Cover song by La Sangre, 2025.
Interpreters: Vitxo Sandoval (guitar and vocals) & Vini Baeza (bass guitar)
Mixed and Mastered: Rainer Scheffelt
ISRC: QZPJ32519636 (Cover Version)


Carne para la Picadora (original, 1996)
Composers: Evaristo Páramos Pérez, Miguel María Garín Castro, Manuel García Cruz, Abel Javier Murua López de Munain, Fernando Murua Quintana.
ISWC Code: T-041.436.060-3
Publishing & Licensing Entity: Cultura Rock Publishing
La Polla Records, 1996.

This City Wants Blood...

Carne para la Picadora

Carne para la Picadora (Acoustic Version)

Original song by La Sangre, 2025.
Composers: Vitxo Sandoval (guitar and vocals) & Vini Baeza (bass guitar & vocals)
Mixed and Mastered: Rainer Scheffelt
ISRC: QZPJ32519635

Sangre y Huesos

Original song by La Sangre, 2025.
Composers: Vitxo Sandoval (guitar and vocals) & Vini Baeza (bass guitar and vocals)
Mixed and Mastered: Rainer Scheffelt
ISRC: QZPJ32519638

Hombre Lobo en Berlín

Original song by La Sangre, 2025.
Composers: Vitxo Sandoval (guitar and vocals) & Vini Baeza (bass guitar and vocals)
Guest artist: Rosita B. (piano)
Mixed and Mastered: Rainer Scheffelt
ISRC: QZPJ32519639

Abandonado

Our take on “Runaway” reimagines Del Shannon’s timeless heartbreak through a cinematic country-rock lens where stormy skies, echoing guitars, and raw emotion collide on the open road.

We wanted to capture that same sense of loss and longing, the feeling of chasing something you’ll never quite catch.

It’s a tribute to the sound of a broken heart, honest, haunted, and wide open under the rain.

We hope you enjoy it just as much as we enjoyed making it. Please be sure to follow us here for more of our music.

Runaway

Jonathan Charles Mattingly 
Lyrics

The bones we love, the lesser known breaks
death in the grave like silence in our brains
some kind of fiery love, is there some truth
in this from above?
won't you won't you take me?

these smoking stars, in the shape of our hearts
camping in the dark, dancing on the edge of a cliff
the flowers of the cosmos
we love, we went, two stepping in the dark
it's
the end of everything

most days we pray, the stranger ways we play
living the same mistakes, where we've never been
some kind of light hearted tomorrow,
where can our love go? wont you wont you kiss me

these smoking stars, in the shape of our hearts
camping in the dark, dancing on the edge of a cliff
the flowers of the cosmos
we love, we went, two stepping in the dark
it's
the end of everything

these are the last days, heaven's a heartbreak away
its what they say
tasting all the simple things, like wine and honey on my tongue
some kind of mountain song, where can our love go wrong?
wont you wont you taste me?

these smoking stars, in the shape of our hearts
camping in the dark, dancing on the edge of a cliff
the flowers of the cosmos
we love, we went, two stepping in the dark
it's
the end of everything

The Band Ophelia. Project.

The End of Everything

The_End_of_Everything

F.B.D

"you do make me hard" and I oop- I had to laugh and then cried IJBOL.
this song feels like a stab in the gut if you are the mistake.
(I accidentally made this song sounds much more hopeful and happier but ykw hell yeah)
(also.. did I serve uncle kenny G with that sax? periodt mwah💋)

#bemymistake #cover #the1975 #indie #alternative #folkpop #folk #acousticrock #experimental

Be My Mistake - The 1975 (Cover)

a father tells his son about swimming in the sea of love

oh boy(Fv1)

A slow-building, melancholic acoustic rock ballad anchored in a simple 4/4 groove and a reflective, diatonic chord progression. Clean electric guitar arpeggios set a spacious tone with subtle reverb and delay, supported by warm, rounded bass and an understated drum pattern that lets the emotion lead. A Leslie-style organ fades in after the intro, adding a gentle, reverent atmosphere.

The vocal delivery is clear and intimate—almost prayer-like—carrying themes of surrender, vulnerability, and quiet hope. Each verse unfolds as a personal confession, while the chorus rises as a plea for guidance and light. The production remains clean and balanced, intentionally restrained, allowing the lyrics and melody to sit front and center.

This is a song for still moments, dim lights, and open hearts.

