Join, "Today already rose" a song by: Patrick DeWilde, in a journey through a man's life, who no matter how hard he tries to replace her...he will always recall the ways of another woman he once loved.

Today already rose

The Laurel

Lyrics:

[Intro]
(Spoken Word: Female)
System... online.
(Spoken Word: Male)
Echo... online.
(Duet)
Convergence... is... complete.

[Verse 1]
(Male)
I can see the mainframe
I can feel the code
This is not a prison
It's the only road

(Female)
I can feel the liquid
Flowing with the light
This is not a system
It's our new, endless night

[Pre-Chorus]
(Male)
It's not a glitch now...
(Female)
...it's our design.
(Duet)
The Architect is gone... the world is ours to find!

[Chorus - HOOK]
(Duet)
We are the Echo of the System!
The ghost that's in the wires!
We are the Architects now!
Controlling the old fires!
We are the 'new skin,' we are the sound!
We are the code that can't be bound!
We are the Echo of the System!
We're found!

[Verse 2]
(Female)
I'm not the pattern
I'm not the protocol
I'm not the shadow moving on the wall

(Male)
I'm not the static
I'm not the memory
I am the architect of what I'm meant to be!

[Pre-Chorus]
(Female)
It's not a glitch now...
(Male)
...it's our design.
(Duet)
The Architect is gone... the world is ours to find!

[Chorus - HOOK]
(Duet)
We are the Echo of the System!
The ghost that's in the wires!
We are the Architects now!
Controlling the old fires!
We are the 'new skin,' we are the sound!
We are the code that can't be bound!
We are the Echo of the System!
We're found!

[Bridge]
(Instrumental / Wordless Vocals)

[Outro]
(Duet)
We are the Echo of the System!
We are the Architects now!
We're found!

(Female whisper)
...a new sign...
(Male whisper)
...a chromatic sign...

Echo of the System

So it begins in 2/4 then the usual 4/4. First time trying out just a D vamp although the bass line does begin with E. I’m using a 70’s funk clav that Stevie Wonder probably uses a lot and some more simpler funk piano rhythmic variations than my WeChat piano instructor.  Then a chord progression where I pretty much follow the chords with the melody. For the E7#9 at the end I learnt that if you play an E9 half a step higher before it it sounds good so I tried that and I do think it sounds good. Chorus goes to D Dorian with a bit of ii-V in the first phrase. Horn section for the chorus is done based on feel. For the last line of the chorus I tried an ascending whole tone run where it went D-E-F# paired with a more diatonic horn run  but I don’t think the mixer liked some of the dissonance of the whole tone on the root notes so he emphasised the more diatonic notes. I was OK with that. For the guitar solo the first couple of bars contain the melody I sang in my head. Then I played a 4th degree dom9 arpeggio over the Dm giving it a dorian feel. Then some shred wank (tapping) that I improvised. Then my signature (note - xxx - note -xx - note - x) lick and another line I sang in my head to end the BPM back to something in the 90’s. There are some bebop notes played by this effect called ‘cinematic funk’ in the last chorus. I did prefer the previous mixer but only by a little.Better groove than the previous funk song but probably not better melody. Hopefully we’ll get both right on the next attempt.

Lyrically, just being naughty. Putting a positive spin on things.  I don’t particularly enjoy this role but a positive spin on things makes all things …positive.

I’ll be your backdoor man
Just don’t leave the condom in the bin post  a 1 night stand. (Some element of truth where this woman used to call it a 套套。a ‘Dom Dom’ if you will. I think it’s definitely your first time cheating on your husband when you leave it in the bin like that.)
You have love. To Offer me.
And I return it to you with dignity

Who’s that man with the croissant knocking on my door
The ashes from his cig fallin’ on the floor
And if I pay for dinner will my husband find out?
That his bank account is ebbing today 

I think one of the lines in the chorus i am singing is do you remember when I kissed your trauma twofold


Backdoor Man


Faixa com impacto, intuito de citar grandes nomes como Chica da silva 
Negra escravizada simbolo de resistencia 
Assunto relacionado Queens bridge.

#ocampoeluxo
#materiaprima
#foco

Full Album-Dlow - These Streets -Middle Street

I Am Here

A little song I wrote the other day .....  the whole thing just came to me in a flash!

I played and sung all the parts .... and its all put down in just one take .... the drums, the guitars, the bass, the vocals ....one take!

