One song from every genre we currently track. <a href="http://everynoise.com/thesoundofeverything.html" rel="nofollow">Annotated here.</a>

The Sound of Everything_part5

The Chasing Monster - Frames

There’s a Light - A Long Lost Silence

Agape

PEOPLE LIKE PEOPLE LIKE THEM 

People Like People Like Them is the first single to be released by Halifax-based Post-Rock standout, Last Of Eden.

The track aims to capture the desperation, futility and shift in hope and power felt by anyone driven to despair at the state of the world. It aims to provide a reminder that by standing together we can overcome. We don’t have to take this anymore.

The words that resonate over the music are still as pertinent and relevant today as they ever were. They shine a light on how society exploits disaster, pain and conflict to turn a profit. It shows how far we still have to come as a society and how unjust the world still is.

The world is a scary place but we have a voice - we can stand up and we can be heard. No longer do we have to settle for the mundane. We shall not be overlooked and we will fight for our voices to be heard. 
The song title is inspired by a belief that we are unified and connected by shared greatness and that together we are strong.

“I’M AS MAD AS HELL AND I’M NOT GOING TO TAKE THIS ANYMORE”

People Like People Like Them

If They Only Knew

If They Only Knew is a monologue about the battles we face within ourselves. The song aims to remind us that on the surface we show an image of ourselves to the world that does not reflect our true feelings and our purpose. 

Looking in the mirror, we see only a fraction of who we are but if we were able to see beyond the exterior, we find the beauty of our spirit. We are each made of hope and in when facing struggles we often lose sight of who we are. Lost in pain, grief and suffering but what we choose to project outwards towards the world is only skin deep and beneath it lies power, courage and determination. 

  If They Only Knew marries poignantly with our own shared experiences as a band. We face our own struggles with health and It became abundantly clear that we could only see a fraction of the turmoil, a snapshot of the real struggles beyond the cracked exterior.

If They Only Knew

Alaska

Rimorso

Fimmine Fimmine

We have all stood at the edge of a cliff and been struck by the urge to take another step, or sat in a moving car and had the fleeting thought to open the door. We have all had that feeling.   

We have all felt L'appel du Vide - The Call Of The Void

Music by Overhead, The Albatross

Produced by David Morys Prendergast 

Mixed/Mastered by Aidan Cunningham
  
Violin & Vocal by Lia Wright Artwork by Luke Daly

L'Appel Du Vide

Reverie

Hybrisma

“I Was Not Magnificent" is a song that was born from one of the most challenging and intimate moments in our journey as a band, and it carries with it a deep, personal resonance for all of us. It’s a track that speaks directly to the healing power of music, especially when facing life's most difficult battles. At its heart, the song is about the realisation that music holds a strength far beyond our own—it can heal, uplift, and provide a sense of purpose when everything else feels uncertain.

The song features words spoken by our bass player, Ben Walsh, whose experience with Chronic Kidney Disease has been a defining part of both his life and this album. Diagnosed in 2021, Ben began undergoing dialysis three times a week to keep his body functioning. It’s a gruelling and often exhausting process—physically, emotionally, and mentally. There have been countless moments when Ben, in the midst of his treatments, has turned to music for solace and strength. Music became a lifeline during those times when it felt like his body was betraying him. 

In "I Was Not Magnificent,” we reflect on how music was something larger than ourselves—a force that could provide healing when everything else seemed beyond control. We speak of the moments when music offered us a kind of strength we couldn’t find within ourselves, when it reminded us that there was something bigger than our own pain. The words in the track are raw and reflective, a quiet acknowledgment of how, in the face of illness or struggle, music has a power that transcends the physical. It’s a reminder that, even in our darkest hours, we are connected to something much greater than our individual struggles.

The title, "I Was Not Magnificent," speaks to the vulnerability and humility that come with illness and struggle. Through music, we found a sense of peace, a sense of something beautiful and healing that helped us navigate the hardest moments. The song is not just about music’s power, but about the realisation that sometimes, when we feel the weakest, we can find the most strength through the things that move us.

"I Was Not Magnificent” is a tribute to the power of music to heal, to bring clarity in times of confusion, and to remind us of our own strength when we need it most. It’s a song about vulnerability and strength, about learning to let go of our own limitations and trusting in something bigger to carry us through.

I Was Not Magnificent

Chic

Dalla in jazz

Il cielo (feat. Max Gazzè)

La legge di Murphy

Leech - Totem & Tabu

FLIES 33 >>> GIULIANO SORGINI | AFRICA OSCURA
LP 180gr. with inner sleeve
artwork: Luca Barcellona
The unreleased dark side of "Zoo Folle"!
OUT ON 15 OCTOBER 2018

Recorded by composer and multi-instrumentalist Giuliano Sorgini between 1974 and 1976 in his studio in Prati district in Rome, a stone’s throw from Italian television offices, Africa Oscura is a set of tracks inspired by the wildest and most obscure secrets of those lands, intended to be the background of some tv documentaries. 
Some tracks were recorded during the same session of “Zoo Folle”, the album widely recognised as his masterpiece, celebrated today by the most influential connoisseurs from all over the world. Some others came right after, for a mysterious documentary whose title was supposed to be “I corsari della savana” (as stated by the credits written on the reels that we have found).
All these tracks remained unbelievably unreleased until now, forgotten on some old and dusty ¼-inch reels, amazingly survived up today, then transferred and restored to compile this much-needed release. A sort of concept-album about darkest Africa, with a kind of eerie mood, nearly esoteric, to which Sorgini was very close in these years, working on horror and b-movies soundtracks or experimental libraries.
All tracks are entirely played by composer himself, with drums, percussions and all sorts of analog synths overlaps, to create an afro-ambient soundscape, something halfway between electronic and minimalism, with a vibrant prog flavour. Among John Carpenter’s reminds, occultism, large prairies and Saharan landscapes, this amazing score truly reveals the creepy dark-side of “Zoo Folle”

excerpts:
B2 - Africa Oscura
B4 - Viaggio nel Deserto
A3 - Ricognizione
B7 - Agguato
B1 - Predatori
A5 - Iniziazione
A6 - Notte nella Savana

The Chasing Monster - Frames

The Chasing Monster

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