LSD Druggie

Hello and welcome! I'm an independent composer, musician, music teacher and producer from Düsseldorf/Germany. I played guitar and/or keyboards in various (rock/prog/indie/fusion/whatever) bands for years. Now I spend most of my time hanging out in the studio, creating tracks for video and TV content. Trying to be versatile, mixing and matching all kinds of genres I like. And I still don't use gen AI for my music.

It was quite a long way to get to this place. But now I'm here. Just listen.

My name is Lil dough been making music since 2017 never going to stop recently. Just dropped an album LSD Druggie please go listen to it much love follow my other social medias to keep updated💚❤️💜💙

AKA DA TRUTH 🗣️🌪️🌪️🌪️FOLLOW ME ON INSTAGRAM!!

If you like what we do, please consider supporting us by buying any of our officially released tracks. You can buy our officially released tracks on Bandcamp. Each song is $1.
We are beyond humbled by any and all support we receive 🙏🏼
https://thebutterworthboys.bandcamp.com/

Check out our brand new video for Bad Motherfucker and consider subscribing to our YouTube if you're feeling what we do:
https://youtu.be/twOde-le51k

Our video for Call On Me is now on Youtube! Please let us know what you think and consider subscribing if you're feeling it:
https://www.youtube.com/watch?v=GAh95scm5eE

Watch the official video for GET DOWN here:
https://www.youtube.com/watch?v=x8DdkONzNaM

Watch the official video for Blowback here:
https://youtu.be/t4_78O3UKbM

Born in New York City, Matchalatte Z is a rap-rock trio redefining modern rock with heavy riffs, razor-sharp rhymes, and cinematic hooks. Inspired by the raw emotion of Linkin Park and the stadium-shaking energy of Imagine Dragons, their music hits hard while connecting deeply.

The lineup features Declan Nero on vocals, blending rapid-fire flows with vulnerable lyrics; Magnus Zorin on guitar/production, fusing gritty rock with electronic layers; and Decilion Newhart on drums, balancing thunderous power and finesse.

Since forming, they’ve been turning heads with emotionally charged tracks and unforgettable live shows. Their songs capture struggle, hope, and self-discovery—an honest soundtrack for anyone caught between chaos and clarity. With NYC’s restless energy at their core, Matchalatte Z is carving a bold space in the new era of rap-rock: loud, anthemic, and unshakably real.

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.”

LSD Druggie

lil dough