Where has my city gone?
Where is my trip in the sun?
Wait, should I have begun?
Got to leave where you're from?

Where is my fantasy?
Where is my hope for much more?
Take your false sliding doors.
I'll hold out for some more.

Out of the valley, alone, into hinterland frozen.
Oh, my arms are wide open.
My horizon is golden.
Off with my head.
As the sun passes over the trees.
I'll ride on the in breeze.
Keep my horizon free.

Where are my city streets?
Where is my blanket for cold?
One day I will be old.
And, I doubt that I'll know.

What can I say?
I'm just drifting around in the sea.
No ideas to seed.
In the absence of need.

Out of the valley, away, into hinterland broken.
All my alms for the poor.
My horizon is sure.
Off with my head.
Down the river; 
Flows on with the leas.
I'll ride on in the breeze.
Keep my horizon free.

Where is my chandelier?
Who'll meet my consumer needs?
An all consuming greed.
All replete with the weeds.

Where is my parquet floor?
What's a designer for?
Me?
Whilst a-wandering free.
I won't move from this tree.

Out of the valley below into hinterlands frozen.
Oh, my eyes are wide open.
My horizon is golden.
Out of my head, as the sun passes over the trees.
Riding on the in breeze.
My horizon is free.

Hinterland

Площадки и артисты со всех уголков земного шара
🎵🎶🎵🎧✨(◕‿◕) 
💙💛https://www.youtube.com/@D_i_n_0_
💙💛https://www.twitch.tv/d_i_n_0_s
смесь жанров электронной музыки::

Halena Morbida is the product of a middle age crisis. It is not about a particular genre, it's about the joy of creating music.

I use Ableton Live 11, Ibanez GIO electric guitar, Harley Benton electric bass guitar, HB acoustic guitar and acoustic bass guitar, Boss ME-80 processor, bongos, tambourine, cajon, and a bunch of different kinds of flutes.
 I am not a musician, I just fool around, while learning how to play my instruments. 
The artwork for the tracks is AI generated and the titles are chosen mostly using the method of free association.
Thank you for listening to my crap! 
Have a nice life while you still have it!

Bizibee Interactive, LLC. is a Videogame Development and Music production company.
WISHLIST SHEEP or PLAY THE DEMO on STEAM
store.steampowered.com/app/3636100/SHEEP

Musician for Hire
Recording Artist 
Singer/Songwriter

MadBusker Chess Hustler Mic Slinger Song Singer 

Just a man with an Axe to Grind 
And a computer from 2009

Industrial dance and cinematic fuel.

• Artist | Producer 
• Original tracks 
• Support the Arts!

• Dell • Ableton • Splice • Waves
• Rokit • Serum

• No generative AI tracks

I support with reposts frequently, If you are looking for some curated content, my playlists are my favorites!

solo musician, guitarist and composer, he developed several genres by fusing different styles, instrumental music.

NEW SONGS FROM “EXODUS” OUT NOW!
Progressive rock group featuring original music created by Kalob Byers, Keith Butcher, Eisa Andrich and Joe Thompson.


“Existence & the Human Response” recorded , mixed & mastered at OVHXC Recording

“Exodus” mixed & mastered at Kopperhead Compositions

Wladimir Martínez (born on August 22, 1990, in Valparaíso, Chile) is an independent musician, composer, singer-songwriter, and poet. He holds a degree in Music from the University of Valparaíso and has developed a deeply personal body of work that blends emotional soundscapes with a stylistic exploration that moves between rock, classical music, ambient electronica, and sonic experimentation.

Influenced by a wide range of artists who have shaped his creative journey from different perspectives, some of the most significant in terms of composition and musicality include The Beatles, Led Zeppelin, Steven Wilson, and David Bowie, whose melodies, structures, harmonic approaches, musical production, and conceptual aesthetics have been fundamental. On the sonic and experimental side, key influences include Brian Eno, Robert Fripp, and Ryuichi Sakamoto, all of whom are recognized for their work in crafting atmospheres and textures. His poetic and expressive dimension finds essential references in Nick Drake, Gustavo Cerati, Luis Alberto Spinetta, and the Chilean band La Ley, whose lyrics and sensibility have deeply influenced the way he connects words and sound.

He is currently also exploring the visual language through photography and digital drawing, as a natural extension of his creative universe. This multidisciplinary approach—exploring sounds, words, and images—reinforces his vision of art as something driven by emotion and perception.

Martínez has independently released his work through digital platforms such as Spotify, Apple Music, YouTube, Tidal, TikTok, and Instagram, building a diverse and coherent discography that stands apart from commercial trends. His work speaks to those who see art as a vehicle for deep expression rather than a product. He continues to expand his catalog with new releases, maintaining an active poetic and visual output that complements his artistic identity and pushes the boundaries of his creativity.



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.





Hinterland

SpukSchreibMaschine