ZephyrMusic is a French musician who will have you revisiting the world of music by breaking down genre boundaries with a multitude of covers and compositions adapted and played on piano, guitar and violin.

Hallucinophonics exist at the nexus of consciousness and sound—crafting immersive soundscapes that challenge the boundaries between reality and reverie. Drawing from Pink Floyd's cosmic explorations, Porcupine Tree's atmospheric sophistication, and Tame Impala's psychedelic innovation, they create music that functions as both artistic statement and transformative experience.
Band's name reveals its mission: the precise articulation of hallucinogenic experience through sound. Their compositions weave together ethereal textures, progressive architectures, and hypnotic rhythms, exploring themes of consciousness evolution and existential discovery. From transcendent space rock anthems to introspective nocturnal transmissions, their music occupies that sacred territory where the cerebral meets the celestial.
Hallucinophonics represents a bold new chapter in psychedelic music—an invitation to perceive reality through different frequencies and discover that the most extraordinary journeys often begin with simply closing your eyes and listening.
Genre: Psychedelic Rock, Space Rock, Progressive Rock, Art Rock
For Fans Of: Pink Floyd, Porcupine Tree, Tame Impala, King Crimson, Radiohead

one man project.  Old school rock n roll my take on it any way.  This is my therapy re hashing the music I listened to growing up. Recorded on reaper through audio technia head phones M20x and forscuit 3rd gen.  Recorded only for headphones.  sounds ok to me if its rubbish on your set up ... cant help that go figure ........

just to say I appreciate this community heaps rock on....
fk AI in music

Kraftkabel is the artist name of Philip I. Buckland. I am a musical scientist in a parallel universe living in a studio flat orbiting Jupiter. My keyboards are suspended in gravity nets, and my mixer is controlled by the power of the mind. My cosmic sequencing software masters through the power of emotion, and my keyboards are simultaneously both retro and new.
My music originates from the point of divergence of these universes - the mid-late 1980's, but is spliced by genre splicing interludes. I use a time machine and dimensional portal to get to work.
For the other nerds out there:
Hardware synths: 
Moog Subsequent 37; Hammond SK Pro; Roland Jupiter X, JD-Xi, S-1; Korg Prologue, NTS-1, Monotron Duo; Sequential Take5; Yamaha DX7; Akai PRO MiniAK; Novation Mininova; Arturia MicroFreak; Modal SkulptsynthSE; Teenage Engineering PO-20; Sonicware Liven Evoke.
Main software: Ableton, Arturia Analog Pro, InSidious, random free stuff from the interweb and Dexed to program the DX7. Audacity. All played through Arturia Keylab and Keystep (which has a better arpreggiator).
Plus some guitars that I can't really play very well. And an mbira, tin whistle and an alien head-shaped ukulele.

Music creator, producer and song writer. Keyboard player with foundation in piano. Musical arrangements, production and mixing are handcrafted and have been using Cubase for the last 15 years for the productions, but also recently started with FL Studio which is a bit less tedious as time constraint is always present. 

Passion for Electronic music, but trying to build sonic stories across styles. Avid listener of the many brilliant creators here on SoundCloud. 

You are warmly welcome to listen, like, share and/or follow, which is the used currency.

My name is Paul Amlehn. I am an artist working in the mediums of literature, music, visual art, theater, opera, dance, performance art, and film.

My poetry, prose, and texts for theater and opera have been published in literary journals in 23 countries, including Exquisite Corpse, the California Quarterly, Poetry Salzburg Review, and Evergreen Review.

My paintings, photographs, music, and video art works have been exhibited throughout the world, including at Artist's Space, Luhring Augustine, the Chelsea Art Museum, and Tate Liverpool, and at festivals which include Art 42 Basel (with the Serpentine Gallery - curated by Julia Peyton-Jones and Hans Ulrich Obrist), documenta 14, and the 51st, 55th, 56th, 57th, 58th, and 60th Venice Biennales.

On my music projects I have collaborated with Robert Fripp (King Crimson), Ulrich Krieger (Lou Reed), Chuck Hammer (David Bowie), Jamie Saft (Iggy Pop), Susan Stenger (John Cale), Leo Abrahams (Brian Eno), Michael Blair (Tom Waits), David Van Tieghem (Laurie Anderson), Michael Johnson (Joy Division), Mick Harvey (Nick Cave and the Bad Seeds), Joe Gore (PJ Harvey), Terry Edwards (Tindersticks), Mick Rossi (Leonard Cohen), Jem Finer (The Pogues), Mark Egan (Arcadia), Dieter Moebius (Cluster), Jess Stewart (Psychic TV), Eberhard Kranemann (Kraftwerk), Thomas Stern (Einsturzende Neubauten), Stephen Mallinder (Cabaret Voltaire), Susan Alcorn, Suzanne Ciani, Keiron Melling (The Fall), Julia Kent (Antony and the Johnsons), Laurent Petitgand (Wim Wenders), Jen Baker (Werner Herzog), John King (Merce Cunningham Dance Company), Robert Black (Bang on a Can All-Stars), Frank Cassara (Steve Reich and Musicians), Andy Findon (Michael Nyman Group), Mick Rossi (Philip Glass Ensemble), David Crowell (Philip Glass Ensemble), Melanie Russell (Philip Glass Ensemble), Eleanor Sandresky (Philip Glass Ensemble), Frank Cassara (Philip Glass Ensemble), Andrew Sterman (Philip Glass Ensemble), Joan Jeanrenaud (Kronos Quartet), and many others.