Psalm 34:17–18 (KJV)
The righteous cry, and the LORD heareth, and delivereth them out of all their troubles.
The LORD is nigh unto them that are of a broken heart; and saveth such as be of a contrite spirit.

Psalm 56:8 (KJV)
Thou tellest my wanderings: put thou my tears into thy bottle: are they not in thy book?

Matthew 11:28 (KJV)
Come unto me, all ye that labour and are heavy laden, and I will give you rest.

Isaiah 41:10 (KJV)
Fear thou not; for I am with thee: be not dismayed; for I am thy God: I will strengthen thee; yea, I will help thee; yea, I will uphold thee with the right hand of my righteousness.

Psalm 139:1–3 (KJV)
 LORD, thou hast searched me, and known me.
Thou knowest my downsitting and mine uprising, thou understandest my thought afar off.
Thou compassest my path and my lying down, and art acquainted with all my ways.

2 Corinthians 12:9 (KJV)
And he said unto me, My grace is sufficient for thee: for my strength is made perfect in weakness. Most gladly therefore will I rather glory in my infirmities, that the power of Christ may rest upon me.

Can You Hear Me Tonight

After working with Jordan on "Sacrifices" from PROPL3X, I was very impressed with her talent and wanted to write more music with her. I was just beginning to branch out and start my solo music project which I named In Living Memory. It was an honor to feature her on this track. She brought some much needed energy into the studio. 

I also needed help on guitar so I grabbed Steven Garcia, who played guitar in my band at the time, to write and perform the acoustic part. He played these super catchy up-strumming patterns and I blended in electric synths, bass, drums, and added my vocals, (cringy at the time, but important to my development.) 

This one is catchy and still a favorite in the Razortoe Productions Archive.

For more In Living Memory, check out
linktr.ee/inlivingmemorymusic

Crazy by In Living Memory feat. Jordan Schrade and Steven Garcia (2012)

Feels Like Nothing

“The Apology” closes the album with a hauntingly intimate acoustic ballad that slowly transforms into a cathartic storm of emotion. At 68 BPM, the song opens with stripped-back guitars, close-mic’d vocals, and the quiet ache of regret. Marco’s deep British-accented voice carries a raw vulnerability as he pleads for forgiveness, painting images of empty rooms, cold coffee, and nights filled with silence.

But as the final chorus arrives, everything breaks open — distorted guitars, stomping toms, crashing cymbals, and wide cinematic pads burst in, turning the confession into a desperate, soaring cry for reconnection.
“The Apology” is a quiet collapse turned into an emotional explosion — the perfect ending to Marco’s journey on the WHY album.

The Apology

“The Oak” is a gritty heartland rock anthem about choosing the steady, scarred, dependable kind of love over the shiny, temporary kind. Mid-tempo stomp-and-clap drums, warm acoustic strums, and crunchy electric riffs wrap around a weathered male vocal that feels like it’s been on the radio for twenty years. It’s blue-collar, boots-in-the-mud romance: staying put, taking the weight, and holding the roof up when the storm rolls in.

The Oak

“Unspoken Words” is a slow-burn folk-jazz confession,  the kind of song that sits with you long after the last chord fades.

Warm acoustic guitar, brushed drums, soft electric swells, and an expressive violin weave through a late-night atmosphere where silence says more than language ever could.

This track lives in that space between two people where everything meaningful is felt, not spoken.
Every glance, every breath, every quiet moment becomes its own kind of promise.

If you love intimate smoky room ambience, emotional restraint, and songs that unravel softly rather than explode, this one’s for you. Put it on during a quiet drive, a late-night walk, or when the world feels too loud and you need a gentler truth.

Unspoken feelings. Unspoken fears. Unspoken love.

Sometimes the quiet says everything.

Lyrics:

Evening falls, the voices fade
Crowded rooms, a masquerade
But in your eyes, the noise is gone
In every silence, I hear the song

No phrases spoken, nothing to prove
The quiet moves me, I hear the truth

Unspoken words, clear and strong
Telling me that I belong
No sound needed, still I know
You carry me wherever I go

Moonlight drifts across the floor
Your touch explains what I wait for
The world recedes, the moment stays
A hidden language, a thousand ways

Every glance is a vow you make
In stillness deeper than words can take

Unspoken words, clear and strong
Telling me that I belong
No sound needed, still I know
You carry me wherever I go

Through the silence, I understand
The weight of love in your open hand
No echo louder, nothing more real
Than the quiet promise I feel

Unspoken words, clear and strong
Telling me that I belong
No sound needed, still I know
You carry me wherever I go


Nothing said… and everything heard...


