Recorded by Max Dickenson
Mixed & Mastered by Brandan Lopez

Lyrics:
Sleep in, dumb it down
Enjoy the simple things
I’m alright,
If I can hide the noise and sing my way on time
Think it’s getting late for getting straight
I’m your child, you’d do anything for
Anything to
Get daddy’s help
The kid doesn’t fool the wind
I set him up
It’s good he’s obedient
Help
But maybe I’m cool with it
Help
Years of it drew me in
Doomsday is looking right
It kills the weight of me
It’s on time, you see
I’ve set it late for a long time
I bleed the pig, stoke the fire
Keep his head close to mine
It’s mean to stare
And no one minds but me
Get daddy’s help
The kid doesn’t fool the wind
I set him up
It’s good he’s obedient
Help
But maybe I’m cool with it
Help
Years of it drew me in
Leave me a house of cards
Down so easily
There’s still tomorrow
No shame in picking up
What you left for me
Life is borrowed
Get daddy’s help
The kid doesn’t fool the wind
I set him up
It’s good he’s obedient
Help
But maybe I’m cool with it
Help
Years of it drew me in


BLEAKHOUSE

Help

Recorded by Max Dickenson
Mixed & Mastered by Brandan Lopez

Lyrics:
Pains me more to be near
States below, honey take some time to wake up
To wake up
Nothing left to control
Made to stay, don’t you take too long today, love
It’s late now
Keep me close in your heart from miles away
My rotting gold
It’s not much like home
One more reason to call
Does it hurt or ache too strong to wait?
It seems your patient
With me complacent
Ignorance set aside
It feels like the ideal excuse
To make me the angel
I chose to strangle 
So alone, I’d kill for company
Is it easy, the miles that come between?
Keep me close in your heart
My rotting gold
It’s not much like home
My rotting gold
It’s not much like home
(All this will soon be gone)
It’s not what I want
(Proudly hanging on)
It’s not like it’s easy out here
(All this will soon be gone)
Leash-less, light and frail
(Barely hanging on)


BLEAKHOUSE

Rotting Gold

Recorded by Max Dickenson
Mixed & Mastered by Brandan Lopez

Lyrics:
Alive and well, it grows in vitro
It’s seldom worth the things I let go
Machine in me marched on tempo
It’s weird and ticks and feeds me info
Can’t you see?
God feels nothing
You color me, I let it happen
I fail to see the stains on canvas
Shut them out, it seems to work
You caged me in to kick me first
Careful now, make sure you’re gentle
It breaks again, no more wishbone
It’s easy when you’re made so fragile
Amazing work by you
You cursed your own tattoos
You chased it to the moon
The thought was so damn simple
Can’t you see?
God feels nothing


BLEAKHOUSE

Wishbone

Recorded by Max Dickenson
Mixed & Mastered by Brandan Lopez

Lyrics:
She turns on the tv
She likes watching CBS
And digs her teeth in bacon
She thinks meat is murderous 
Took on the kill all to feel innocent
Shook back the pill, don’t it taste a little shit?
He jerks off to cable
He finds love in simple sex
But he can’t find the meaning
Maybe it’s his shame to bare
Took on the kill, all to feel innocent
Shook back the pill, don’t it taste a little shit?
Held back the gun, he couldn’t fight it off
Seen it true, you and me
Hey Mr. Bill, don’t you know the world is changing?
It’s not wrong to weep
I think I’d love to save it
A few friends along the way
He hates me
She hates being naked
He likes the tease
She takes time to waste his


BLEAKHOUSE

Mr. Bill

Recorded by Max Dickenson
Mixed & Mastered by Brandan Lopez

Lyrics:
Sweet, dark and fleeting
Don’t go seeking endlessly
They don’t know what it’s like to be me
With heart still beating
Playful, pretty tendencies
The same old song to help me sleep
This sinking feeling,
Is it to come into my own?
It’s nameless to me
It’ll be there as soon as gone
Sweet, soft and leaving
Don’t go dreaming as you please
It makes more sense to gently scream
Chains, loss of feeling
Late stage manic absentee 
A loaded gun and the best you’ll be
Lay me out
Go somewhere
Safe and sound
Draw some air for me
This sinking feeling,
Is it to come into my own?
It’s nameless to me
It’ll be there as soon as gone


BLEAKHOUSE

Drain

Recorded by Max Dickenson
Mixed & Mastered by Brandan Lopez

Lyrics:
If he’s like me, it’s hard to hate him
It works its teeth, we’re all just eating
He thinks like me, it’s time I break him
Just let it grow, just let it breathe my oxygen
People weep in foreign places
I beg them please, I’m not the same hand
That dug underneath
I sunk my feet and tore my ankle
It stings like home, but is my pain comforting?
I left it leaking and out the way
If I let it go maybe it could take me
Calm like it’s easy, breathing, 
All while we’re sinking 
Ever, as always, I’m guilty, guilty
Guilty, guilty, guilty, guilty
We’re guilty, guilty, guilty


BLEAKHOUSE

As Always

This Is Siz

Koj si ti

Don't Forget to Dance

Can You Tell Me

Love

ERROR/Process exe.

