Coco Elise - Child (feat. Ullah)

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Blue Skies & Low Rides[Free To Use Beat Read Description For Use]

Sisters of Frankenstein: When I See My Baby (Zuvela/Padovan/Martin)
Recorded in Couch Studios, Fremantle Australia 1998. 
Taken off the Man Trouble CD.
Produced by Shaun O' Callaghan and Peter Zuvela

Sisters of Frankenstein; Tonia Martin - Vocals, Jenny Dawson - Bass, Peter Zuvela - Guitar & Dave Turner - Drums. Additional; Jean-Guy Lemire - Blues Harp and Craig Hewitt - Keyboards.
Cover design by Jenny Dawson

Man Trouble

When I See My Baby

Sisters of Frankenstein: When I See My Baby (with Peter Zuvela)

Sisters of Frankenstien: Let's Adduce (P.Zuvela) is a rare Peter Zuvela track with him on lead vocal. All guitars/slide by PZ. Taken off the Man Trouble CD from 1998.
Recorded in Couch Studios, Fremantle Australia
Produced by Shaun O' Callaghan and Peter Zuvela

Sisters of Frankenstein; Tonia Martin - Vocals, Jenny Dawson - Bass, Peter Zuvela - Lead Vocals, Guitars & Dave Turner - Drums and Vocals.
Cover design by Jenny Dawson
Written in 1989

Lets Adduce

Sisters of Frankenstein: Lets Adduce  (with Peter Zuvela)

Intrinsic: Funny C (Zuvela/Zuvela)
Ivan Zuvela: Guitar
Peter Zuvela: Lead Guitar
Rowan Parekh: Drums

Recored at J Shed - Fremantle, Australia 2009
Cover design: Peter Zuvela

Funny C was used for J TIME pt1 documentary by film maker Rodney Stratton.
Released in 2020: https://vimeo.com/rodneystratton

Intrtinsic EP

2009

Intrinsic: Funny C

Intrinsic: The Sea Song (P.Zuvela)
Ivan Zuvela: Guitar
Peter Zuvela: Lead guitar
Rowan Parekh: Drums

Additional: Jenny Dawson on Bass
Recored at J Shed - Fremantle, Australia 2008
Written in 2008
Image: Peter Zuvela

Intrinsic: The Sea Song

Zerllia is bringing defiance with the release of her new single, “Boy”, a fierce, disco-pop track that blends irresistible grooves with a bold message of personal empowerment. Written with her unique touch of sensuality and vulnerability, this new pop anthem proves that Zerllia is ready to take the music scene by storm.

“Boy” is an electrifying track born from a series of experiences that demand an emotional balance between the parlay of love and self-preservation. Zerllia reflects, “A lot of the inspiration came from past relationships where I found myself dealing with guys who were stuck in that ‘boy’ mindset. It wasn’t about one specific event, but a culmination of those moments, frustrations, and lessons learned that came together to shape this track.”

Drawing from experiences of toxic infatuation, the song is driven by a reclamation of individualism and clarity that Zerllia hopes will inspire her listeners to cultivate in their own lives. “It’s about standing tall, feeling in control, and owning your emotions. I want people to feel bold and unstoppable when they hear it.” 

“Boy” brings the disco-pop sound into the modern era, with infectious beats and a catchy, feel-good melody. Lyrically defiant R&B-inspired cadence is layered over a rich disco-bass and pop topline. The track pulses with energy, making it the perfect anthem for anyone ready to break free and take control.

After working with several producers on the demo, Zerllia ultimately partnered with Jeremy Smith from Lab Six, whose magic in the studio brought the track to life. "Jeremy and I work so well together because we constantly challenge each other. We push the boundaries to create something fresh, something that stands out."
"Jeremy and I challenge each other to make something unique, and that’s what we’ve done with ‘Boy’.

“Boy” is a bold step into the disco-pop genre, intuitive yet formulaic in blending infectious beats with emotional depth.

“It’s a fun, sassy anthem with a deeper message about taking control of your emotions and your life. I think this song reflects my growth as an artist. It’s raw and real, and I’m excited to share that side of me.”

Stream

B2B with my friend JP made on the first day of May 2025. Just chillin' out.

Perth Afrohouse Mix May 2025

Welcome to the soundtrack of your 72-hour bender. Confession is a chaotic genre-crash of hypertrap and dub-reggae, laced with shit you weren't expecting.  The song has been spiked with a little Hot Rock Ricky who turns sleep deprivation into performance art confessing his love for regrettable bad habits at 4AM in a servo bathroom.

