Marble is nice and can be tempting. But is also both hard and cold.

"Srdce z mramoru" (Heart of marble) is bedroom indie single about how it is and how it feels when your heart is made of marble.

Mixed and mastered by A7 Recording Studio (@a7-recording-studio, www.a7recordingstudio.com)
Produced by Blaž Pavšič

▶MORE◀
Web: www.ladatinthebox.com/
Spotify: open.spotify.com/artist/2nX96XjXTUZvCoNWTNNun3
SoundCloud: @Ladat
Apple Music: music.apple.com/ch/artist/ladat/1465006973
Amazon Music: music.amazon.com/artists/B07S5HGR98
Deezer: www.deezer.com/artist/66111552
BandZone.cz: bandzone.cz/ladat
YouTube: www.youtube.com/Ladat77
FB: www.facebook.com/77Ladat

▶ARTWORK◀
MaKo: instagram.com/marketka1975

In the Box

Srdce z mramoru

It may be over, but I'm not done

email: doevandragonetti@gmail.com 

https://on.soundcloud.com/XfD7YL8WrpoCYJtv8

Nü-Grunge indie band from the Deep South. (?)
We started out making soundtracks but degenerated into this.
May shift between genres but keep being trash fore thy pleashure.
Keep it no further than 2008.

PS: Don't pitch AI crap to us >8(

Industrial dance and cinematic fuel.
Find me on Bandcamp: https://planetyes.bandcamp.com/

• Artist | Producer 
• Original tracks 
• Support the Arts!

• Dell • Ableton • Splice • Waves
• Rokit • Serum

• No generative AI tracks

I support with reposts frequently, If you are looking for some curated content, my playlists are my favorites!

Rex Potam: A Journey Through Song and Symphony

With a voice seasoned by nearly four decades of singing, Rex Potam embarked on a new creative chapter in 2016. Though professional circumstances led him to step away from the choir, his passion for music found a fresh outlet in composition.

Rex is a self-taught singer-songwriter, drawn to crafting music that paints vivid sonic landscapes. His style seamlessly blends classic influences with an acoustic sensibility, evident both in his solo songwriting and collaborations with other artists.

But Rex's musical spectrum extends far beyond the realm of song. He delves into the world of classical composition, creating pieces that resonate with the richness and depth of the tradition. Whether composing for piano, tackling ambitious projects like concertos and symphonies, or even venturing into the sacred grandeur of a Requiem mass, his versatility shines through.

This dual identity – singer-songwriter and classical composer – defines Rex's artistic journey. He finds inspiration in the emotional intimacy of lyrics and the grand narratives of symphonic storytelling. His commitment to tonality ensures his music remains accessible and emotionally engaging, leaving a lasting impression on listeners.

twatchrist  death souljah 
@twatchrist on ig, twatchrist on all plats

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.

My name is Dean Stabbert, aka “Oziumpoet”
I love psychedelic atmospheres and blues fusion. 
Thanks for listening-supporters are my fire.  I've have met the most outstanding and kind people here. 
Thank you all. I am very humbled. 

I use Ableton-12 Suite and an Alesis V61-MK2, and 2, Alesis QS8, [Quadra Synths] a Fender Rhodes 73 and my Roland Fantom 08 workstation.              Thank you again for listening and to those following, liking, and sharing so often!!!.  
Links - 
https://www.facebook.com/DeansAlesis 
https://music.amazon.com/artists/B08JZ7WP44?ref=AM4APC_AR_P_en_US_B08JZ7WP44_iVvrcQZ
#MyMindPlaysMusic
https://oziumpoet.bandcamp.com/
https://www.facebook.com/DeansAlesis
Dean Stabbert [Oziumpoet]

Anyone involved in climate change awareness is welcome to use any of my songs for free. just email me.
Oziumpoet@outlook.com
Dig into all 90 albums I've published since COVID-19
www.https://soundcloud.com/oziumpoet/albums

Hamburg/Germany Based Part Time Musician
https://open.spotify.com/artist/0M7Fjef4dLBwOI6Akb8kh9?si=7WZWIAKCSZ6_HoJijnA6dw

https://www.facebook.com/ruebihamburg

https://www.youtube.com/@ruebi3382

New single, 'Dust Off My Face', out now! 
linktr.ee/vassilismusic

Vassilis is primarily a passionate music enthusiast. He is also an independent singer/songwriter and producer based in Manchester, UK.

With over two decades of live performances under his belt, Vassilis has long been a fixture in the music scene. More recently, he has made a notable impact as a recording artist, as his self-produced debut single, "A Quest For Long Lost Memories", released in 2020, marked the beginning of a series of well-received tracks, including the 2021 EP "Return To Innocence".

