I fell in love with this song when I first heard it sung by the beautiful Christine Anu. I taught it to my primary school class when we did indigenous studies. It is an ode to a different kind of Australian dream. This version has a very different feel to the Warumpi Band’s original and Anu's take on it. But I think we captured the yearning in the song. Hope you enjoy!

Six years I've been in this desert
And every night I dream of the sea
They say home is where you find it
But will this place ever satisfy me

For I come from the saltwater people
We always live by the sea
Now I'm out here west of Alice Springs
With a wife and a family

My island home
My island home
My island home is waiting for me

In the evening the dry wind blows
From the hills and across the plain
I close my eyes and I'm standing
In a boat, on the sea again
And I'm holding that long turtle spear
And I feel I'm close now to where it must be

And my island home is waiting for me
My island home
My island home
My island home
My island home
My island home
My island home
My island home
My island home
My island home

My Island Home

My Island Home (Watchglass cover) The Warumpi Band, Christine Anu

So many days when living in Miami I waited for a bus, never knowing when or if it would arrived. The longer I waited, the larger a crowd would amass. This group of strangers created a multi-lingual chorus all expressing a single idea: "How could such a rich city, a famous/notorious global city, dare to have such a miserable public transit system?"

Collective Gripe Sesh at the Bus Stop

'UNSEEN Records is proud to introduce "Timeless", a Various Artists album that transcends boundaries and seamlessly melds the sounds of different eras within the techno genre.

This release presents a venture into true sonic exploration with the convergence of established and emerging talents, presenting a rich narrative that spans across time. Set to redefine the boundaries of melodic techno, the album features an array of tracks that perfectly blend together, creating an odyssey that captivates and mesmerizes.
 
The compilation welcomes listeners to the roots and core of the genre while also taking a more experimental turn; it's an all-encompassing journey through techno's evolutionary timeline, from classic and hard-hitting rhythms to trailblazing and pioneering sounds.

Discover tracks crafted by both luminaries in the scene and up-and-coming talents, for a release where every beat and every melody echoes the legacy of techno's origins injected with an avant-garde feel. “Timeless” features a total of 11 tracks crafted by an incredible roster of talents, namely: The Element, A-Drift Radio, Binaryh, SØL, A-Slam, K.A.E, Oscar L, Citizen Kain, Florent Vazquez, Astrø, Meshcut, MOKAI, Anthon, Kör, AMANN, Artter & RDJ.

Each track was carefully selected to contribute to the overall narrative, hinting at the boundless possibilities that lie ahead for the genre. From impactful & hypnotic beats to more progressive sonorities, every title adds a new layer to this beautiful sonic tapestry. Here is a release that captures the essence of techno across time, style and skill, and creates a smooth auditory experience for the listener.

"Timeless" will be available on all major streaming platforms, including Spotify, Apple Music, Beatport and other platforms starting December 20. We invite you to embark with us on this sonic voyage at the crossroads of techno's past, present, and future.'

Follow: @adriftradio / @unseenrecordings

Premiere: A-drift Radio - Simmering Eyes ft. Elodie Gervaise [UNSEEN Records]

An ambient, indie track featuring male vocals. The hand percussion gives is a tribal vibe reminiscent  of some of Radioheads music. Atmospheric / Cinematic / Epic, in a subtle, understated way. Hints of folk / Americana. Reflective, with an underlying energy and sense of wonderment. Not sure why, but something about this makes me think of the David Lynch drama series, Twin Peaks. This track can work well as a theme song for drama and film. Also available as an instrumental version.

