Let's Play

CITY CHASE

MYSTERY

The inspiration for creating this Synth Pop track comes from the feeling of missing someone. The floating layers of synthesizers and steady beats are used as symbols of a longing that continues to linger in the heart—sometimes as a warmth one wishes to relive, and sometimes as a quiet loneliness.

The atmosphere of Synth Pop, with its neon tones and retro romanticism, conveys this sense of yearning in a profound way. It feels like walking through a city at night, surrounded by glowing lights, while being carried back into vivid memories once shared. This song is not just a melody, but a way of preserving the feeling of longing, captured and eternalized through sound.

MISS

I send my my woe to way down below alone

 its cold cold a a alone a a alone a a alone

 send let me roam by a a alone 

love me me love a a a love a a me e   (x3)

Verse 2

Time slip by by no time to to think alone 

slits cold cold a a loan my my time a a sown my my my time try try try drone alone 

I I cant stop fa fa falling d d down an

Chorus

I send my my woe to way down below alone

 its cold cold a a alone a a alone a a alone

 send let me roam by a a alone 

love me me love a a a love a a me e 

Woes (Milk Utau)

my first written song.. beat by prod. glem x tiresss  🐺    (it's not done yet but i'd appreciate some suggestions)   i have more upcoming that are like this

lyrics: 
when it's late at night,
i stay awake and chase the high
blur my vision, taint my mind
 til i can't tell if i'm alive

trapped in my own purgatory 
living, barely getting by.
hope this sorrow ends tomorrow
when will darkness turn to light?

trapped in my own purgatory
living, barely getting by.
hope this sorrow ends tomorrow
when will darkness turn to light?

the wolf within,
it's fighting in the darkness
where the monster lives.
my darkest demon in my head
my brain, my thoughts
the lies i fed.

trapped in my own purgatory
living, barely getting by.
hope this sorrow ends tomorrow
when will darkness turn to light?

trapped in my own purgatory
living, barely getting by.
hope this sorrow ends tomorrow
when will darkness turn to light?

(Outro)

PURGATORY

purgatory (prod.glem x tiresss)


Yo, this is XNDR. I'm bringing you my first ever production issue.

XNDR - Neon Skies

Stars in your skin
Flow through the sound
Nothings at stake
Be what you are

What you are

The Warmth of Your Eyes

Whispers in the Shadows

Through Darkness and Toil

Hands Up

Drive It is the sound of motion — a cinematic synthwave journey that begins in silence and builds into light.

Inspired by Icehouse’s “I Don’t Believe Anymore” and Soap&Skin’s “Me and the Devil,” the song starts with haunting intimacy and rises into a pulse of freedom and release.

Deep analog bass, ethereal vocals, and a soulful saxophone solo close out the night — a symbol of rebirth through movement.

Drive It is part of N O V A S O L A’s ongoing exploration of memory, solitude, and the glow that survives the dark.

Even in the dark — she glows.

Genre: Cinematic Synthwave / Dreamwave / Emotional Electronic
Mood: Primal · Rising · Luminous · Night-Drive

Drive It

🇬🇧 This Christmas – Morpheus von Dobenhausen
A modern Christmas track blending warm 80s synths with a gentle chill-out groove.
Between nostalgia and hope – a song about pausing, remembering, and finding peace in the quiet time of year.

#ThisChristmas #MorpheusvonDobenhausen #XanadumusiX #ChillOut #Electronic #ChristmasSong #WinterVibes #Synthpop #EmotionalPop


🇮🇹 This Christmas – Morpheus von Dobenhausen
Un brano natalizio moderno con caldi suoni anni ’80 e un morbido ritmo chill-out.
Tra nostalgia e speranza – una canzone che invita a fermarsi, ricordare e ritrovare la serenità del periodo natalizio.

#ThisChristmas #MorpheusvonDobenhausen #XanadumusiX #ChillOut #Elettronica #CanzoneDiNatale #AtmosferaInvernale #Synthpop #PopEmozionale


🇩🇪 This Christmas – Morpheus von Dobenhausen
Ein moderner Weihnachtssong mit warmen 80er-Synths und sanftem Chill-Out-Groove.
Zwischen Nostalgie und Hoffnung – ein Song über das Innehalten, Erinnern und Wiederfinden in der stillen Zeit des Jahres.