Through his music, Vassilis reflects on the nuances of everyday life, adopting the perspective of a curious and thoughtful observer. His songs offer a window into a personal yet open-ended interpretation of the world. Tracks such as Better Days Are Here, All We Have Is Now, and Are You Ready To Move On? highlight his knack for crafting memorable melodies and delivering them with a warm, sincere vocal style.

His sound spans genres - from indie folk to rock and dream pop - and is characterized by rich vocal harmonies, atmospheric synths, and resonant guitar lines. Inspired by the freedom of independent pop aesthetic and sensibilities, his music places the focus on creating an immersive listening experience rooted in both emotion and melody.

As he continues to captivate audiences with his soulful, genre-blending style, Vassilis remains true to his artistic vision. His work reflects a deep dedication to his craft and a genuine love for music.

All of Vassilis’s releases are now available on major digital platforms, as well as on his personal online music spaces.

www.mortalprophets.com

“Anyone having trouble getting to, or staying, asleep should proceed with caution when playing The Mortal Prophets’ debut album around bedtime. The demonic intentions implied by the album’s name and defined by John Beckmann … coil each selection in menacing directions, bringing fresh, often frightening twists to these standards. Be aware - when you engulf yourself in these riveting, uncompromising performances. They are not for the squeamish.”
- American Songwriter

The Mortal Prophets: John Beckmann’s Cinematic Descent Into the Electric Psyche

In the sprawling constellation of modern music, The Mortal Prophets occupy a shadowed corner—less a “band” in the traditional sense than a living, breathing séance conducted by John Beckmann. Across a series of albums, Beckmann has been excavating the strata of Americana, dream pop, blues, and avant-garde minimalism, folding them into a fever-dream narrative that feels like it was beamed from a late-night pirate radio station somewhere between the Mississippi Delta and the outer rings of Saturn. 

Beckmann, who founded New York’s Axis Mundi Design before turning his obsessive creative drive toward music, approaches songwriting like a visual architect—each track a space you inhabit rather than simply hear. His arrangements have the tension of architectural blueprints: precision married to instinct, steel and stone softened by ambient light. In GUITARWORKS II, the most recent installment in a sprawling instrumental odyssey, guitar tones unspool like distant telegraph wires, calling to mind Robert Fripp’s collaborations with Brian Eno, or the glacial drift of Cluster’s experimental soundscapes. It’s profoundly cinematic, yet never ornamental.

If Beckmann’s earlier releases (Stomp The Devil, Me and The Devil, Dealey Plaza Blues) reached back into mythic Americana—the open road, outlaw ballads, acid-washed folk visions—his more recent work tilts toward the abstract, replacing narrative with mood. This is music that understands how memory works: fractured, impressionistic, prone to bleed between truth and hallucination. The Mortal Prophets operate in that liminal space where you’re not sure if you’re dreaming, or just remembering wrong. 

Vocally, when Beckmann steps to the mic, it’s with a delivery equal parts Leonard Cohen confession and Bowie-esque theater—half-smirk, half-sermon. Lyrically, he trades in arcane symbols and sly allusions: 19th-century mystics rub shoulders with dive-bar drifters, and romantic longing flickers like neon through a rain-soaked windshield. He’s not afraid of obliqueness; in fact, he seems to revel in it. Where many contemporary songwriters flatten their work into algorithm-friendly hooks, Beckmann builds labyrinths. 

Part of The Mortal Prophets’ magnetism lies in its refusal to settle. One album might summon the humid ghost-blues of Junior Kimbrough refracted through a loop pedal; the next might drift into synth-heavy dream pop worthy of an early-’90s 4AD release. Beckmann’s collaborators—rotating players drawn from both avant-garde and roots backgrounds—expand that sonic palette, giving the project an almost shapeshifting quality. 
In a cultural moment where genre boundaries are largely performative, Beckmann treats them as haunted ruins worth spelunking through. His songs feel like dispatches from parallel histories of American music—histories where psychedelia never died, where blues never got sanitized, and where experimentalism didn’t have to hide in academic halls. 

The Mortal Prophets may never break into the Billboard mainstream, but that’s hardly the point. Their appeal is in the slow burn, the intimacy of discovery. Beckmann’s work isn’t built for quick consumption; it’s built for listeners willing to linger, to decode, to wander down the long corridors he constructs. In an era obsessed with speed and surface, The Mortal Prophets offer the opposite: a deep dive into the echo chamber of the self, scored by a man who seems to know exactly how to make the walls sing.