Mashup Lea Shabat (Only Life) vs Cranberries (Dreams) 

Only Life (Lea Shabat) vs Dreams (Cranberries)

Zombie (Cover)

In the Head Broski

Show Me Something Real

Zombie

it's still cover season i guess <3

If you, if you could return
Don't let it burn, don't let it fade
I'm sure I might be rude
But it's just your attitude
It's tearing me apart
It's ruining everything
And I swore, I swore I would be true
And honey, so did you
So why were you holding her hand?
Is that the way we stand?
Were you lying all the time?
Was it just a game to you?

But I'm in so deep
You know I'm such a fool for you
You've got me wrapped around your finger
Do you have to let it linger?
Do you have to, do you have to, do you have to let it linger?

Oh, I thought the world of you
I thought nothing could go wrong
But I was wrong, I was wrong
If you, if you could get by
Trying not to lie
Things wouldn't be so confused
And I wouldn't feel so used
But you always really knew
I just want to be with you

And I'm in so deep
You know I'm such a fool for you
You've got me wrapped around your finger
Do you have to let it linger?
Do you have to, do you have to, do you have to let it linger?


You know I'm such a fool for you
You've got me wrapped around your finger
Do you have to let it linger?
Do you have to, do you have to, do you have to let it linger?

beat - sing2guitar on youtube

linger - cover

Remix of my favorite live cover of Linger (The Cranberries) performed by Royel Otis. Restructured and remixed the song a bit to be more dancey / electronic and added some live guitar.

Linger (Royel Otis Cover) Remix

The Cranberries - Zombie (Hoodtrap remix)

The Cranberries - Zombie (Hoodtrap remix) prod. SkillIssue1337

Zombie Inside

zombie hoodtrap by kenshi

MUSICIANS
John Beckmann: all music, lyrics, and production
Anaïs de Nerval: vocals, and backing vocals
Lux Astralis, New York: recording studio
Geoff Pesche: mastering, Abbey Road Studios, London

WHAT PASSES AWAY

first time sampling. rip Delores O'Riordan.

Linger (jerk/hoodtrap remix)

SOY es la primer composición de Atha Flower. Creada a partir de un Ukulele después de una sesión de constelaciones familiares , marca el inicio de su faceta como escritora de canciones.
Esta misma se la presentó a Ata Walp , quien la arregló y coprodujo junto Nahuel Briones.
Mezclada y Masterizada por Gerardo Boya Boyadjian en La Escotilla Records.
Todos los derechos reservados.
Apogeo de Selene es en este tema:
Atha Flower: Voz y Ukulele
Ata Walp: Guitarras y Bajo
Sant Tomé: Batería
Nahuel Briones: Sintetizadores y Ensamble Vocal Atmosférico

Drum'n'bass cover of Zombie by The Cranberries.

Free download: https://hypeddit.com/7o66cu

Stream: https://song.link/zombie-dnb

Zombie - DnB Cover [FREE DOWNLOAD]

Zombie (Cranberries) x Time (Hans Zimmer - Inception) x Gerudo Valley x Temple of Time (Ocarina of Time)

Gerudo Zombie Time

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☃️☃️smilehard inc 



#thuggz4life<3..,.,..,.,

aka kepledon, I put some of my tracks on ytmnd

𝘵𝘩𝘪𝘴 𝘪𝘴 𝘮𝘺 𝘷𝘦𝘳𝘺 𝘱𝘶𝘣𝘭𝘪𝘤 𝘥𝘪𝘢𝘳𝘺
-𝘣𝘳𝘰𝘰𝘬𝘦

100% Organic, tariff free, no genetically modified ingredients, artificial colours or preservatives - We make music. It’s nice. It makes us happy when you like and comment! None of our cover art is photoshopped, we actually look like that!

Music producer / DJ from Belarus based in Poland

www.mortalprophets.com

“Anyone having trouble getting to, or staying, asleep should proceed with caution when playing The Mortal Prophets’ debut album around bedtime. The demonic intentions implied by the album’s name and defined by John Beckmann … coil each selection in menacing directions, bringing fresh, often frightening twists to these standards. Be aware - when you engulf yourself in these riveting, uncompromising performances. They are not for the squeamish.”
- American Songwriter

The Mortal Prophets: John Beckmann’s Cinematic Descent Into the Electric Psyche

In the sprawling constellation of modern music, The Mortal Prophets occupy a shadowed corner—less a “band” in the traditional sense than a living, breathing séance conducted by John Beckmann. Across a series of albums, Beckmann has been excavating the strata of Americana, dream pop, blues, and avant-garde minimalism, folding them into a fever-dream narrative that feels like it was beamed from a late-night pirate radio station somewhere between the Mississippi Delta and the outer rings of Saturn. 

Beckmann, who founded New York’s Axis Mundi Design before turning his obsessive creative drive toward music, approaches songwriting like a visual architect—each track a space you inhabit rather than simply hear. His arrangements have the tension of architectural blueprints: precision married to instinct, steel and stone softened by ambient light. In GUITARWORKS II, the most recent installment in a sprawling instrumental odyssey, guitar tones unspool like distant telegraph wires, calling to mind Robert Fripp’s collaborations with Brian Eno, or the glacial drift of Cluster’s experimental soundscapes. It’s profoundly cinematic, yet never ornamental.

If Beckmann’s earlier releases (Stomp The Devil, Me and The Devil, Dealey Plaza Blues) reached back into mythic Americana—the open road, outlaw ballads, acid-washed folk visions—his more recent work tilts toward the abstract, replacing narrative with mood. This is music that understands how memory works: fractured, impressionistic, prone to bleed between truth and hallucination. The Mortal Prophets operate in that liminal space where you’re not sure if you’re dreaming, or just remembering wrong. 

Vocally, when Beckmann steps to the mic, it’s with a delivery equal parts Leonard Cohen confession and Bowie-esque theater—half-smirk, half-sermon. Lyrically, he trades in arcane symbols and sly allusions: 19th-century mystics rub shoulders with dive-bar drifters, and romantic longing flickers like neon through a rain-soaked windshield. He’s not afraid of obliqueness; in fact, he seems to revel in it. Where many contemporary songwriters flatten their work into algorithm-friendly hooks, Beckmann builds labyrinths. 

Part of The Mortal Prophets’ magnetism lies in its refusal to settle. One album might summon the humid ghost-blues of Junior Kimbrough refracted through a loop pedal; the next might drift into synth-heavy dream pop worthy of an early-’90s 4AD release. Beckmann’s collaborators—rotating players drawn from both avant-garde and roots backgrounds—expand that sonic palette, giving the project an almost shapeshifting quality. 
In a cultural moment where genre boundaries are largely performative, Beckmann treats them as haunted ruins worth spelunking through. His songs feel like dispatches from parallel histories of American music—histories where psychedelia never died, where blues never got sanitized, and where experimentalism didn’t have to hide in academic halls. 

The Mortal Prophets may never break into the Billboard mainstream, but that’s hardly the point. Their appeal is in the slow burn, the intimacy of discovery. Beckmann’s work isn’t built for quick consumption; it’s built for listeners willing to linger, to decode, to wander down the long corridors he constructs. In an era obsessed with speed and surface, The Mortal Prophets offer the opposite: a deep dive into the echo chamber of the self, scored by a man who seems to know exactly how to make the walls sing.

New tracks tagged #cranberries