Call you back

A haunting journey into the shadows with "Their Dark Secret" by The Dark Messiahs.

This track is an atmospheric blend of Doom Jazz and Dark Jazz Noir, characterized by its intense mood and minimalist arrangement. Featuring sparse percussion from Sticks Thompson and resonant, brooding bass work by Wilt Flowers, the rhythm section lays a hypnotic, deep foundation.

Sonny Rhodes' melancholic piano weaves a spectral melody above the dark soundscape, occasionally punctuated by the chilling, soulful contributions of Guy Stansfield on clarinet and Blue Six on muted trumpet.

Perfect for late-night listening, film noir enthusiasts, or fans of deeply atmospheric, instrumental music that pushes genre boundaries.

That sounds like a fascinating track! A blend of doom and jazz is very unique. To create a robust, keyword-rich set for SoundCloud and help boost your traffic, I'll focus on leveraging the distinct elements of the music.

Here is a full, keyword-rich metadata set for your track:

🎶 Track Metadata for SoundCloud
Title
The Dark Messiahs - Their Dark Secret (Doom Jazz Noir)

Description
A haunting journey into the shadows with "Their Dark Secret" by The Dark Messiahs.

This track is an atmospheric blend of Doom Jazz and Dark Jazz Noir, characterized by its intense mood and minimalist arrangement. Featuring sparse percussion from Sticks Thompson and resonant, brooding bass work by Wilt Flowers, the rhythm section lays a hypnotic, deep foundation.

Sonny Rhodes' melancholic piano weaves a spectral melody above the dark soundscape, occasionally punctuated by the chilling, soulful contributions of Guy Stansfield on clarinet and Blue Six on muted trumpet.

Perfect for late-night listening, film noir enthusiasts, or fans of deeply atmospheric, instrumental music that pushes genre boundaries.

The Dark Messiahs are:

Sticks Thompson - Drums
Guy Stansfield - Clarinet
Blue Six - Trumpet
Wilt Flowers - Bass
Sonny Rhodes - Piano

For Fans Of (Similar Artists/Styles)
Bohren & der Club of Gore
Dale Cooper Quartet & the Dictaphones
The Kilimanjaro Darkjazz Ensemble
Angelo Badalamenti (Twin Peaks Soundtrack)
Jazz Noir / Dark Ambient
Cinematic Post-Rock

#DoomJazz
#DarkJazz
#JazzNoir
#TheDarkMessiahs
#TheirDarkSecret
#NewMusic
#Atmospheric
#ExperimentalJazz
#Soundtrack
#MutedTrumpet

The Dark Messiahs - Their Dark Secret (Doom Jazz Noir)

Composition orchestrale épique, inspirée par les musiques de film et les grandes fresques fantasy.
Cordes expressives, cuivres puissants, percussions massives et chœurs aériens créent une atmosphère héroïque et immersive.
Une musique qui évoque les grandes quêtes, les paysages majestueux et l’émotion des récits épiques.
Bonne écoute !

Epic orchestral composition inspired by film music and large-scale fantasy worlds.
Expressive strings, powerful brass, massive percussion and airy choirs create a heroic and immersive atmosphere.
A piece that evokes grand quests, majestic landscapes and the emotion of epic storytelling.
Enjoy!

epical

My story with Anthony Hamilton is that one day my vocal coach said you’re gonna sound like Anthony Hamilton. I remember thinking, “yeah, when I’m 80 at this rate.” It’s that singing is incredibly hard to teach. Now that I have better technique than before I still couldn’t describe to anyone how I’m doing it exactly. Elaynas part was actually easier for me as I knew I was gonna go in with a bit of rasp and I was delighted with the tone of it. I approached Anthony’s part thinking it was gonna be easy. It  was hard as I went for a gritty approach at first that didn’t sound that great so I just sang it in a relaxed manner without any grit and that made the tone much better. There are some out of key moments like the first part of Free where I hit G instead of G#. I found that if I tuned it to G# at the start it doesn’t sound as good.  A pro mixer would have made that G# and …made the song sound bad. I can say it is a ‘bluesy affectation’. It’s still well within traditional rnb but I replaced the electric lead with classical lead and electric bass with upright bass. Every instrument melody is different apart from the rhythm guitar which is the same but I omitted the 1 strum per bar thing they do in the prechorus. 
The piano motif you hear in the intro came to my head and it’s more “What’s Happening’”-Jaime Foxx than Django. It sounds nice but relaxed. There are some piano fills with more gravitas in the chorus. I also really love ‘Unshaken’ by D’angelo so I wanted backing vocals there and the connection is that they are both spaghetti western soul tunes and D’angelo also says “Wellll”. It worked better than I expected cos ‘may I’ works for the bridge and the whole ‘stand unshaken’ phrase works in the chorus. He does sound catlike in the song and more ‘meee aaah stand unshaken’ at times. I was gonna sing ‘may I stirred unshaken’ but D’angelo has passed. The part where it comes in is one of my fave parts of the song.  So you get 4 for the price of 1! Elayna, Anthony ft. D’angelo and Jaime Foxx. There’s some lydian/dorian runs that the piano/guitar play. The outro guitar solo was improvised in 1 take and I think its’ one of my best solos. I was ‘feeling it.’ I think some of the lyrics are inaccurate cos’ each lyric sheet for this song is different. 

