LYRICS

Oh there's a girl in the corner of my tv.
(and I'm totally wasted)
And I don't know what any of it means.
(or how to translate it) 

Tired of wasting my Friday nights,
taking a chance on you.
Tired of working and getting nowhere,
drinking too much too. 
Cos everything's a bit shit,
and nothings going great.
The Frosty Jack's is going down,
I'm wasting half my days. 

Jobfinder coursing down the screen.
(and nobody reads it)
Slightly better than QVC.
(what everyone's leaving)

Cos everything's a bit shit,
and nothings going great.
This Frosty Jack's is going down,
I'm wasting half my days. 
Tired of wasting my Friday nights,
taking a chance on you.
Tired of working and getting nowhere,
drinking too much too. 

You told me everything was shit.
(but I couldn't face it)
You told me everything was a bit shit
(and I tried to chase it)


Jobfinder [with The Fall of Saigon]

Post-hardcore 90's del Montnegre, Guillem bateria i veu, Albert guitarra i veu.
Ens influencia el bosc i la música dels 90's i 00's
Ment positiva

click follow,YouTube,Instagram,Spotify thanks...

Music is not about precision or the good voice or the right notes. It's just about soul and emotions.

“Music is energy. A mood, atmosphere. Feeling.” Kurt Cobain

Musician
2nd Soundcloud -  https://soundcloud.com/christopherwoodiwiss/tracks

Pierre Lacroix is a professional musician, composer and teacher. He started his activity of composer in 2013. Influences orchestral music, jazz, world music, soundtracks.

Ortwin Wendt is the driving force behind the passionate, fun, and genre-free project that is United Duality. Based in Celle, Germany, Wendt leads with skilful guitar work and strength of songwriting. In addition though, he fills out every single with layers of instrumentation and colour – often self-crafted, often through collaborations with other vocalists and musicians; always to beautifully engaging and uplifting results. 

Despite a notably varied string of influences, United Duality makes music with clear links to and inspiration from the likes of The Beatles and other pop-rock creatives of the sixties and seventies. You can hear this approach across releases, even among such strong eclecticism – from the experimental rock soundscape of Purple Heron to the collaborative folk delicacy of See-Saw, there’s something enjoyably familiar about the United Duality sound; an admirable sense of identity runs throughout everything. 

In recent years, several original releases have made the airwaves of numerous independent radio stations. The unmistakable and historically rooted ‘Sexy Sadie Passed Away’ even made it to number one towards the end of 2018, over on ‘B.I.G. Indie Giant, South Africa’. 

Being naturally connected to this art form, and having already released an impressive level of new songs, Ortwin Wendt and his creative muse show no signs of slowing down. A full-length album has been released on 11th September – 13 original songs under the title ‘Enlightening Snapshots’. The project will take listeners on a journey through varied genres and life experiences, entertaining them yet also closing the gap between artist and audience – letting you build that understanding and connection that we so often turn to music for.

musician, song writer and producer based in Scotland. Played and written for years but never released anything. Recently started going through my old material, rerecording and releasing them. Will cover lots of genres....eventually. Bear with me 

[ Dudellic😱Ah! ] > mixes varied "Funky" and "Heavy" stuff, that you can bang your head to 😝 ...
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< M. O. > Passau, Lower Bavaria

Stated in The Netherlands, we conjured CLICK! into life in 2020. We create experimental Pop and Electronic music. Our music moves your body, and lyrics move your soul.

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.”

We are the music makers. We are the dreamers of dreams.





Jobfinder [with The Fall of Saigon]

SpukSchreibMaschine