I'm divided in three pieces.
The worst part of me killed you Isis.

Deep down inside, I must be kind
But this side of me, yesterday, was blind.
Too bad for you.
Your daddy says he wants me dead.
But which side of me will seat on the chair?
Well I don't care.

I'm divided in three pieces.
The best part of me loved you Isis

Deep down inside, I must be kind
But this side of me, yesterday, was blind.
Too bad for you.
Your daddy says he wants me dead.
But which side of me will seat on the chair?
Well I don't care.
 
Your dad told you « Do not go through »
Stubborn and naive, you didn’t listen to.
You used to believe that no one is mean.
You’ll go to heaven. If there is such a thing.
I’ll go nowhere. I’ll go nowhere.

Schizoid Pattern

"LoNe WolF" (a.k.a. Loud Noize) is a solo alternative rock artist that has been evolving within the music scene of northern Illinois since 2018. He's been involved in many open mic and solo concert performances at multiple venues in the Dekalb, IL area including: "The House Café" (before it closed down), "Ax-In-Hand Guitar Shop," "La Calle Bar & Music Venue"(Nov. 2023), and at the Historic Ellwood House...featuring in "Hypnotizame: Beatles Night" at the end of October (2019)...with the latter two events being hosted by "Wooden Box Theater."


His major influences include: Green Day, Nirvana, The Ramones, Social Distortion, Alice in Chains, Bush, Stone Temple Pilots, Staind, and Silverchair.

loving the Lord, living life,  lifting others.  Father and husband , Artist. Creator, Servant. that's who I am.

Welcome to The Gallows. Not a place for those that grieve, but for those that linger and cannot leave… 

Take a journey to your final destination.

Meditation and Spiritual Growth Guide

My spiritual name is Om Kleem Hum Gum Namo and I share teachings from Divine as songs to help people to start and proceed in their spiritual material path.

In my spare time I make experimental/avant-garde music. Influenced by Buckethead, Nobuo Uematsu, Wesley Willis, Miles Davis, Daniel Johnston, The Ramones, Phil Spector, Barry Gordy.

Always open to collaboration.

(a.k.a SpidersUnderCurtains)

I like music.

I love music. Since April '21 I am discovering the endless possibilities of producing my own in my little spare time. Currently I am learning how to properly mix and master so there is less output for now.

Darkwave is my experimental music project built on the backbone of old-school metal riffs, with an outlook to a wide variety of musical scenes. Despite its intimate connections with progressive – and even thrash – metal, the musical dynamics I try to accomplish in Darkwave often deviates from the classical concept of the genre (e.g. the catching tempo generated by tight rhythmicity), and incorporates elements with significantly different tonal and emotional characteristics, ranging from thrash, power, doom or symphonic metal themes to electronic, classical or even jazz elements.

Such a diverse mixture of different styles is seldom intentional, but rather a mixture of instinctual and intentional elements reflecting the character of the composer and the impact of influences shaping the songwriting process. Balancing on the razor-sharp edge between these domains of human consciousness, I think it’s always revealing to indentify the composer’s primary influences to understand the core philosophy behind the final product. Despite their essential innervation with thrash metal, my main influences come from somewhere far beyond, from the distant realms of hard rock, NWOBHM (New Wave of British Heavy Metal), and – in certain extent – from classical (or even gregorian) music. I see it as some kind of an evolutionary process: first it was the intensity, then the complexity of the music that grabbed my attention and put a significant emphasis on my way of looking at all things music. Regarding the metal frontrunners, the complexity of the Shermann-Denner duo’s guitarwork as well as the dark, monumental, epic atmosphere of Tony Iommi‘s musical skyscrapers clearly shaped my personal attitude to music. Still, the artistic genius of the late Jon Lord (who aimed at building bridges between “old” and “new”, traditional and modern) was that characteristical influence that put its almost deterministic mark on my musical taste and creations. I started to listen to bands that somehow unite various territories of the world of music: it felt amazing to listen to Mekong Delta’s Suite for Group and Orchestra or the jazz-metal fusions by Atheist until the point that I could finally identify a third essential element besides intensity and complexity: the gloomy, epic, emotional (sometimes sad) and monumental atmosphere: something that I could find so often not only in music, but also in my favorite books and poems. And this is that exact point, where the intentional and instinctual motifs become somewhat indistinguishable from each other, and form a distinct entity of thoughts, feelings, desires and aims that might be characterized as my personal attitude to music, art – and in general, life.

It’s not that hard to grip the essence of that attitude. I tend to agree with G. K. Chesterton‘s paradoxical jeremiad from 1905 on the loss of universals (“…we are more and more to discuss details in art, politics, literature… Everything matters — except everything.“) and accept that it’s always the core philosophy behind art (or “everything“…) that we must understand, if we ever want to grab the creator’s personality that is mirrored in the final product. The secondary details in composition, performance or production are merely consequences of this primary attitude or basic approach behind the creative process. My primary aim with Darkwave has always been (and will ever be) nothing else but to formulate, express and transmit feelings and thoughts without words, while constantly realizing that there exists nothing more suitable to facilitate this communication between human souls than music itself.

“When words fail, music speaks.”

Schizoid Pattern

The Fall of Saigon