On my film and video art projects I have collaborated with actors, actresses, singers, and dancers, including Philippe Nahon (Gaspar Noe), Artur Barciś (Krzysztof Kieślowski), Anne Louise Hassing (Lars von Trier), Kate Moran (Peter Greenaway), Kate Fisher (Robert Wilson), Elisa Lasowski (David Cronenberg), Pamela Flores (Alejandro Jodorowsky), Stefania Casini (Andy Warhol), and many others.

I am currently working on an album of music which has texts and vocals by William S. Burroughs, in cooperation with the Burroughs Estate. I am also presently working on an album of music which reimagines the work of John Cage, in cooperation with the John Cage Trust.

Cover art for my albums has been provided by painter Gerhard Richter and artist, musician, and filmmaker David Lynch.

At the end of 2024, I worked on several re-creation compositions which utilzed sonic elements from pre-existing songs by Brian Eno and David Byrne, Nine Inch Nails, and Grimes, from their albums "My Life in the Bush of Ghosts," Ghosts I-IV," and "Miss Anthropocene, combined with new music by myself and other musicians.

Earlier this year, I collaborated with painter Gottfried Helnwein on a short film called: Epigenetic Trauma Painting No. 1.

I'm presently working on a new music recording project. Musicians who have contributed to this project thus far are: Stan Harrison (Radiohead), Bill Gilonis (The Work), Jeroen Visser (Trio Kazanchis +1), Nicholas Currie (Momus), RK Faulhaber (Nurse With Wound), Peter Hess (Philip Glass Ensemble), Hans Peter Kuhn (Robert Wilson), Audrey Chen, Max Eastley, Conrad Harris (String Noise), Pauline Kim Harris (String Noise), Jeff Zeigler (Kronos Quartet), William Klugh Connor III (The Centre for Transgressive Behaviours), Alan Splet, Ann Kroeber, and David Lynch.

Soli Deo gloria.

The neon flicker of Hotel 87 bled into the midnight mist like a broken heartbeat. Roxy killed the ignition of her battered hover coupe and stepped into the humming night, Knax curling around her ankles with a mechanical purr. Above them, electric signs buzzed warnings she could no longer read - languages lost in the churn of compressed time.

Time Police cruisers blinked along the skyline, their sirens warped into ghostly howls by the static air. Roxy tugged the brim of her cracked racing cap lower over her eyes and adjusted the drive compressor on her belt. She had no time to lose, not tonight. Not with Rain’s last transmission still pulsing weakly through the Nexus.

Inside, Hotel 87 smelled like ozone and lost dreams. Holographic guests shimmered between floors, replaying loops from a century ago. At the front desk, a synth-masked concierge gave a mechanical nod, slipping Roxy a black data chip under the guise of exchanging room keys.

"TY Mountain," the synth whispered, voice glitching on the last syllable. "She's waiting for you there."

Knax let out a low growl, his fur sparking with the faint blue glow of danger. Roxy tucked the chip into her jacket and shot a glance at the mirror behind the desk. In the reflection, a Time Officer's badge gleamed like a silver bullet.

The chase had already begun.

She tightened her gloves, tapped her communicator, and smiled beneath the neon haze.

"Come on, Knax," she murmured. "Let's burn some time."

Outrageously expressive vocalist and dancer, regrettably trapped in the tone-deaf body of a cage fighter - hence eternally death-embracing Goth
Deeply religious, yet extremely critical of a clearly unfinished project - Lord, what were thee thinking?
According to many, blasphemous, as I do not oppose a certain fallen angel. It just seems so obvious to me that this creature ('creation, see what I did there?), is just as necessary as the dear Lord himself - and is still trying to clean up some of the mess left behind. I think...
There are times when I've been known to express political thoughts, but only ever to desperately call for revolution and/or declare violence as acceptable as long as it is directed at fascists (and only as long as the good lord does not himself deal with these dickheads by bestowing upon them erectile disfunction and reserving them special rooms in hell). 
Strictly for freedom, opportunity, love, food, shelter, education, health, empathy and dreams. For a true, science based and supported, social democracy. Absolutely not in favour of any form of dictatorship, be that fascist or socialist. However, and to be clear - I am not somewhere in the middle, nor on a fence ;)

Musically, I like to think that I am influenced by classical music, as well as death and doom metal, gospel, blues, country, 80's pop, east-german 80's punk, gothic rock, Enya and, of course, Abba, however, when I listen to the stuff I churn out when I'm experiencing just the right level of depression, I can't help but be reminded of classics like 'Da Da Da' by Trio or 'I'm too sexy for my shirt' by Right Said Fred.
I'd love to liken my voice to heroes like David Bowie, Nick Cave, Blixa Bargeld, Peter Murphy, Andrew Eldritch, Dave Gahan, Marc Almond, Peter Steele and so many other real singers out there, but have to honestly say that, by carefully resisting the need to actually hit notes befitting the underlying musical arrangements, harmonies and ambience, I've managed to create a perfectly detuned and emotionally confused, yet consistently dislikeable style of my own. I wish I could say it grows on you ...

As all my remaining friends despair of my tyrannical tendencies (proudly displayed by diva-like tantrums) when participating in collaborative attempts to achieve somewhat melodious and/or rhythmic proclamations, I tend to squeeze these out all by my lone self. Should anyone out there feel capable (and inspired) to deal with an eternally intoxicated (by his own ego) and therefore very very angry individual, that (who?) is yet confusingly happy to sensually scream along any old tune (that does not glorify fascism), then please get in touch. 

Also happy if you get in touch if none of the above makes any sense to you, but you do like one or two of my songs - there must be someone out there ...

Thank you kindly for stopping by...

'Being humble dictates that I tell you not to take my music and words too seriously - but I don't mean it!' (Rausch, Psalm 384 (or thereabouts), 2021)

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