New single "While It Makes You Sick" is now available on all major streaming platforms like:

TIDAL: tidal.com/browse/artist/10227522
SPOTIFY: open.spotify.com/artist/1ySg5talFpiWbJvUqouoIl
APPLE MUSIC: music.apple.com/us/artist/n-a-s-p/1428027628

Also Please take some time to follow/subscribe on social media:

FACEBOOK: www.facebook.com/naspx
INSTAGRAM: www.instagram.com/alex_not_a_side_project/
TWITTER: www.twitter.com/NASP_
YOUTUBE: www.youtube.com/c/NASPNotaSideProject
BANDCAMP: www.nasp.bandcamp.com/

While It Makes You Sick

Sina Aghasharifian "SASH" – Guitarist & Artist

Since 2006, I have been learning electric guitar and music theory on my own, professionally, and with international resources.
My musical journey is rooted in Rock, Death Metal, Technical Death, Fusion and exploring the balance between technical precision and expressive sound.

سینا آقاشریفیان – گیتاریست و هنرمند
از سال ۲۰۰۶، به صورت خودآموز، حرفه‌ای و با منابع بین‌المللی نواختن گیتار الکتریک و تئوری موسیقی رو شروع کردم
سفر موسیقی من ریشه در راک، دث متال، تکنیکال دث، فیوژن و کاوش در تعادل بین دقت فنی و صدای غنی دارد.

I love amphibians and have an affinity for fried okra, loud guitars, and sick beats. expedition 33 and port wine are my thing at the moment, along with hollow knight and rise of the ronin.

I wish you health, all the happiness and peace in your mind and body that you deserve 💙
Music unites, it is the best medicine. Use it every day. 

https://linktr.ee/soundoasis

Since 2007 NASP is a OMA (OneManArmy) a solo project entirely made by me Alexandre Santos born and raised @ Porto in Portugal.
That said, here´s a little global description for my sound:
"The world created by Not a Side Project is a mix of dark and light, war and peace, high peaks and fluid valleys, where silences become loud and the blend of guitar and drums carries the listener in a sublime trip through ominous atmospheres."
So...
Thank you very much for stopping by and listen to my music, and, if you somehow liked something around here just go and take a peek at my links section below and spread some love by following, commenting, messaging or do whatever´s on your mind at the time XD I mean it!
See you around! Cheers!

P.S. - Besides cover art, no AI was or will ever be used for the making of my music. 

Loud but emotional.
More at the concerts.

VGM + Electronic Music Composer
!! TERRATOPIA OST - WINNER FOR BEST PLAYDATE SOUNDTRACK - 2024 community choice awards !!

Always striving to learn and grow. Hopefully this music contributes in some small way to someone's life. May we all find peace through what we bring into this world.

Please feel free to leave feedback in the comments. Criticism is always appreciated, doubly so if it's constructive. Open to collaborations.

Welcome to my SoundCloud page, I'm Hank Spaulding. I'm a musician that got really interested in recording my guitar playing during the pandemic. After a lot of trial and error I've recorded some music that I would like to share with you. This page is a result of that. I will worn you, it will go from heavy metal to blues and country. As you will hear I seem to record a lot of different types of music. I just seem to love playing music and needed a website to share some of it with you. 
Thank you for taking the time to listen to my music.

Dabbling in music production since 2001. Now producing Electronic/EDM, Classical, Soundtrack, Rock, Ambient, and whatever may be needed for a project.

I am the flame that rose from its own ashes.
A powerful being. A creative force. 🌹🖤
My sound fuses beauty and darkness — pain turned into power, silence turned into rebirth.
Every track is an act of self-worship, the reflection of my evolution.
I don’t follow the light or the dark — I become both.
Welcome to the resurrection.
🍷"link to my ig and other platforms ⬇️

I'm a songwriter and performer from Portland Oregon. My music has been sampled by DJ Shadow on his 2003 release Diminishing Returns and covered by: Pink Flames (The Vinyl Factory 2016), Electric Child House (2017) and Astronauts etc (Backatcha Records 2019). Backatcha Records also re-released the early seventies psych-rock grail, Just A Star that I co-wrote with Larry Smith for UK Record Store Day 2019.

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.”