Prelude 3 (B) is speech-like, inspired by how rap manipulates rhythm. Triplets, poly rhythms and syncopation play into the contemporary style. The climax around bar 28 is lots of fun. The final two bars are inspired by Chopin’s Prelude Op. 28 No. 3 (G major), finishing in unison. Sheet music at https://www.australiancomposers.com.au/search?q=rachel+hocking

Prelude 3

I apologise for the repeats but I feel some of my tunes went to production too soon and I needed to work on them so much more.  So here I am rewriting and restructuring many as some are too long and others need the vocal line redone.  I will be uploading these unplugged versions onto YouTube as I do not perform (autism) so this is as close to playing live as I will get. My timing is all over the place as I cannot do maths and my dyspraxia means my motor skills are rubbish and my guitar playing limited. Thank you for your support.  Keep on playing and singing These tracks are my unplugged versions, as I am a musician but not a performer, so this is as close as I get to performing live! Thank you for taking the time to listen!

my loneliness written by MedusaMoon ©2025

New Mix & Master

Guitar Solo by the great Rob Kleiss, Cheers to you in la France!

The driver said: Keep your eyes on the road that you ride on, stay on
And don't be a fool to dream your time away
I'm thinking about time, is it more, is it less than six weeks
On the beach? Or forty boring cloudy windy days?

Oh, na na na nai

Yeah ooh, wo-o-wo-o
I work too hard in the morning. I get up at seven
I shut my shades. All day long I don't do a single thing
And I don't have much more than a dreamboat to sail away
Six strings and a song to sing

Solo

There's a beautiful girl in the hills of Wales and I love her, mm-mm
And I can't give her nothing but my love
The driver said: You'll be dead if you touch my sister, mister
I know damn well what you're thinking of

Oh, na na na nai
Ooh, woh woh woh, na na na nai

Oo-ooh
I work too hard, I work too hard in the morning. I get up at seven
All day long I don't do a single thing
The driver said: Keep your eyes on the road that you ride on, stay on
And don't be a fool to dream your time away

Celar Aged Wines

The Driver

GENRE: DARK METAL/AMBIENT METAL/METAL
LYRICS: ORPHEUS VECTOR 
VOCALS: ROXY BLACK 
COVER: ORPHEUS VECTOR 
LABEL: PRIMORDIUM
Song Meaning  
“Beneath the Veil” is a spoken‑word ritual — a descent into a hidden sanctum where power, identity, and fate are bound together in shadow. The piece blurs the line between summoner and summoned, curse and weapon, confession and prophecy. It explores transformation through forbidden knowledge, the pull of forces beyond mortal grasp, and the cost of crossing the threshold between worlds.

Verse‑by‑Verse Explanation

1. Beneath the veil where thoughts descend / A circle carved in broken light / Invokes the song of endless night  
   → The speaker begins the ritual, entering a mental and spiritual space below conscious thought. The “circle” is both protective and binding, channeling energy to call forth darkness.

2. In sanctum sealed by cryptic law / Where none return who glimpse the Maw  
   → We are in a place governed by ancient, unyielding rules. The “Maw” is a consuming void — an ultimate truth or entity from which there is no coming back.

3. She weaves her will in thread of smoke / The altar hums — the mirror spoke  
   → The ritualist shapes reality itself, her magic intangible yet potent. The mirror, a conduit between realms, becomes an active, almost sentient participant.

4. Candles spiral into time / Ashen lips repeat the rhyme  
   → The scene folds into a trance; candles marking the passage of time as the spoken chant fuels the ritual.

5. Hollow veil, open wide / Drink my name, from the other side / Bind me not to mortal clay / I am the hymn they could not pray  
   → The invocation’s heart: a plea to pass beyond the mortal form and become something immortal, unbound by the flesh.

6. The sigils burn in bleeding stone / She speaks in tongues not hers alone  
   → Symbols etched in stone ignite with energy. Multiple voices — perhaps spirits, gods, or other selves — speak through her.

7. A thousand voices fill the gloom / Each syllable becomes a (Ahh… ahh… ahh...)  
   → The chamber is saturated with unearthly resonance, the chant dissolving into pure sound and vibration.

8. Hollow veil, open wide / I’ve crossed the gates where truths must hide / Unveil the bride of ash and mist / She bears the mark the gods dismissed  
   → The veil parts completely. A mysterious, possibly divine or forsaken figure appears, marked by a destiny the gods themselves refused.

9. So whisper now, before I fade… / Was I the curse, or just the blade?  
   → The final, unresolved question. Was the speaker the destructive force itself, or merely the instrument wielded by a greater will? The piece ends in ambiguity, leaving the listener suspended in its shadows.

SANCTUM OF THE HOLLOW VEIL

Forever Unbroken

Obsidian Reflections for Small Orchestra - Marco Polo Orchestra (Live World Premiere)

I have made changes to this track as I did not like the chours or the slow tempo. 

I'm nobodys fool written by MedusaMoon C2025

Hell's Bells - submission for Tiny Music Jam #1 hosted by aurora595 for Itch.IO August 2025
The submission called for a 20-second composition with "Triumph of Bells" as the text prompt.
Distribution via Distrokid necessitated looping 3 times to reach the 60 second minimum.
Hence there are 2 file versions.

Hell's Bells

Book marked - Robert Grigg, Combstead

Flicker

Empty space inside my head
Echoes of the words you said
Ringing in my ears like a lie
A part of me just wants to die

Can't escape how I feel
Wounds from you will not heal
Nothing left just a dark abyss
Dying broken from all of this

I'm a ghost, a flicker in the storm
A broken shadow in human form
The light I had is a dying ember
Trapped in hell I will remember.

The pain and screams are all I've got
Broken memories and hollow thoughts
I'm just a shell and a burning wreck
With a tight noose hangin' around my neck.

Flicker

Sarmaggeddon

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