Cover of a song of Weezer's self-titled debut album.

Buddy Holly

Making this cover was a nightmare, we are tired. 
Song from Green Day's american idiot concept album.

Jesus Of Suburbia

Cover of The Offspring's track included in the album Rise and Fall, Rage and Grace.

Hammerhead

La Vita Bohème is a song by Colombian Rock band The Dekline. written and produced by the band themselves, It is the debut single of the group.

The song was an attempt to write compact and straightforward punk rock music that could retain the melodic and hook driven sensibilities of the band, bypassing the sometimes over the top excesses of a group that usually ends with long and unedited suites, nevertheless, it still ended with a long introduction.

The title and lyrics of the song are about the disappointment and eventual acceptance of the artist lifestyle. La Vita Bohème references those who ascribe certain glamour to being different only to realise that in the end everyone has the same aspirations and problems, and trying to be different is maybe pointless.

La Vita Bohème

“Different Places Together” is a song that details the experience of a relationship that is slowly deteriorating and you try to put the anger aside expecting to move forward.

The track was written and produced by the members of The Dekline in their punk tinged alternative sound mixed with ambitious (read: over the top) songwriting and memorable melodies.

This is the edited version of the song

Different Places Together

Different Places Together (Edit)

Channeling catchy melodies through heavy guitars and sometimes over the top excesses, The Dekline is a group manufactured to shamelessly reach as many consumers as possible for maximum Profit. The group courts stardom with their punk-inflected sound and are willing to sink to the level of actually trying to write hook heavy material in the hopes of reaching the widest demographic possible. they also sing in a non native, barely good english language because the english speaking music industry has higher rates in general.

Their music tries to canalise the all encompassing, ambitious songwriting style of the 60s and filter it through the ferocious sonic blueprint of heavy metal with a healthy amount of punk flavour, trying to surgically implant memorable melodies into the consumers head in an effort to help mask the sometimes serious or painful subject matter that might jeopardize the commercial aspirations of the band.

The Dekline

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