Listen on Spotify

Unspoken Words

📝 Lyrics – “Don’t Believe the Lies I Sell” by 4Me2BeFree

🎬 Song Insight – “Don’t Believe the Lies I Sell”
“Don’t Believe the Lies I Sell” is a late-night confession at the edge of the afterlife, sung from the place between truth and the stories we tell to survive. It flips fairytales on their head—no happy beginnings, just loops of routine, debt, and expectations tightening like a noose. This is a stripped-back, alt-acoustic 90s-era unraveling: calling out the lie that happiness lives in “someday,” digging up the part of you that refuses to stay six feet deep. It’s not pity, it’s a warning and a dare—stop swallowing the script, step past yesterday, and choose your own ending.


Pre-Intro:
 Fairytales don't end with happy beginnings—
 Never endings whisper truths we're pretending—
 Threading loops that tighten our noose,
 Weaving fragile understanding.

Watching, waiting, debating—
 Is this my time, primed and contemplating?
 Why'd it derail? I'm sacked, it's wack—
 Just getting the knack, but that's the play, this is the track.
 Driving a train of pretended one-way mistakes,
 Waking before this shit breaks me—I'm the one on the take.

Intro:
 Fairy tales don’t start with never endings—
 Dreamers linger till spells catch 'em spinning—
 Loops a reminder draging 'em down to hell.

Bridge:
 We crave breaking from this endless parade—
 Reliving better days in the shade—
 If truth were fiction and facts never lied,
 I'd promise tonight: we just might survive.

Pre-Chorus:
 You live for yesterday—
 Saving for your tomorrows—
 Holding on to happiness—
 It's no mistake—
 Don't believe the lies I sell—
 It's six— it's six feet deep—

Chorus:
 Loops we follow— don't swallow
 Live past yesterday—
 Happiness follows
 Ohhh happiness— yeah it follows

Verse 1:
 You're told you're owed—
 It's another mistake sold—
 Expect what's lacking—
 Looking for a fight—
 Coming up wrong—
 But you still feel right—

Pre-Bridge:
 You play the rules— but the game's bent
 Sold a lie— and all this stupid shit—
 It's the daily grind— saving for a better life—
 Six feet under— pushing flowers—

Bridge:
 We all want to break away from this parade—
 Reliving those better days—
 But if truth was fiction— and facts never lied—
 I’d promise you tonight— how we just might survive

Bridge Refrain:
 “We all want to break away from this parade—”
 “Reliving those better days—”
 “But if truth was fiction— and facts never lied—”
 “I’d promise you tonight— how we just might survive”

Pre-Chorus:
 You live for yesterday—
 Saving for your tomorrows—
 Hold on to happiness—
 It's no mistake—
 Don't believe the lies I sell—
 It's six— it's six feet deep—

Pre-Chorus Refrain:
 “You live for yesterday—”
 “Saving your tomorrows—”
 “Hold on to happiness—”
 “It's no mistake—”
 “Don't believe the lies I sell—”
 “It's six— it's six feet deep—”

Chorus:
 Loops we follow— don't swallow
 Live past yesterday—
 Happiness follows
 Ohhh happiness— yeah it follows
Chorus Refrain:
 “Loops we follow— don't swallow”
 “Live past yesterday—”
 “Happiness follows”
 “Ohhh happiness— yeah it follows”

Outro:
 Save yourself the load—
 The lie in your eye—
 Break free— you will see—
 Nothing like you’d thought it be
 It's a shoot— the shit we follow— now swallow—
 Live past yesterday—
 Happiness follows
 Ohhh happiness— yeah it follows

🛡️ Copyright Notice
All lyrics and content featured in this post are protected under copyright (© 2025) and have been securely time-locked and validated through a crypto-based verification system to ensure originality and ownership. Unauthorized reproduction or distribution of any part of these works without explicit consent is strictly prohibited.



