Where's the time that you had on your side?
Where's a bottle to drink when you need it?
Where's a father to set you to task?
Where's a mother, who's there with a pass?

There's a field full of flowers and grass.
Let's just say that it's somewhere in England.

Maybe warmth from the sun of the day.
Radiates from the Earth as if dreaming.

There's a crow watching you from a fence.
No way for you to guess what he's thinking.

You, yourself, are just there, sitting around.
Devoted to, just The Crow, just the thinking.

Let's insert in this scene, somewhat obviously seen.
An extraneous mass, which requires; a task.
Hey, ho, away we go!

There's a field framed with oak trees and beach.
Let's face facts that it's somewhere in England.

And the hum of the birds and the bees.
Fills you up in the still of the evening.

Oh, the tumbling cascading downs.
Are a never-ending dream of England.

That's it, boy, take a good look round.
(it's the last chance you'll get)
While the crows just sit watching and waiting.

Yet, insert in this scene international schemes.
Which the men undertake, for generals on the make.
Like a madman; half baked.
Stepping stones on a lake.
Oh no, down we go.

There's an old station there in the town.
Full of old iron keys and such sundries.

And the wood there is aged and careworn.
And the empire remains in the features. 

There's a comfort in old-fashioned things.
Reminding us that we're deeply rooted.

To a time and a place and scene.
(a time and a place and a scene)
But a murder of crows could remove it. 
(a time and a place and a scene)

Let's insert in this scene, somewhat obliquely seen.
An external great mass, which requires a task.
Which you must undertake,
with forbearance and haste.
Oh no, down we go. 

Haul the sails, and set the course,
we're sailing out to sea.
Those in the midship, chart the course,
the route that's planned for we.
Set the tiller.
Haul the sail.
Chart the course.
Or else...
we'll fail.

Oh no! to the crows we go!
Oh no! to the crows we go!
Oh no! to the crows we go!

Where's the time that you had on your side?
Where's the time that you wasted on dreaming?
Where's the friends that you need by your side?
Passing by just along for a ride. 

Oh, these were your days.
Oh, this could be the making of you.
Oh, no need for delay.
The whole nation expects such great things for you.

Oh, these were your days.
Oh, this should be the making of you.
Oh, no need for dismay.
The whole nation expects such great things of you.
For England.

Where's your God? Can he keep you alive?
Where's your God? what? is anyone winning?
When your God is a dream for the spring.
Where's he now? amongst most other things?

Where's your God now your lain on the grass?
Where's your God while you lay out here dying?
Where's your God now that nobody knows?
That you're lying in a field full of crows. 

Oh, those were the days,
Oh, they're really a testament to you.
Oh, surrounded by crows,
Crows are suddenly circling you.
For England!



The Crows

KVJ is a one man band ready to blow your mind with their distinct sound! ENCORE?
Https://linktr.ee/kvjworld

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!

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.

Formed in Greenwich, London, in 2023, Dead Hazards is an alternative rock band bringing thick, smoky, sometimes feverish guitar-driven tracks. Marrying the natural and the artificial, Dead Hazards has spun up sounds with elements from heavy metal, rock, and folk. 

Saline is Dead Hazards' upcoming debut LP releasing on April 20th and featuring 13 songs that hold sounds ranging from raw sludge to rock-operatic passages.

We are a cult from Wigan, United Kingdom.
Listen on Spotify:
https://open.spotify.com/artist/28CvRwSZfVhWu9yP8I0Vhl?si=86HIWhAJTR6oYPs3pZnZsw

Didier Broch, songwriter from Perpignan, France.
I am a drummer, i played for the rock band Exterieur Nuit in the 90s, the Parking Stones (2012 / 2022) and other cover bands.

https://www.facebook.com/exterieurnuitrock
https://www.facebook.com/parkingstones

In parallel with these formations, I have always written songs. Since 2020 I publish them under the name of La Bise then Seize The Day.

https://www.facebook.com/laBiseRock
https://soundcloud.com/labiserock

I am a Canadian composer, songwriter and performer that dabbles in production, remixes and of course a suite of original compositions.

Proud Member of CollabHaven Records!!!

Collaborations or inquiries: Lang.v.music@gmail.com 👀🤟

Attention Earthlings! The 47's music will not be available on Soundcloud. If you liked the style then come join us on Spotify! Pandora! Youtube! Tik Tok! Apple music! Amazon music! and many more... links are below...

  The 47... A punk rock band from Planet X. 
 Accidentally crashed a spaceship on earth in the United States and have been living among us... Secretly planning their World domination by being the most epic rock band in the Milky Way Galaxy... Combining all genres of sound from space, time, dimensions, past, present, and future... 

Earth's music providers assimilated...
The 47 album has landed, will Planet Earth survive?
               
                                                                                 https://instagram.com/the_47_band_page?igshid=MzMyNGUyNmU2YQ==                   

https://spotify.link/Flxjvf5gGDb

https://spotify.link/VQA26i4gGDb

https://pandora.app.link/blIJ4GUUFDb

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.





The Crows

SpukSchreibMaschine