, trap, R&B, pop, and electronic music, HexLab creates tracks that are both bold and deeply personal.

With a focus on storytelling, atmosphere, and powerful production, every release is crafted to resonate — whether it’s a cinematic ballad, a gritty street record, or a high-energy anthem.

HexLab stands for meaning over metrics. Music with impact. No formulas. No compromise. Just pure expression.

29 yr old rapper/producer - Midwest (NWI) 🏳️‍🌈
DM FOR FEATURES, down to collab with anyone
🔥I accept all repost requests🔥

music is out on all streaming platforms !!
search for "fuzile" everywhere <

*𝔒𝔳𝔢𝔯𝔩𝔶 𝔇𝔢𝔡𝔦𝔠𝔞𝔱𝔢𝔡 𝔈𝔫𝔱𝔢𝔯𝔱𝔞𝔦𝔫𝔪𝔢𝔫𝔱

Dark Jungle & D&B disciple—strictly underground, strictly sinister. Evil breaks, darkside bass, and raw emotion in every mix.
Sonically forged in the shadows of Renegade Hardware, Metalheadz, Virus, DSCI4, Bad Company, Cause4Concern, Tech Itch and beyond. My sound is a tribute to the darker architecture of drum & bass—where tension, precision, and atmosphere collide.

Recently expanding into dark techno blends—industrial pulse, hypnotic repetition, and shadow-drenched textures. The same ethos applies: no compromise, no polish, just raw sonic architecture built for the underground.

https://soundcloud.com/evil_pollution/dark-blood Dark Blood hit #1 on the RepostExchange Mixes Chart (18 Aug 2025) 

https://soundcloud.com/evil_pollution/dark-convulsions Dark Convulsions hit #1 on the RepostExchange  Mixes Chart in Jan 2024

Maximum respect to the heads who keep it real..

Redux out now

Send beats to 7evvybeats@gmail.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.”

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ᴅᴇᴍᴏɴ ᴋɴɪɢʜᴛᵖʳᵒᵈ.ᴼᶜᵗᵃᵛᵉ⁰ᵇˡⁱᵛⁱᵒⁿᵀʰⁱʳᵗᵉᵉⁿ