Don’t Believe the Lies I Sell

My old band, written and recorded late 1990s formed with James Geigis and Ben Cantania
Written and Arranged by Gordon Collier
Recorded in Studio by Ben Cantania
Percussion Ben Catania

Gordon Collier, Band: Graylynn's Vine Risk and Wisdom (Vocals and Guitar)

My old band, written and recorded late 1990s formed with James Geigis and Ben Cantania
Recorded in Studio by Ben Cantania
Percussion Ben Catania

Gordon Collier, Vocals & Guitar,: Song: Watermans Pier written and arranged by Gcollier

Recorded Live at Westend Presbyterian Church 
Me - Guitar, vocals and wrote the song
Georgia Collier - Backing Vocals
Kim F. - Violin
Kevin G. - Mandoline
Karl K. - Bass
Jason W. - Drums

Gordon Collier: Song: Gather My Bones (LIVE), written by, vocals and guitar Gordon Collier 2006ish ?

I am a multimedia producer in River Falls, Wisconsin with 20 years’ experience. I specialize in audio production— music, podcasts, broadcast, and sound design. I also offer video editing and media digitization. I welcome all genres and project types. If you would like more information about me or my services, you can contact me at https://linktr.ee/razortoeproductions

CYBER CHORD writes songs the way a porch light holds a night: small, steady, and impossible to ignore. I work with AI as a true co-writer, then carve the lyric by hand and shape the track in Suno. The sound leans bare and human—country roots in the soil, a little rock grain in the teeth, and a faith-lit lift that chooses hope without preaching.

These are ordinary-room hymns: rings hidden in cotton, receipt-tape strings, a dress behind rain glass, a sink that cools while you find the words. Silence is an instrument here; sometimes there’s a full bar where the house gets to breathe. If a line can’t survive a campfire and a cracked mug, it doesn’t make the song.

If you’re new, start with the heartbreakers. They don’t shout. They stay. I believe in the holiness of the everyday, and in the quiet bravery of saying the thing before “later” takes it away.

No paid promo, no playlist buys, no cover-art pitches, no dance offers, no cold DMs. If it’s a pitch, the porch light’s off. If you’re a real listener, come in soft: pick one song, leave a genuine note (lyric or timestamp welcome), and hand it to one friend. That’s how this fire stays lit.

May your road stay open, your coffee stay warm, and your day be peaceful.

Acoustic music with a punk vibe!
La Sangre is an acoustic Latin punk rock duo based in Berlin that fuses the heritage of Latin rock with punk’s raw energy. With acoustic guitar and bass, their lyrics ignite with passion and darkness, speaking truth to power while calling for social justice and freedom.
Formed in 2023 in Friedrichshain-Kreuzberg, Berlin, the duo consists of Vitxo (guitar, vocals, percussion) and Vini (bass, vocals).
The project began by reviving the raw energy of classic punk (such as “California Über Alles” by Dead Kennedys) and horror punk (like “London Dungeon” by Misfits), blending it with the spirit of Latin punk rock (“El Perro” by Ataque 77). Along this journey, La Sangre has ventured into original songs that explore powerful themes — the struggles of migration (Hombre Lobo en Berlín), tormented relationships (Sangre y Huesos), and the suffering of abandoned animals (Abandonado), among others.
Their debut EP, This City Wants Blood… — mixed and mastered by Rainer Scheffelt, with well-timed cover photography by Victor Galleguillos — features four original songs and an acoustic version of “Carne Para la Picadora” by the Spanish punk band La Polla Records.

"If it didn’t matter, it wouldn’t hurt. Pain is the gift of knowing you’re alive."

4Me2BeFree is more than music—it’s my story, my scars, and my survival. Every song is a piece of me, a raw melody of love, heartbreak, and resilience. I blend AI-generated vocals and instruments with real emotions, turning my experiences—especially from an LGBTQ+ perspective—into something that speaks to anyone who's ever felt lost, broken, or just searching for something real.

Breakup songs? Yeah, they hit different. Music carries us through the worst of it, and every generation finds their own anthems of love, loss, and getting back up. Heartache doesn’t care about age, gender, or where you come from—music connects us all.

I make music because I’ve been there. The pain, the anger, the hope—it's all in these songs. If something here hits home for you, let it. If you feel something, let me know. That’s the connection that keeps this alive.

LoveBot Army is a music collective pushing beyond genre and form. From cinematic dream pop to raw hip hop, from glacial ballads to underground tech house. Each album is a new chapter in a shape-shifting sound journey.