For licensing, contact
https://www.Shockwave-Sound.com
https://www.LynnePublishing.com

LYRICS:

Verse 1
 
I came along while, saw all the change like from winter to spring
I couldn’t hear it, confused by the words going back and forth to the end
 
Verse 2
 
A child with a vision, clear like the morning, rise like the morning all of the changes 
Go stop and go oh don’t stop until the edge of the world
 
Chorus 1
 
Shield, let it down
If I see into your eyes
Fever dream come to life 
Do you feeling it rising up
In your head and in your mind
 
Verse 3
 
Touch from a skyline
See the horizon feel the horizon
Where can you take it
Time trip the break bring the light burn it out
 
Chorus2 
Shield, let it down
If I see into your eyes
Fever dream come to life 
Do you feeling it rising up
In your head and in your mind
 
 
Chorus 3
 
Shield, let it down
If I see into your eyes
Fever dream come to life 
Do you feeling it rising up
In your head and in your mind

Indie Rock, Vol. 8

Isha Erskine Project - Rising Up, feat. Christian Park

An ambient, indie track featuring male vocals. The hand percussion gives is a tribal vibe reminiscent  of some of Radioheads music. Atmospheric / Cinematic / Epic, in a subtle, understated way. Hints of folk / Americana. Reflective, with an underlying energy and sense of wonderment. Not sure why, but something about this makes me think of the David Lynch drama series, Twin Peaks. This track can work well as a theme song for drama and film. Also available as a vocal version.


For licensing, contact
https://www.Shockwave-Sound.com
https://www.LynnePublishing.com

Buy/License

Isha Erskine Project - Rising Up (Instrumental)

Mysterious and doom-laden, modern cinematic country soundtrack. Eerie, haunting, sombre. Acoustic and electric guitars, with smoky atmosphere. (Stem files available.)

For licensing, contact
https://www.LynnePublishing.com


City of Lost Souls

A contemplative and thoughtful, mellow and moody, modern cinematic western track. Acoustic and electric guitars, with a haunting atmosphere. (Stem files available.)

For licensing, contact
https://www.LynnePublishing.com


Fading Embers

Mysterious and doom-laden, modern cinematic country soundtrack. Eerie, haunting, sombre. Acoustic and electric guitars, with a dark atmosphere. (Stem files available.)

For licensing, contact
https://www.LynnePublishing.com


Out in the Sticks

Smoke Meridian

Overwhelmed

Imagine getting lost in Simmering because Google Maps died, your favourite band cancels their gig because the 71er tram is stuck, and someone accidentally mixes your beer with airport jet fuel — that’s basically this track. 🌫️

“Der Himmel über Simmering” is what happens when an ex-chillwave song breaks up with its own genre, moves into a crumbling Altbauwohnung near the Gasometer, and suddenly joins an indie rock × jangle pop × post-punk support group. It’s bleary-eyed at 3:12 a.m., staring at blinking runway lights, whispering to itself:
"I could fly… but nah… let’s stay another Tagesticket."

Think warm jangly guitars tangled in cold Vienna fog, basslines that sound like someone pacing around Zentralfriedhof at midnight, and drums that accidentally imitate the Flughafen-S-Bahn rhythm. Somewhere between Arena and Stephansplatz, between Schwechat and heartbreak, the song floats in that weird Vienna twilight where everything smells like rain, dust, and delayed flights.

Perfect for:
✈️ Missing your Ryanair flight on purpose
🍺 Drinking Ottakringer while pretending it’s an IPA
🕶️ Staring melancholically at a tram display stuck on “3 Minuten” for 15 minutes
🌫️ Googling “existentialism, but make it sexy”

Turn it up, open the Fenster, and let Simmering wash over you. Or don’t. It’s Simmering.

Lyrics:

Der Himmel über Simmering,
bleigrau, fast schwerelos,
Gasometer wie Schattenriesen,
der Wind trägt Staub von der Heide.
Zwischen Erdberg und Sankt Marx
verblassen die Nächte,
die Stadt schläft flach,
und alles fühlt sich langsam an.

Flugzeuge steigen irgendwo,
Lichter blinken durch den Dunst,
doch ich bleibe stehen —
am Rand der Welt.

Irgendwo dazwischen,
zwischen Startbahn und Stephansplatz,
zwischen Aufbruch und Zurück,
treibt mein Herz im Zwischenraum.
Irgendwo dazwischen,
verlier’ ich mich im Wind,
so nah am Tor der Welt,
und doch so weit von allem.

