I was obsessed with Evangelion. I had the dvd box sex, and so I have this song in my head forever

A Song For Shinji

#House

I create music inspired by my life experiences and by genres such as hip hop, House, gospel, jazz and translating those influences into new house music.

Industrial dance and cinematic fuel.

• Artist | Producer 
• Original tracks 
• Support the Arts!

• Dell • Ableton • Splice • Waves
• Rokit • Serum

• No generative AI tracks

I support with reposts frequently, If you are looking for some curated content, my playlists are my faves!

The world would be a better place if everyone stopped worrying and started listening.

Electronic music artist & producer


Dance & EDM, Electronic, Hip Hop, Pop, Rock
I like to work on different music genres and mix them up

The Welton Shipwreck is a UK-based rock duo made up of Stu Head and John Culkin. Formed at the start of the 2020 pandemic lockdown period, their songs are written and recorded by means of long-distance collaboration from their homes in Scotland and Yorkshire. The music they make combines elements of shoegaze, post rock, folk and psychedelic.

Stu and John are old friends of over 20 years. Both originally from the Greater Manchester area, they met at university in Leeds in 2000. The band name refers to a street they lived on as students.

Both Stu and John sing, play guitar, bass, keyboards and drums across their various tracks (along with a few less conventional instruments.) They mix and produce all of their own music.

New tracks always in the works and posted right here!

Thanks for visiting.

Inward | Amulanga | Sudam | Cafe De Anatolia | Katchuli | 3rd Avenue | Union | Transa Records

With a knack for sampling and creating melodies out of the lush soundscapes around us, SAMCHE transports  audiences on a euphoric journey embracing organic, afro and progressive house. Count among his repertoire numerous releases which topped the Beatport charts for Afro House and Organic/Downtempo, notably Yukar EP which used field recordings from Asian cities in three afro and organic house beauties, and not to forget Mudun EP which played on urban and rural soundscapes to pay homage to the nostalgic beauty found in three Middle Eastern cities. His deep and soulful beginnings on the track Umi Yemen used real-life data on civilian casualties layered into rhythmic patterns, highlighting the cost of conflict. Signed with venerable imprints Inward Records, 3rd Avenue, Union Records, Transa Records and more, he has enjoyed support from label heads such as Pippi Ciez, Sparrow and Barbossa, Madloch, Peppe Citarella, Natema, Sugar Hill, and finds inspiration from industry legends and up and comers, ranging from Lee Burridge, Tim Green, Double Touch in the organic scene as well as Mo Black, Francis Mercier, Calussa, Maz in afro house. Currently based in Thailand and having guest mixed for Deep House Sweden, Deep House Paris, ROFD and others, his prolific sunset mixes bring out the best in organic, progressive and electronica vibes, while his late night sets bring crowds to euphoria with tribal and afro deep beats.

SOMETIMES YOU ONLY MISS THE MEMORIES 
NOT THE PERSON.

I have played and recorded in international settings, a multitude of percussion instruments, guitar, bass, harmonica, some flutes, keyboard, and if you push me - a very fine jaw harp.

In fact, if I break it down.... I just love to offer-up music, in a living room, a bar, a concert hall or an intercontinental, interactive satellite coordinated concert. 
  
I became fascinated with percussive sounds from around the world… especially African and Latin American rhythms. I fanatically traveled the world collecting anything that you could bang, scrape or hit.
What I learned? Border customs people really don’t appreciate the true value of handmade African caxixi shakers or a Brazilian berimbau. They just want the serial number.
More importantly, a single clicking or ringing sound in a song can make or break that song.
  
I toured Canada, USA and Europe and recorded many “world music” albums (before it was called that), with my late, musical soul mate, Dario Domingues. We played in grand churches, the water reservoirs under Munich, on an island where 100,000 doves were released at the climax of our performance, the first-ever “simulcast”, live satellite, intercontinental concert and then, the humbling experience of being involved in Berlin, in front of 500,000 people, for a series of anti-apartheid concerts featuring ‘Sting’.  For our 'world music' efforts, we were awarded the Deutscher Schallplattenpreisan (1983) accolade by the Deutsche Phono-Akademie, an association of recording companies of Germany that recognizes outstanding achievement in the music industry.  
What I learned? Music is truly a universal language. Around the world people are drawn to music. Of course, different strokes for different folks! 
Whether you play in front of a half-million people in a field, or 10 people in a bar, your role as a musician never changes.  
 
“Dream of the Drum” – I was commissioned to compose and conduct a score for 40+ percussionists from all corners of the world... Jamaican fire dancers, Trinidadian steel drummers, Japanese kodo drummers, African djembe players, military drummers,... the list goes on.
What I learned? The language of music respects no geographic borders. 
Also, never start your outdoor concert, with a lone Native Elder's rain drum song. The drum's magic works!
 
I helped build three innovative recording studios plus, my current production studio. I academically taught musical acoustics and production for several years.
What I learned? All the mathematics and physics in the world can’t replace a good ear.
 
As a producer, I've had the wonderful opportunity to work in great studios in NYC and Nashville with amazing session musicians such as: Eric "Roscoe" Ambel - best known as lead guitarist of Steve Earle’s band the Dukes; Dan Baird of the chart-topping 'Georgia Satellites'; guitarist extraordinaire, Warner E. Hodges, founding member of 'Jason and the Scorchers'.
What I learned? Great musicians tend to be humble but they sure have opinions! In Nashville, I was bluntly told -"No, I won't raise the tom level - in country music, we use toms for holding our bourbon glass." I never did get the toms louder.
 
I spent many years as President of the Ottawa International Jazz Festival and met some of the greatest musical geniuses in the world.
What I learned? "Man, if you have to ask what jazz is, you'll never know."
 
Music for jingles on radio and TV. Documentaries.
My personal favourite was coming up with suitable music for the mating rituals of pigs or, how to create 60 minutes of Arctic wind sounds for the movie 'Never Cry Wolf'.  
What I learned?  You can tell an entire story in a 29.5 second radio jingle and music is the glue that holds a great video together.

A Song For Shinji

tankdilla