#ThisChristmas #MorpheusvonDobenhausen #XanadumusiX #ChillOut #Electronic #Weihnachtssong #WinterVibes #Synthpop #EmotionalPop

This Christmas

“You’re So Cool” is a soaring dance remix about getting back up and feeling electric again. Driving beats, rising synths, and a fearless voice shouting into the night this is confidence turned all the way up.

You’re so cool (Live -Extended dance-mix)

A mix of Depeche Mode remixes found on Soundcloud: 

1- Dream On (Made In TLV Remix)
2-People Are People (Petko Turner Remix)
3-Shake The Disease (De Soffer Remix)
4-Never Let Me Down (Javier Penna Remix)
5- Everything Counts (Moontalk Counting Stars Remix)
6- Enjoy The Silence (Alwa Game and Makar remix)
7-I Just Can't Get Enough (Les Bisous Remix)
8-Policy Of Truth (DJ Marika and Tripwerk Remix)
9- Pesonal JEsus (Notre Dame Remix)
10- I Feel Loved (Amad Remix)
11-Precious (Solee Remix)
12-World In My Eyes (Valentino Kanzyani Remix)


Depeche Mode Mix

Sacred Mars Fire

I'm a female music producer and guitarist. I produce synthpop, electropop and indie pop/rock music. 
Contact me to collab with me on your next track :)

“2 The Void” album out now on Spotify! 
IG: @urgirlsmusic ♥️
Real, down to mars girl

Guitarshredder9@yahoo.com

SARK is a genre-blending Artist combining retro synths, driving guitars, and modern production. Their sound draws from 80s electronic music, rock, and cinematic influences to create tracks that are bold and energetic.

🇬🇧
XanadumusiX is an independent label founded by Monty HK. Our focus lies on emotional pop, dance, synthpop, and rock productions, uniting artists like Morpheus von Dobenhausen, Buddy Joe, RoHaNa and MONTY HK. Based in Germany, connected worldwide.

🇩🇪
XanadumusiX ist ein unabhängiges Label, gegründet von Monty HK. Der Fokus liegt auf emotionalem Pop, Dance, Synthpop und Rock – mit Künstlern wie Morpheus von Dobenhausen, Buddy Joe, RoHaNa und MONTY HK. Sitz in Deutschland, weltweit vernetzt.

⸻



🇬🇧
XanadumusiX was founded in 1999 by producer and musician Henry Klein (Monty HK). The label represents a diverse roster of artists with international reach. Our releases combine strong songwriting, innovative sound design, and authentic storytelling.
With over 100 official releases, XanadumusiX builds bridges between traditional craftsmanship and modern production.

🇩🇪
XanadumusiX wurde 1999 von Produzent und Musiker Henry Klein (Monty HK) gegründet. Das Label repräsentiert ein vielfältiges Künstler-Portfolio mit internationaler Reichweite. Unsere Veröffentlichungen verbinden starkes Songwriting, innovatives Sounddesign und authentisches Storytelling.
Mit über 100 offiziellen Veröffentlichungen schlägt XanadumusiX die Brücke zwischen klassischem Handwerk und moderner Produktion.

I’m xndr – I play minimal and industrial techno, but also hard techno and trance. I’m drawn to raw, powerful sounds that create a dark atmosphere, yet I never limit myself to one genre. Every set for me is a journey – from heavy, hypnotic rhythms to euphoric, trance-driven moments designed to captivate the dancefloor.

21

i'm not expecting anything from here- 
i make music rarely and.. i just started this whole music thing. 
i just want a platform to share my music and hopefully get opinions  :))

TIKØN is an artist who blends electronic soundscapes with raw emotions, balancing between the pulse of modern electro-pop and the dreamy atmosphere of synthwave. His music is both danceable and deeply emotional, capturing stories of love, hope, and timeless human feelings.

With years of experimenting in the studio, TIKØN has shaped a unique style that combines powerful beats, spacious synths, and lyrical reflection. His debut album “Awakening” is more than just a collection of tracks – it is a journey through energy and emotion, designed to move both body and soul.

