Innere Ruhe Fetisch (prod. by 6astardcanrise)

https://soundcloud.com/orangekn1ght/afterpridemonth

PTSD

KAZN I SVET (prod. by EXN)

FLAYING

Morning bread and yesterday’s wine,
Strings are dusty, but the tune is fine.
Old boots creak on the castle floor,
I hum a song I’ve sung before.

Chorus:
Just another day, the sun will rise,
Just another day, beneath these skies.
Just another day, the world will turn,
Lessons learned, and fires burn.

Verse 2:
Coins in a cup, a wink from the cook,
A drowsy cat by the chimney nook.
Dreams of forests, green and wild,
But I miss the laughter of a child.

Chorus:
Just another day, the sun will rise,
Just another day, beneath these skies.
Just another day, the world will turn,
Lessons learned, and fires burn.

Bridge:
Sometimes I fight shadows in my mind,
Sometimes I just want bread and time.
But every day, I play along,
And find a little peace in song.

Chorus:
Just another day, the sun will rise,
Just another day, beneath these skies.
Just another day, the world will turn,
Lessons learned, and fires burn.

Outro:
Just another day, the song plays on,
From dusk till dawn, from dusk till dawn

Just Another Day (dark castle core story)

Verse 1
You waited by the old stone well,
Hair like night and eyes that fell.
Your laughter danced on summer air,
A secret song, a silent dare.

Verse 2
I came to you with empty hands,
A restless heart, no promised lands.
You smiled and traced a line in dust,
Said, "Every wish begins with trust."

Pre-Chorus
Your fingers cold, your voice so near-
You whispered, "Come, there's nothing here
But water deep and stories spun,
And shadows waiting for the sun."

Chorus
Don't lean too far, don't let me go,
The well remembers all we know.
One kiss, one lie, one final spell-
Love is a whisper in the well.

Verse 3
We threw our secrets, coin by coin,
Watched silver vanish, yours and mine.
You pulled me close, I lost my name,
The water called, it knew our game.

Pre-Chorus
Your shadow tangled up with mine,
A promise made beyond the line.
You said, "The world won't ever tell
What lovers lose inside the well."

Chorus
Don't lean too far, don't let me go,
The well remembers all we know.
One kiss, one lie, one final spell-
Love is a whisper in the well.

Bridge
Night grew thin, the stars looked down,
You wore the darkness like a crown.
I reached for you, you slipped away-
The well still waits for us today.

Final Chorus
Don't lean too far, don't let me go,
The well remembers all we know.
One kiss, one lie, one final spell-
Love is a whisper in the well.

Outro
If you return, I'll hear you call-
A voice, a wish, a shadow's fall.

Old Stone Well (Dark Fantasy castle core)

hai prod. monkayo

Zimbaisthekey - Labyrinth prod. sorrow bringer

I am a devoted admirer of medieval music, and for over two decades I have lived inside its echoes, its modes, drones, courtly dances, and sacred resonances, translating them into a modern voice that still feels as old as stone. My work is rooted in the Castle Core aesthetic: evocative, atmospheric, and architectural. I build music like one builds a fortress, by layering arches of melody over foundations of rhythm, by carving timbres that feel weather worn and timeless, and by letting silence act as shadow. The result is a sound world that is both cinematic and intimate, at once austere and richly ornamented.

I am a multi instrumentalist by craft and temperament, with the violin as my lifelong compass. Trained as a professional violinist, I treat the instrument not only as a melodic narrator but also as an engine for texture, bowed whispers, harmonics like candlelight, and double stops that carry the weight of stone walls. Yet the violin is only one voice in a broader choir. I play and record a range of instruments, strings, plucked and bowed, hand percussion and frame drums, drones and keyboards, sculpting each layer with a producer’s ear and a historian’s curiosity.

I handle the entire production process myself. Composition, performance, recording, editing, mixing, and mastering all live under one roof, which gives my music a coherent atmosphere, nothing feels imported; everything is grown from the same soil. Over the years, this self contained approach has evolved into a signature workflow: I begin with a pulse or a drone, something elemental that sets the scale of the room, and then I weave in motifs that move like lantern light through corridors. The violin often enters last, not as a flourish, but as a storyteller stepping into view.

My musical language draws on medieval modalities and rhythms, Dorian, Phrygian, and Mixolydian colors; isorhythmic hints; the grounded insistence of bourdon, as well as on the rough hewn beauty of folk traditions. I am less interested in historical reenactment than in living memory, the feeling that a melody might have been sung in a great hall, or hummed by a traveler at dusk, or carried by wind across a battlement. That is the soul of Castle Core to me, a sense of place made audible. The music does not describe the castle; it inhabits it.

After more than twenty years, I have learned to trust slowness. Some pieces emerge quickly, as if I had only to open a window and let them in. Others require patience, days of adjusting mic positions, repainting the sonic palette, moving from gut strings to steel, swapping a frame drum pattern for a subtler heartbeat. I welcome that process. It is how the music gathers depth. I tend to record in low light, with minimal screens, letting my ears guide decisions before my eyes do. When I mix, I aim for a breathing dynamic, peaks that feel like torch flares, valleys that feel like cloisters.

My influences are varied, but they all share a devotion to mood and materiality, early music ensembles, folk fiddlers, cathedral acoustics, and contemporary ambient composers who understand that a single sustained note can hold a landscape. I often imagine architecture while composing, gatehouses, keeps, chapels, stairwells, and I build arrangements to match them, narrow passages opening into vast chambers, concealed alcoves revealed by a modulation, a hidden door suggested by a counter melody.

As a performer, I value restraint. Virtuosity is a tool, not a destination. The violin can dazzle, yes, but it can also console, bless, and haunt. I am happiest when a line feels inevitable, simple, shaped by breath, aligned with the grain of the piece. When recording multiple instruments myself, I think in terms of ensemble etiquette, each voice knows when to step forward and when to recede. That is how the music keeps its dignity.

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