Watercolors

Time to Flye

Time To Flye

WELCOME !


 Empowering raw talent, amplifying the voices of the streets, and revolutionizing the music industry with unapologetic, unfiltered artistry.

*Genre Focus:* Hip-Hop, Trap, Alternative, and Emo-Rap




*Notable Releases:*

- Lil Allotic's "Heartbreak Motel

 embodies the spirit of its founders, fostering a community of fearless creatives who refuse to conform. This label is a haven for artists who dare to be different, and its influence will be felt throughout the music industry.

♧PROFILE☆LINKS♧

[INSTAGRAM PROFILE LINK]
https://instagram.com/lilallotic?igshid=ZmZhODViOGI=

[YOUTUBE CHANNEL]

https://www.youtube.com/@6K_TOXIC_RECORDS
 
[SPOTIFY ARTIST PROFILE LINK]
https://open.spotify.com/artist/6ewJwFz3yIXcg9rGnSpQJA?si=pmcxi8L0QE-1mh45_0AxeA

EMAIL FOR 📧 BUSINESS PURPOSES 

misery6kmusic@gmail.com 

Video impressions Wannebach Open Air on 23th August, 2025: https://www.youtube.com/watch?v=DvY5mPKCHlg
More video highlights: https://www.instagram.com/stories/highlights/17923495569109036/

NEW Video Trailer "Living": https://www.youtube.com/watch?v=lKm28euxFuE

NEW Video Trailer "First Thing": https://www.youtube.com/watch?v=5Q-58t7gvyg

YT channel: https://www.youtube.com/@PotBarley

Instagram: https://www.instagram.com/potbarleyofficial

Musician & songwriter driven just by passion for songwriting and singing. I am releasing "SoundCloud first" but some selected songs are also on Spotify, Apple, Amazon etc.
Since spring 2023 I have been writing and recording mainly as a "one man band", using acoustic & electric guitars, bass guitar, keyboards, an old piano, conga, etc. and a voice.
Former member of German bands: In Rags (with Sami Yli-Sirniö and Roman Keymer), Sharkpool and Dutch bands Garbitsjkeng, The Wit, Trio van Putten and and a few others. I baptized my Alter Ego and named him "Pot Barley".

A fictional character producing real music. And loves BIG BEAT


The Double Morphis, a music creator who, as a child, didn't fancy traditional piano lessons, preferring to make up his tunes. He later fell in love with crafting music on the computer, steering clear of playing instruments.
 His music combines big beat, experimental, and elements of 90's techno, acid, breakbeat, and the occasional rap fusion. He is struggling with feeling and daemons in his head and the tracks are result of the war or a way to run from life and the feelings.
With a commitment to anonymity, The Double Morphis keeps their full details hidden, letting the beats take the spotlight.

Since 2007 NASP is a OMA (OneManArmy) a solo project entirely made by me Alexandre Santos born and raised @ Porto in Portugal.
That said, here´s a little global description for my sound:
"The world created by Not a Side Project is a mix of dark and light, war and peace, high peaks and fluid valleys, where silences become loud and the blend of guitar and drums carries the listener in a sublime trip through ominous atmospheres."
So...
Thank you very much for stopping by and listen to my music, and, if you somehow liked something around here just go and take a peek at my links section below and spread some love by following, commenting, messaging or do whatever´s on your mind at the time XD I mean it!
See you around! Cheers!

P.S. - Besides cover art, no AI was or will ever be used for the making of my music. 

I tried, but I can not deny the music in me. I try to escape it, to ignore it, to hold it, but it desires to be shared. So here is a small tidbit of it. Stacks of unfinished lyric & melody notes await me. the raw unfiltered years of love &pain etched on paper reminding me of a life well lived & a love well tested. In the end love prevails. The children grown I can now recapture those memories holding on to my love even in rough waters.  Here's to Love. Love that shapes us. Love that makes us! :)

https://open.spotify.com/artist/1bk5kqbOAvRllgboJPs9gd?si=rNWZS8WnRbmmAGZOrInNFw

Guitarist playing blues, rock, jazz, rockabilly, classical and anything else I can! I create instrumental music where the bedrock is usually my 30 years of guitar playing and finding new ways to express myself.

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.”

Time To Flye

Summer's Shadow