Our process is human at its core, emotion first, instinct-led, but we embrace technology as a creative amplifier. With AI-assisted, human-driven production, we craft music that’s both visceral and visionary.

LoveBot Army is more than sound. It’s immersive. It’s collaborative. It’s a multi-sensory world built with digital artists, visual storytellers, and rule-breakers across every medium.

Let the music find you.

💖 Let’s create something unforgettable, together.

#LovebotArmy #GenreFluid #AltPop #DreamPop #DarkPop #EDMCollective #ExperimentalMusic #CinematicSound #HipHopUnderground #IndieElectronica #PopNoir #MusicCollective #EmotionalSoundscapes #MultisensoryExperience #CreativeCollaboration #SoundAsStory #BeyondGenre #FutureOfSound #VisualMusic

- Ymer Records -
Independent Swedish label for the next wave of artists.
Real stories. Fresh sounds. Pure passion – from underground beginnings to global stages.

Just a struggling band from Bowling Green, KY who loves to perform country covers of our favorite songs. Thanks for checking us out!

produced by jonathan charles mattingly 
lyrics by jonathan charles mattingly
Artificial Tracks (Preview Tracks) produced and mastered by Jonathan Charles Mattingly on an Ai program, Bandlab, and Soundcloud
1517079396153 | 61558757044226

https://www.tiktok.com/@yungfellw

Most of my music centers on Jesus Christ and God’s amazing grace. I primarily write in the Country Christian style, but every now and then I like to branch out when the mood strikes. You might hear touches of alternative Christian rock (I did grow up in the ’60s and ’70s), contemporary gospel, or even a hint of bluegrass gospel along the way. From time to time, I also step outside faith-based music into modern bluegrass or country.

One of my current projects is an album inspired by poems I wrote to my wife while she was deployed during Desert Storm in 1991. After all these years, I’m finally adapting them into songs — a project that’s been close to my heart for decades.

I was fortunate to play bass and sometimes piano in my late teens and early twenties for a country gospel group known as The Gospel Crusaders. We performed primarily at churches across Illinois, Indiana, Ohio, North Carolina, and Tennessee. Then life happened, and I stepped away from performing for almost 50 years. During this time, I started focusing more on writing lyrics and music. In 2017, I picked up my mandolin and joined God’s Country in Largo, Florida. The group disbanded in 2023 when several members moved out of state, but we’re planning a reunion performance in 2026.

Even when I venture beyond my main focus of sharing the gospel through song, I strive to keep my lyrics honest, heartfelt, and sometimes just plain fun. Believe it or not, I’m not in this to make money — I write as an outlet to share the stories and experiences of life over the past 70 years. I write the lyrics for most of my songs, though I’ve been blessed to collaborate with a few talented friends along the way.

I use Studio One to produce my music and have built a large library of loops over the years. Some vocals are mine; others are performed by friends. And yes, I also use AI-generated voices or enhancements to vocals when needed.  I am in my 7th decade on earth and my voice doesn’t have the range it once had, plus I don’t have immediate access to female vocalists.  There’s a lot of debate about AI in music, but for me, the goal has never changed — to spread God’s love and joy. Technology is simply a tool, much like the studio innovations that have shaped music for the past fifty years.

In today’s music, many well-known and touring artists now use pre-recorded tracks and digital stems during live concerts to fill out harmonies, recreate orchestral parts, or trigger sound effects — it’s all part of modern performance. Whether it’s a backing track on stage or an AI vocal line in the studio, the heart behind the music still matters most.

I don’t believe AI will ever replace real musicians, but those who learn to embrace it and use it to enhance their craft will continue to flourish in the music industry.

I play bass, trumpet, guitar, piano, mandolin, and I’m currently working to get up to speed on the fiddle. You may not agree with my take on AI, and that’s okay. My purpose isn’t profit — it’s to share the message of God’s love through whatever tools I have, whether that’s a guitar, a loop, or an algorithm that helps me clean up a mix.

As W. Edwards Deming once said,
“It is not necessary to change. Survival is not mandatory.”

Technology will keep evolving, and so will we. My greatest hope is that one of these songs touches someone’s heart or makes a difference in their life. If God can use even one of them to do that, then I’ve accomplished what I set out to do.

God bless you all.

Keepin' an eye on the world going by my window

Musician, played in numerous bands over the past 40 some years, written and recorded most of my own music. Leaving something for the grandchild.

New tracks tagged #AcousticRock