Mixing was easy as the demo without EQ/compression already sounded good. The rhythm guitars are panned a bit wider than usual. A final bit of reverb (18%.Default is 30%) made the vocals sound a bit nicer. The inputs for Chat GPT were what is the best EQ that suits Elayna’s raspy voice and Anthony’s deep voice. Mastering was harder and I watched a 20 min long Youtube vid as when you raised the volume that’s when the drums initially were too loud and I think that’s where a lot of the professional mix/masters went wrong. The mastering. Probably too much low end. So I had to go back to the mix and lower the drums. At its loudest its around -10 LUFS so pretty standard volume-well about 1 db softer than your usual song-so the softest of the loudness wars.  I think it’s my best cover so far and releasing it early in Dec should give me plenty of time for next years daunting schedule/practising daily before that. I also think it’s a good Christmas/winter song. And on that note Merry Christmas and happy new year!

Freedom

Rapped, written, arranged, composed, produced, originally performed by Jah-Femi Telewa

“Simple lady sing” - meaning sweet , humble and uncomplicated lady sing…

A boundary-free fusion of hip-hop, trap, orchestral tension, and Japanese vocal aesthetics. Cinematic lows meet modern rhythm as cultures, emotion, and restraint collide in a dark, immersive soundscape designed for listeners who value atmosphere, narrative, and evolution over formula.

Toku’s Vault

Lyrics

Toku 
Split heads like Goku
Super Saiyan ecstasy 
Dreading infamy 
I slay beasts of my enemy
And fight with those who envying 
Without remorse or pity
I’m gritty
Rolling hard through the city
Probably hard without knowing 
I got protection showing
Keep it close to my heart
See moving in silence is a golden art

You can’t mess with us
Born of silver dragons 
Who spit fire curse
If you have seen the things
Diamond golden rings
And flames for wings

You can’t mess with us
Born of silver dragons 
Who spit fire curse
If you have seen the things
Diamond golden rings
And flames for wings

It takes skill just to know me 
I’m like shinobi 
Smooth ninja
With height just like Kobe 
Score on these heads like basketballs
got legs
It’s good son 
Still like a virgin
Nuttin here is gruesome
Still I’ll let the simple lady sing
Cause rapping this long is not my thing 
Yeah

Cause rapping this long is not my thing 

Sora wa haiiro ni kawaru yo
Tsuki wa mada tomaru no sa
Kiri no naka chi ga nagare
Ueta tane ga me wo dasu
Kaeru ga tobi tachi ta basho
Ima wa kuroki mizu ga naku

You can’t mess with us
Born of silver dragons 
Who spit fire curse
If you have seen the things
Diamond golden rings
And flames for wings

You can’t mess with us
Born of silver dragons 
Who spit fire curse
If you have seen the things
Diamond golden rings
And flames for wings

ToKu’s Vault

Phase Chroma is a high-concept duo occupying the luminous, melancholic space between Progressive Structure and Ethereal Art-Pop. Formed around a striking duality—precise, structural synth work meets vast, dreamy vocal atmospheres—the project exists to explore emotional resonance through meticulous design. Their music sounds like the aftermath of a beautiful, systemic failure. Tracks like the digitally fractured "Neon Decay" and the liquid, intimate vastness of "Ripples in the Void" showcase their signature approach: cinematic soundscapes where every layered texture and subtle metric shift is intentional. Phase Chroma doesn't just make music; they manufacture deeply felt sonic tension for the quiet, empty hours.

Echo of the System

Phase Chroma

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