Пыль

Dark, minimalist post-punk spoken word piece — slow tempo, deep male voice delivering reflective poetry about music and life, The vocal is half-spoken, half-whispered, intimate and raw, Sparse upright bass pulses steadily, hypnotic and warm, Minimal drum kit — soft kick, crisp snare, tight hi-hat — keeps a subtle heartbeat, Occasional piano notes echo in the distance, creating tension and space, Atmospheric pads and analog reverb wrap the sound in depth and melancholy, The production feels close, lo-fi, cinematic — silence and resonance intertwine, Emotion is restrained but intense, every word heavy with meaning, The track explores rhythm as existence itself, sound as memory, silence as truth, Think dark room, low light, voice at the edge of thought — fragile, human, unresolved, Mix as a radio edit: clear balance, deep low-end, natural dynamics, and wide stereo field

Music

mix 02 // 10.16.25

Art Decade - David Bowie [Low, RCA, 1977]
The Loner - Tony Price [CELICA ABSOLU, MAXIMUM EXPOSURE INC., 2017]
Visons of Estonia (Demo) - Uku Kuut [Visons of Estonia, PPU, 1989]
A Blind Step Away - French Frith Kaiser Thompson [Live, Love, Larf & Loaf, Rhino 1987]
Are you Ready to be Heartbroken? - Lloyd Cole and the Commotions [rattlesnakes, Geffen, 1984]
Lonnie - Godley & Creme [Ismism, Polydor, 1981]
Finis Africae - Hybla [Finis Africae, Grabaciones Accidentales, 1984]
Tutti Lo Sanno - Solid Space [Space Museum, Phaze, 1982]
Head Hang Low - Julian Cope [World Shut Your Mouth, Phonogram, 1984]
Don’t Hurt Yourself - Todd Rundgren [The Ever Popular Tortured Artist Effect, Bearsville, 1982]
No Noise - Eyeless in Gaza [Photographs as Memories, Cherry Red, 1981]
Jail-Jali - Mamiek Slamet [Kroncong Kemayoran, LIFE, 1980]

HD02

⚠️WARNING: don’t even think about missing this – watch the video on YouTube! 🎬 Here: https://youtu.be/P2ARL50HuoU

Here we go with Left for Dead, the real ending of our Apocalyptic Trilogy (https://soundcloud.com/beatingedge/sets/apocalyptic-trilogy)!
Be sure to watch the video, because this song without its video is like night without day, it just doesn’t make sense!
The video opens in the best possible way with the amazing Carl (@thebeautifuldark) and Joe Stroffolino (@joseph-stroffolino), who kick off a fun little intro. So yes, this is a true Italy–Ireland–USA production.🇮🇹🇮🇪🇺🇸
Left for Dead follows Everything Changed (But Me) [https://soundcloud.com/beatingedge/everything-changed-but-me]  and Let’s Die Tonight [https://soundcloud.com/beatingedge/lets-die-tonight], plus the instrumental interlude The World Dies Tonight [https://soundcloud.com/beatingedge/the-world-dies-tonight], all connected by the same storyline. This is one continuous apocalypse that’s finally coming to an end, is it right? Make sure to watch the video all the way to the end, because there are several little surprises for the most attentive viewers.🤯
And speaking of the end of the world, while we’re showing a comet entering our solar system, in real life the mysterious Atlas/3I has actually arrived from who knows where. Not only that, the Lemmon comet is now visible to the naked eye. When we started the Apocalyptic Trilogy, nobody had even heard of either of them. Creepy timing, right?😱😂
Also, Joe is experimenting with a new idea for a song of his own in the intro, something he plans to turn into a full track and release on SoundCloud soon. Just a little peek behind the scenes while we bring you the apocalypse.
Have fun!! And let’s hope YouTube doesn’t censor the video for a few hectoliters of digital blood! 😅
Ah, this is NOT related to the game with a similar name, just full-on zombie chaos!🤟
Have fun!!!🫶

At the moment, this track is exclusively available on SoundCloud.
Released on October 17, 2025.
©2025 Beating Edge

Lyrics:

Woke up in a church with no god left inside
My hands still shake, but I’m holding the line
Heard screams in the dark, but they sounded like mine
This city’s a grave, and I live in the cracks

She smiled with half a jaw, said "you got a light?"
The dead don't burn, they just dance through the night
I carved out a path with a bat and regret
Left my name on the wall, it just said: “Not Yet.”

Left for dead, but I’m not done breathing
Shadows howl, but I keep on leaving
No prayer, no plan, just bleeding
We were left for dead…
But we won’t die yet.