Arena flackert leise,
Zentralfriedhof im Dunst,
Straßenbahnen streifen müde
durch den Asphalt der Nacht.
Schwechat ruft von fern,
der Himmel riecht nach Regen,
und ich weiß, ich könnte fliegen —
doch bleib hier, noch einen Tag.

Leise Stimmen, ferne Lichter,
Wellen aus der Ferne wehen,
zwischen Wollen und Vergessen
atmet diese Stadt so schwer.

Irgendwo dazwischen,
zwischen Startbahn und Stephansplatz,
zwischen Aufbruch und Zurück,
treibt mein Herz im Zwischenraum.
Irgendwo dazwischen,
verlier’ ich mich im Wind,
so nah am Tor der Welt,
und doch so weit von allem.

Irgendwo…
dazwischen…
immer dazwischen.

Irgendwo dazwischen (Indie Rock Version)

Johnny's Loaf & Stein was a restaurant in the mall in the town where I grew up. It always seemed to attract a cast of real characters. I imagine these songs playing as background music there. 
Having moved recently from the Great Plains to the Cascades and now to Lower Michigan, I try to release a track every few weeks of my own brand of instrumental music that mixes a hefty dose of 60's pop and rock with accents of blues, jazz and classical music.
I hope listeners will indulge me and take the attitude towards my music as listening to a crazed radio that will randomly change stations and never linger too long a single musical style.
I don't use samples or premade loops. I figure if it doesn't come from me it's not really my song.
Contact me at johnnylofenstein@gmail.com.
.

Lynne Publishing is a music label representing a library of high-quality, carefully developed and curated production music, available to license for use in your own media.We develop our own music with contracted professional composers, both young and exciting talents and experienced film- and TV composers.

All our music is available for easy licensing for use in media creations, such as videos, films, games, TV, online, social media, corporate use, etc. To obtain a Master Synchronization license for any of music, contact us via www.LynnePublishing.com

Brian L.H. Gunter is an experienced composer for media, and when in his element, Brian is blending classic scoring orchestras with modern synth and guitar. Approaching each score fresh with his own style while leaning into influences like Benjamin Wallfisch, Alan Silvestri, Nicholas Britel, Ludwig Göransson, or James Newton Howard, grounding each score with  his own twisted take on story immersive sound design.

A classically trained cellist and experienced multi-instrumentalist, Brian is proficient in guitar, bass, piano, and an assortment of other instruments and musical technology. He is an avid fan of both orchestral and popular music. Throughout college, Brian played in small ensembles, chamber groups, and symphonic orchestras, while also performing guitar and keyboards in top 40, rock, and metal bands.

Brian’s career took a significant leap with his first feature film score for "You Might Get Lost," directed by James Eaves and released in 2021 by Amber Pictures in the UK. This ambient hybrid score of synths and orchestra harkens back to Carpenter-esque genre classics, underpinning much of the film’s emotional current and gradually raising the intensity along with the protagonist's desperation. 

For Eaves' follow-up feature, "The Apocalypse Box," released in August 2024, Brian was tasked with creating a dramatically different score. Eaves requested a departure from the sparse ambience of "You Might Get Lost," aiming for a classic symphonic horror score. Drawing inspiration from Jerry Goldsmith’s "The Omen" (1976) and Fernando Velázquez’s score for "Devil" (2010), Brian crafted a
composition that is frenetic and bombastic at times yet somber and reflective at others, focusing on clear motifs that put the tension low in the viewer’s gut. All while maintaining his own flair and signature style.

In early 2024, Brian was brought on board by director Yvonne Williams of The UNcollective Productions to score her debut feature film, "White Vinegar." Yvonne chose Brian after bonding over their shared love and language for music and artists across the board. For "White Vinegar," Yvonne wanted Brian’s orchestral touch blended with elements of musical theater, inspired by Sondheim, and incorporating original songs Yvonne also wrote for the film. The blending of styles and interconnectedness of themes across Brian’s score and Yvonne’s songs created a cohesive and wildly distinctive sonic landscape. “White Vinegar” is slated for release in 2025. Just two months after wrapping “White Vinegar”, Yvonne enlisted Brian again to score a 10-minute proof of concept for her another scripts of Yvonne’s, “Rubber Room,” an intense thriller with a science fiction twist. And before Rubber Room begins production, Brian is joining Yvonne again for a third of her scripts, a holiday road-trip comedy that puts the trials of family relationships front and center.