Confession

KITTY is a gritty, ironic anthem from Hot Rock Ricky that blends raw emotion with glitch-laced trap energy. Lurking beneath the playful title is a punchy, hard-hitting track about longing, loss, and the chaos of vulnerability. With distorted 808s, dark melodic swells, and breaks that echo heartbreak and obsession, KITTY flips the softness of affection into something radioactive. It's not about the cat its about the way it left.

Kitty

Picture this: five layers of mutant arpeggiator sparks buzzing like mozzies in a mozzie zapper, each one jacked on Red Bull and bad intentions. Then boom, a synth swarm crashes through the roof, unhinged and unlicensed, dragging Hot Rock Ricky out of the lab with a vial in one hand and a Centrelink letter in the other. The beat hits like a brick in a sock, shards of re-crystallised discharge rattling the sub, while Ricky spits his gospel of piss tests, broken vials, and questionable personal ads that only make sense at four in the morning when your phone battery and moral compass are both on two percent.

Mid-track, the piano stabs punch holes in the drywall of reality, letting in little sunbeams of accidental sincerity. You realise our hero is just a lonely bloke in a lab coat, chasing connection through chemistry, comedy, and catastrophic overshare. One minute he is torching trolls, next minute he is confessing he cannot see the sea without wanting to pee in it, because that is how the waves talk to him. It should not work, but it does, like mixing meth with Fanta and calling it fine dining.

By the final chorus the whole thing melts into a sticky neon puddle where satire, self-loathing, and savage hooks cling together like half-price sushi at closing time. If you walk away humming, laughing, or suddenly re-evaluating your relationship with public toilets, Ricky considers that a success. If not, well, he still owes Vicky fifty, and TikTok already clipped the best bit, so reckon we all got something out of it.

HR Department

Dive into the raw emotional depths of "Broken Vows," a haunting electronic track that blends hypnotic Base Melodys layered with glitchy percussion, massive bass drops, and soaring synths. Inspired by personal loss and the unbreakable promise made after a friend's passing, this song explores themes of regret, self-doubt, and resilience amid life's chaos. From sparse verses echoing inner turmoil to explosive choruses urging connection ("You can call me, day or night"), it builds to a cathartic drop before fading into ambient introspection. Perfect for late-night vibes or anyone navigating grief—turn it up and let the wobbly bass and vocal chops pull you through. #Electronic #EmotionalBass #GlitchHop #MentalHealthMusic

Broken

Call Me (Tonia)
MickyDoubleD x Hot Rock Ricky

This one hits different.

"Call Me (Tonia)" isn’t just a track — it’s a late-night confessional set to 808s. MickyDoubleD and Hot Rock Ricky dig deep into grief, guilt, and the shit we carry but never say out loud. The hook loops like a cry for help, but the verses are where the real weight lives — talking numbness, loss, and the mental grind that never lets up.

Vocals run through auto-tune and distortion, not just for style, but because that’s how pain really sounds when you try to hold it together. Add harmonies and ad-libs that feel like the voices in your head and you’ve got something raw, personal, and brutally honest.

If you’ve ever laid in bed replaying old memories, this track’s gonna sit with you.
It doesn’t fix anything — but it gets it.

Call Me

Last night started like any other. Baileys blazing in plastic cups, trap hats teasing in the background, crowd murmurs already swelling. By the first verse the shots were flying. Midori illusions, Bundy, Johnny Black, vodka and Red Bull. Fuel on a fire that did not need stoking. Shoes vanished, wallets hit the pavement, and someone swore the fire trucks outside were playing in time with the bass.

The chorus was not sung, it was screamed from a hundred throats. LET’S GET ON THE PISS. OI OI OI. Stomping boots rattling the floor like it might cave. Beer cans rolled, bottles smashed, glass cracked under sneakers while Ricky’s gravelly snarl turned into a pub wide chant. By the bridge the room was spinning. Bushes became toilets, carparks became beds, and stubbies became lifelines.

Somewhere in the haze a mullet caught flame in neon light. Sirens howled. Five firemen were fighting both the blaze and the chaos inside every head. Nobody cared. Everyone doubled down. The night was lost, the memories were gone, and the only thing left was the chant echoing into the dawn.

On Da Piss

Peter Zuvela is a Musician/Artist/ Photographer from Perth, Australia. His main instrument is the guitar.

DJ from Chile mixing different styles such as House, Tech House, Afro House.

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Coco Elise is a music project made by 23 year old Josh Ellis in his bedroom. It is also a pyramid scheme.

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