We ran out of time, then we broke all the clocks
Buried our fears under ammo and rocks
She hummed an old song with her back to the fire
Said "If they get me, shoot me... but aim a bit higher."

Left for dead, but the fire’s still feeding
Bones may snap, but hearts keep beating
No priest, no cure, just needing
We were left for dead…
But we’re still not dead.

This ain’t salvation, it’s just bad luck with a gun
And a backpack full of jokes we forgot how to run
But I’d rather die with them than live as one of “them”
So load up, lock in, here we go again.

Left for dead, and the sky keeps falling
Friends are ghosts, but I hear them calling
One by one, still crawling
We were left for dead…
But we keep on walking!

Left for Dead

Winggoting

Retarded

"Voices of September" unfolds as a nostalgic post-punk piece built around samples of a 60s children’s choir.
A bright yet melancholic soundscape — like a morning sunbeam filtered through the haze of childhood memories.

September Voices

Мари, мари, мари
Виросту дорослим — кості, кості
Збудують цілий простір, простір, простір
Для майбутніх травм

Мало, мало, мало —
Так мало ще відомо
Втома, втома
Невтамувати голод, голод, голод —
Такий собі фінал

Утомлений від себе —
Не віддає сигнал
Пізнайко кинув жереб
Пізнайко прогадав

Утомлений від себе —
Не віддає сигнал
Пізнайко кинув жереб
Пізнайко прогадав

Мари, мари, мари
Як виросту дорослим — кості, кості
Збудують цілий простір, простір, простір
Для майбутніх травм

Утомлений від себе —
Не віддає сигнал
Пізнайко кинув жереб
Пізнайко прогадав
original - https://youtu.be/RhamKTCBGUg?si=grFbomSMnnCtT_Cb

Пізнайко

Friends, project 'TLENUM' begins its foundation from this melancholic intro, with a ounce of depression, but titled positively 'SVETLO' (Brighter). Music a 'la post-punk will fill you with unfeebled energy during evening hikes along river shores, forests and empty neighborhoods, through hours when the sun is hiding its circle from mankind, slowly dispersing among gray, concrete boxes called living quarters. To all gleeful melancholics, undowning pessimists and to all the people who wait something sadly soothing from life this project is for!

Nom : John Smith (pseudonyme sobre, presque générique, qui lui donne une aura universelle, comme s’il pouvait être “n’importe qui”).
	•	Style : il compose des morceaux minimalistes et introspectifs, souvent basés sur des boucles de 4 accords. Sa voix est grave, posée, parfois parlée plus que chantée, et toujours mise en avant.
	•	Influences : entre baroque et musique électronique moderne (electro 2025, dub, urbano-pop, drill). Il aime jouer sur le contraste entre des harmonies anciennes (chaconnes, ostinatos, basses graves) et des textures synthétiques actuelles (808, pads, autotune léger).
	•	Ambiance : ses morceaux sont souvent sombres mais lumineux à la fois, poétiques, minimalistes. Ils cherchent la clarté et l’honnêteté, sans surcharge sonore.
	•	Démarche : il expérimente avec l’IA, mais toujours dans une recherche personnelle cohérente : rester hors du marché, développer une œuvre singulière, avec une identité sonore reconnaissable.
	•	Thèmes : mémoire collective (années 80-90, génération X), fragilité de l’acte artistique, rapport au temps, au silence, à l’invisible

contact: contactvtbod@gmail.com

bleakhouse.co

The Curves are a french alternative rock band since 2017
Efficient drums, hooky bass lines, angular guitars, creating catchy songs

🔗https://ffm.bio/beatingedge
🙌Welcome (back) to the (Beating) Edge! 
👉We are an eclectic band that blends elements of electronic dance, metal, pop, punk, rock, synth wave and more to create a unique and engaging sound (..🎧 listen and decide for yourself… if you're ready for the journey)! Our identities are top-secret (..more or less😅), forgive us, we're a bunch of very shy aliens🛸 (4 males 💁🏻‍♂️🙎‍♂️🙋🏼‍♂️🦸🏼‍♂️ and 1 female🙅‍♀️, the guitarist/backup singer). Our earthly names (and nicknames) are Tom ("Lucifer" - lead vocals and occasional keyboards/guitar), Mary ("Vampira" or just "V" - guitarist and backing vocals), Mauro ("Maux" - keyboards, piano, synths and winds), Davide ("Dave", "Quiet D" or just "D" - bass and synth bass), and Valerio ("Brad", drums and percussions). And you definitely DON'T want to know the origin of some of our nicknames!😅
Enjoy the music!😉

The label BE Melody and the recording/production studio BE Studios are owned by Beating Edge and are © 2024-25.
© 2024–2025 Beating Edge. All songs, lyrics, artworks, and videos are owned by Beating Edge. All rights reserved.

New tracks tagged #Post-punk