Brian’s adaptability and creativity were put to the test with “Bloody Felt,” a horror/comedy/musical/Muppet parody by young filmmaker, Sam Torres. The project demanded a range of musical styles, from a classic children’s puppet show theme to EDM, Dubstep, and Argent Metal, alongside a classic horror score, and even a musical theater inspired piece. Brian managed to weave themes throughout each style to create chohesive musical support all within six minutes of screen time. After a public screening the film and music received overwhelmingly positive feedback, highlighting Brian’s ability to seamlessly blend disparate styles. 

While the goal is only ever to provide emotional support the film and characters demand as set by the filmmaker’s vision, Brian L.H. Gunter’s body of work exemplifies his ability to push musical boundaries and create unforgettable scores, cementing his reputation as a composer who brings a unique sonic identity to every project.

Dance music platform promoting emerging & establish talent from around the world in the underground electronic music space. We focus on what's important: The Music.

Curated by When We Dip.

Submit your music for Repost & Premiere => dancefloorromancer@gmail.com

Hi there — welcome to my corner of the web.

I’m here for one simple reason: to share my music with you.
Take a listen, explore, and I hope something here resonates with you. Enjoy the vibe!

Loud and clear folks: Watchglass do NOT use any AI in any part of their song creation. Neither pitch correction or autotune are used on Gina's vocals. All nuance and emotional expression are preserved. All songs are 100% humanmade!

Hello, thankyou for stopping by! If you had a listen and liked what you heard, the best way to help us forward in the great sea of music would be to follow us on Bandcamp if you possibly can.... really depends on whether you have a Bandcamp account. If you can't then we still very much appreciate a show of love here in the form of likes, comments and re-posts... thank you very much for these :) 
Watchglass are a duo who like exploring 
musical directions and having fun making songs and albums. We have been working as a partnership since 2017, or most of the time since then. Gina is the singer and lyricist. Mark is the guitarist and everything else and makes the songs and is the one who Gina will forever hold responsible for showing her she could not only sing well enough to front a band but also write passable, and sometimes even excellent songs. 

We have 5 albums which earned acclaim from Chief Editor Bandcamp, Joseph E Keyes:

Every Conversation in June 
(Featured in BandCamp's Best of Spring collection 2023)
“The album plays out like one long, slightly spooky fairy tale…A magic spell drifting in from lands unknown, Every Conversation in June is a quiet marvel.” - JE Keyes, Chief Editor Bandcamp Daily

Beautiful Dust
“...delightfully enigmatic pop songs built from enchanting melodies and eternal optimism.” - Ben Salmon (Bandcamp Daily)
“..as hushed and evocative as a ghost story whispered around a campfire.”- JE Keyes, Chief Editor Bandcamp Daily

Raw Colours 
“It’s another irresistible album from a band that gets better with each go-round.”- JE Keyes, Chief Editor Bandcamp Daily

Longways Conversations
After listening to this album one of our fans took a dive into our back-catalog and had this to say:
"I’ll get around to writing something more formal, but I have been listening to Watchglass almost exclusively the past few weeks. I’m genuinely apologetic - songs like With a Trice, How Will You Know Me, what it means to believe, just to name a few, deserved a tonne of superlatives from myself, and I said nothing until now. Really, please pass on to Mark that his arrangements and production doesn’t go unnoticed - I delight in hearing something new each time.
You guys are seriously talented, and works class, really, and the new album is incredible. Let’s push it out there.

With a trice - that makes me teary. You’re such a nuanced singer and you guys are an amazing duo."

Wheels in an Elsewhere
"Another gorgeous new LP from Sydney's watchglass, this one branching out slightly into what Jon Hassell once called "fourth world music.""  JE Keyes Bandcamp New and Notable



All available on Bandcamp.

New tracks tagged #Simmering