There are things that cannot be seen until they are heard. There are sounds that do not belong to any time, yet find their way into moments we thought were ordinary. The. exists somewhere in between.
Born from fragments of memory and quiet rebellion, The. has never been a conventional band. It has been a shifting constellation of artists, writers, musicians, and designers whose identities remain unknown by choice. What began as an experiment in sound and perception became something larger: a refusal to be defined, a conversation between the seen and the unseen.
Origins in Shadow and Light
The. first appeared in small, unrecorded performances, often without announcement. In the back rooms of galleries in Sapporo, in empty warehouses along the Australian coast, in dimly lit lofts in Los Angeles, and across digital spaces where distance became irrelevant. Each performance was different. Sometimes there were instruments, sometimes silence, sometimes the hum of an unseen audience.
What connected these moments was not the sound itself, but the intent to create a space where music, image, and emotion could coexist freely, without bias toward the creators. The. never performs under their real names. Instead, they appear through characters, puppets, projections, or altered voices, allowing the work to stand on its own.
The Invisible Stage
While some performances take place live, most exist virtually. The. embraces the digital realm not as a substitute for reality, but as another form of presence. Their “virtual tours” of Europe blurred the line between concert and installation. No two audiences ever experienced the same thing. Some saw moving shapes and color reacting to sound, others listened to the same performance as a quiet transmission through fog.
To attend a performance by The. is to become part of it. The art is not in the sound alone, but in the act of listening. The. invites its audience to fill in the unseen, to complete the sentences left hanging in silence.
Projects in Motion
The. is currently working on two interwoven projects: Nine Lives Lost and No Screenager. Both explore the collapse and reconstruction of identity through music and visual form.
Nine Lives Lost is a meditation on renewal and memory. It weaves fragments of past selves voices distorted, melodies half-remembered into a soundscape that feels both mournful and transcendent.
No Screenager is a response to modern disconnection, an exploration of what it means to feel human in an era of pixels and filters. It questions the very act of seeing and being seen. The project will merge analog performance with digital decay, producing both an audio and visual experience that is simultaneously raw and unreal.
Together, these projects continue The.’s ongoing dialogue between the virtual and the tangible, between what is forgotten and what insists on being remembered.
YouTube: No Screenager
YouTube: Nine Lives Lost
Anonymity as Liberation
The. rejects the cult of identity. They have no faces to sell, no single image to define them. Anonymity is not concealment, it is freedom—a way to let the work speak without bias.
When they perform, they do so masked, projected, or transformed—through puppets, digital avatars, or shifting visual characters. Sometimes the performance is physical, sometimes entirely virtual. The medium changes, the presence remains.
To be nameless is to be fluid. To be faceless is to belong to everyone.
In this way, The. invites the audience to listen without prejudice—to experience the music and imagery directly, without the usual filter of personality or fame. It is art in its rawest form: detached from ego, and therefore, more human.
Performances Without Faces
Throughout their journey, The. has performed under countless names. Each alias, each mask, each puppet becomes another layer of narrative. There are no fixed identities, only shifting stories.
