Melodies & Heartbreak

Lightning's life

We are committed to powering creativity in today’s dynamic music marketplace by providing the best distribution, marketing and rights management tools and services to content creators and owners. We develop state-of-the-art, cost- efficient and scalable technology platforms, and our partners benefit from our experienced, knowledgeable people, our unparalleled commitment to customer service and our thoughtful marketing solutions that drive results. We aspire to be the most transparent and solution-driven partner for all labels & artists we work with. We believe this approach helps us and our partners succeed today and for years to come.
 
     We Deeper represent a Global Distributor that will continue to develop, through one-on-one consultations, support, advertise, market, promote, and release independently driven underground artists, bands, and/or DJ's original works, art, and/or music.   We are a company that has come together to create another avenue for the Independent Artists/Bands/DJ's to further advance their dreams, goals, and/or career's. 

     We provide tools, and a guide with assistance, for your journey with a global support network, as well as providing you with everything needed to expand your artistic portfolio, while allowing you to free up more time to write, record, and spend time with your families, friends and fans alike.  

   Deeper Entertainment know the importance of the artist's input and believes the artist, record company/labels, and publishing should be shared equally, with the artist retaining the right to own their master recordings.

     Our goal is to provide the most balanced distribution model, giving artists larger ownership of their music, while adding value to both vendor, reseller, and distributed products, through timely availability, proper credentials, all while assisting with a global foundation and network.


https://deeperentertainment.com

My current musical project consists of composing music and tagging other artists, regardless of their genre. In recent years, I've discovered great talents, both professional and amateur, self-taught like myself. I also want to highlight musicians who stand out for their beautiful songs. Thank you to all my followers for believing in me, and I also appreciate the excellent music they create. Greetings to all! One more clarification about the musicians I follow: each author's music fills me with joy and is a source of energy for life!

I'm a sound engineer at Woods Studio that mixes and masters songs.  Check out my web page: https://woodsstudionorway.com, I only charge $50 US Dollars per song.  For only mastering, I charge US $25 per song
10 songs I charge $475 $25 dollar discount
if you are interested. Email me to:
woods.studio.mail@gmail.com

At Woods Studio, we specialize in creating high-quality mixes and masters for your music. We work closely with you to understand your unique style and vision, and tailor our mixes to bring out the best in your tracks. With years of experience and a passion for music, we are dedicated to delivering exceptional results that exceed your expectations. Our team of experienced engineers use only the latest technology and techniques to ensure that your music sounds its best. From EQ and compression to reverb and delay, we have the skills and expertise to craft a mix that perfectly captures the essence of your music. Whether you're a solo artist or a band, we can help take your music to the next level. Contact us today to learn more.

I have attended an audio school and worked several years at a concert hall named Olavshallen https://www.olavshallen.no/arrangere/store-sal I followed Khaliq Glover’s courses and webinars. I've been into sound engineering since 1991 and mixed over 1000's of songs. I have previously mixed for One Time Records and have released a vinyl with Koalra. I also have mixed "Where Do I Go" with Chris TR that was airtimed on the BBC radio

I use Universal Audio, fabfilter, soundtoys, autotune, melodyne, ozone and Plugin Alliance plugins and have a Uad apollo interface .

 I also use outboard gear like the RME Fireface, Universal Audio 2-1176 stereo compressor , An Avalon channelstrip, a space echo RE-201, a Drawmer 1968 mkii, and a Lexicon Pcm92. Also a dual ssl eq 

If you have the session files I would be happy to mix your song. Let me know if you’re interested.

E-mail: woods.studio.mail@gmail.com
Web page: https://woodsstudionorway.com
Youtube page: https://www.youtube.com/@stereosonic5182
Instagram: https://www.instagram.com/woods_studio_mixing/
Facebook page: www.facebook.com/Woods.Studio.Norway/
Donate: https://www.paypal.me/woodsstudio

If you find yourself listening more than once or a little longer than usual, please like, follow, and repost as this means the most musicians trying to grow their base, please. This platform as others is not based on merit. Thank you.

https://www.instagram.com/p/CTLMcO0FVuK/?utm_medium=copy_link

https://www.facebook.com/Lightning-Sa-2046093639033957/

Hello :) Here is a collection of my tunes & artworks spanning the years in which I've been a long-time poet, more recently lyricist & soundational explorer. Why ask why with sound? No delusion has been prescribed to me which I cannot pour into a cup we can share then someone complains of bitterness yet we're satiated. Why not dismiss the diss, exist? I expect nothing but to keep on in my cellular rhythm, a singular song that takes many forms. ❣️🎼🏵

Get Out on youtube:
https://www.youtube.com/watch?v=mCHYPgoCedQ

Antoria Records started as a non-profit record company in 1996 to give musicians a chance to explore their musical creativity. Today we are working creating our own independent music to fit our needs. 

Copyright (©) by Lars Christer Karlsson

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.”

Lightning's life

Lightning Rabodiba