Some performances are entirely digital, existing only as whispers across encrypted channels or as visual projections synchronized with evolving soundscapes. Others take place in small rooms, for audiences who never see the performers’ faces.
Even when The. appears publicly, it is through artistic abstraction rather than celebrity presence. Puppets, holograms, animations, or physical avatars serve as vessels for the music. What matters is the message, not the messenger.
A Philosophy of Sound and Style
The. is not limited by genre or medium. Its music drifts freely, shaped by whim, mood, and the unfolding of each project. A single work might move from soft folk to pop, from soaring anthem to classical interlude, from abstract jazz chaos to melodic minimalism. The art is alive, unbound, and always evolving.
One moment a whispered folk melody, the next a driving pop anthem. Classical structures may collide with jazz mayhem. Sound, image, and style drift and merge according to the whim of the collective, never fixed, never confined. Each project is a journey across ideas as much as across notes.
This fluidity is central to The.’s ethos: art is not to be categorized, only experienced. It is not bound to expectation, only to exploration.
Collaboration and Control
The. operates as a collective. No one owns the whole. Each participant contributes fragments – words, textures, gestures – that are assembled into evolving works.
External artists are encouraged to reinterpret, remix, and respond to the works of The., yet the intellectual property remains with the originators. Variation is welcomed, but always through permission and respect. Each remix becomes an echo, another life added to the original creation.
This approach keeps the art fluid, never finished, always expanding. The. does not believe in final versions only evolving expressions.
The network shifts over time. Some members have never met. Others have shared stages without knowing each other’s true names. What binds them is not identity, but intention: to explore sound as language, to test the limits of collaboration in a disembodied age, to ask what music means when no one claims it.
Geographies of Sound
The. has crossed many borders without ever being fully present in any of them. From the snow-covered streets of Sapporo to the wide-open fields of rural Australia, from dimly lit performance spaces in Tokyo to private art gatherings in the United States, each location has shaped the collective’s evolving mythos.
Their virtual tours of Europe carried this same philosophy forward—presence without presence, sound without self. Audiences connected through shared frequency rather than proximity. Every performance is grounded in the art of sound and lyrical storytelling, which forms the spine of the experience, even as the visual and auditory landscape drifts freely across styles.
The Open Door
While The. remains anonymous, it is not closed. Participation is by invitation, but collaboration is encouraged. Those who understand the spirit of the work artists, filmmakers, writers, technologists, listeners—may one day find their signal intersecting with theirs.
Each piece leads to another, each project opens new space for dialogue between the seen and unseen, the audible and the imagined. The. continues to expand through sound, image, and collective experience—a decentralized art form where anonymity becomes identity, and art becomes conversation.
Philosophy
The. believes in:
Myth over marketing
Ritual over routine
Art as interference, not entertainment
Silence as structure
Collaboration as communion
Impermanence as truth
They exist between mediums, between analog and digital, between private and public, between human and synthetic. Each performance, track, and visual is a point of contact in an ever-changing map.
The. is not here to be understood. It is here to be felt.
What they create may vanish, but the experience remains—living in the moment between hearing and remembering.
Closing Transmission
The. is both message and messenger. It does not belong to one person, one country, or one meaning. It is a frequency, a shared hallucination, a signal waiting to be found.
Every appearance, every sound, every disappearing act is part of a larger continuum one that questions what it means to create in an age of constant noise.
The. invites you to listen, to imagine, to unsee the surface, and to join the silence that follows.
This is The. Not a conclusion, but a beginning.
The. マニフェスト
聞かれるまで見えないものがある。
どの時代にも属さない音が、私たちが普通だと思っていた瞬間に忍び込むことがある。
The. は、その間に存在している。
記憶の断片と静かな反抗から生まれた The. は、従来のバンドではない。
それは、意図的にその身元を隠すアーティスト、作家、音楽家、デザイナーの流動的な集合体だ。
音と知覚の実験として始まったものは、やがてより大きなものになった。定義されることを拒み、見えるものと見えないものの間で交わされる会話となったのだ。
影と光の中での起源
The. は最初、小さく、記録されないパフォーマンスとして現れた。
札幌のギャラリーの奥、オーストラリアの廃倉庫、ロサンゼルスの薄暗いロフト、距離が無意味となるデジタル空間。
どのパフォーマンスも異なる。時には楽器があり、時には沈黙があり、時には見えない観客のざわめきがあった。
これらの瞬間を結ぶものは音そのものではなく、意図だった。
音、映像、感情が偏見なしに共存できる空間を作ること。
The. は本名で演奏することはない。キャラクターやパペット、プロジェクション、変化した声を通して現れ、作品そのものを立たせる。
見えない舞台
ライブで行われることもあるが、ほとんどはバーチャルで存在する。
The. はデジタル領域を現実の代替ではなく、もうひとつの存在形態として受け入れる。
ヨーロッパの「バーチャルツアー」は、コンサートとインスタレーションの境界を曖昧にした。
同じ観客は二度と同じ体験をしない。
ある人は音に反応して動く形や色を見、別の人は霧の中の静かな伝送として同じ演奏を聞く。
The. のパフォーマンスに参加するとは、作品の一部になることを意味する。
芸術は音だけではなく、聞く行為に宿る。
観客が見えない部分を想像し、沈黙に残された文を完成させることを The. は招く。
進行中のプロジェクト
The. は現在、二つの相互に関連するプロジェクトに取り組んでいる。
Nine Lives Lost と No Screenager だ。
どちらもアイデンティティの崩壊と再構築を、音楽と視覚表現を通して探求する。
Nine Lives Lost は再生と記憶の瞑想だ。
歪んだ声、半ば覚えた旋律、過去の断片が織り込まれ、悲しみと超越の感覚を伴う音景を生む。
No Screenager は現代の断絶への応答であり、ピクセルとフィルターの時代に人間であることの意味を問いかける。
アナログとデジタルの崩壊を融合させ、同時に生のようで非現実的な音と映像の体験を生み出す。
これらのプロジェクトは、仮想と現実、忘れられたものと覚えているものの間で続く対話の一部だ。
Youtube: No Screenager
Youtube: Nine lives Lost
匿名性という解放
The. はアイデンティティの偶像を拒む。
顔はなく、単一のイメージに定義されない。
匿名性は隠蔽ではなく自由だ。
作品を偏見なく語らせる方法である。
パフォーマンスでは、マスクやプロジェクション、変化するキャラクターを通して現れる。
時には物理的に、時には完全にバーチャルで。
媒体は変わり、存在は残る。
名前がないことは流動的であること。
顔がないことは、誰にでも属することを意味する。
顔のないパフォーマンス
The. は無数の名前で現れた。
各エイリアス、マスク、パペットは物語の別の層となる。
固定されたアイデンティティはなく、移ろう物語だけがある。
パフォーマンスの中には完全にデジタルで、暗号化されたチャンネルや音景と同期した映像プロジェクションだけで存在するものもある。
また小さな部屋で行われ、観客は演者の顔を一切見ない場合もある。
公に現れる場合でさえ、著名性ではなく芸術的抽象を通してだ。
パペット、ホログラム、アニメーション、物理的アバターは音楽のための器となる。
重要なのはメッセージであり、伝える者ではない。
音とスタイルの哲学
The. はジャンルや媒体に制限されない。
音楽は自由に漂い、気まぐれやムード、プロジェクトの展開によって形作られる。
ひとつの作品で、ささやくフォークからポップ、荘厳なアンセムからクラシカルな間奏、抽象的なジャズの混乱から旋律的ミニマリズムまで移動することもある。
芸術は生きており、束縛されず、常に進化している。
一瞬はささやくフォークの旋律、次の瞬間は躍動するポップアンセム。
クラシックの構造がジャズの混沌と衝突することもある。
音、映像、スタイルは集合体の気まぐれによって漂い、融合し、決して固定されず、限界もない。
各プロジェクトは音符の旅であると同時に、アイデアの旅でもある。
この流動性は The. の本質である。
芸術は分類されるためではなく、体験されるために存在する。
期待に縛られず、探求にこそ従う。
協働と統制
The. は集合体として機能する。
誰も全体を所有しない。
参加者は断片を提供し、言葉、質感、ジェスチャーを積み重ねて進化する作品を生み出す。
外部のアーティストは作品を再解釈し、リミックスすることが奨励されるが、知的財産は原作者に帰属する。
変化は歓迎されるが、常に許可と尊重をもって行われる。
各リミックスは元の創作に新たな命を吹き込む。
このアプローチにより、作品は流動的で、完成はなく、常に拡張し続ける。
The. は完成形を信じない。表現は常に進化する。
音の地理
The. は多くの国境を越えてきたが、どこにも完全に存在することはない。
札幌の雪に覆われた街から、オーストラリアの広大な野原まで、東京の暗いパフォーマンススペースから米国のプライベートなアートギャザリングまで、各地が集合体の神話を形作った。
ヨーロッパのバーチャルツアーも同じ哲学を体現した。
存在せずに存在し、自己を超えた音楽。
観客は距離ではなく、共鳴を通じてつながる。
すべてのパフォーマンスは、音と詩的表現の芸術性に支えられ、視覚と聴覚の風景は自由に漂う。
開かれた扉
The. は匿名でありながら閉ざされてはいない。
参加は招待制だが、協働は奨励される。
精神を理解する者は、いつかその信号が交差するかもしれない。
各作品は次の作品へとつながり、各プロジェクトは見るものと見えないもの、聞くものと想像するものの対話の空間を開く。
The. は音、映像、集合的体験を通じて拡張し続ける。
匿名性はアイデンティティとなり、芸術は会話となる。
哲学
The. が信じること：
マーケティングより神話
ルーティンより儀式
娯楽ではなく干渉としての芸術
構造としての沈黙
交わりとしての協働
無常こそ真実
アナログとデジタル、プライベートとパブリック、人間と合成の間に存在する。
各パフォーマンス、トラック、映像は常に変化する地図上の接点だ。
The. は理解されるために存在するのではない。
感じられるために存在する。
創作物は消えてしまうかもしれない。しかし体験は残る。
聞くことと覚えることの間で生き続ける。

I produce in FL studio and other software. I create music for me. It is my hoby. I have virtually no monetary intererest in music. I make all sorts of genres.

New tracks tagged ##Synthpop