I ain’t gonna take my time 
I came here to state my mind

I got 2 dates up on my stone
gotta live thru the dash in this flesh and bone 

Yeah when the sun rises 
I rise like a bird and fly with my wings 

Now I’m up with them hawks 
they always ready to put me in that box 

The season is always Blood drinkin 
Can’t ever tell them what I’m really thinking 

can’t tell then nothin!

I ain’t gonna take my time 
I came here to state my mind
You can’t take it away 
That’s all I got to say 


I’m just a little message in a bottle
But Yes I’m going full throttle 

I ain’t gonna bow down at all 
Until I knock down your walls

seems like its passing so fast
Better catch the wind and sail with your mast 

I don’t know where where gonna go 
But there’s only only way to know 

Guitar Solo

body giving off these chem trails yeah
Leave a note fish scales 

I got back with the surgery
Please don’t teach me at the nursery 

Holy tales read from the grails 
That’s all you got. 
Cause the system fails 


Look around for some help 
And no one’s there 
Cause every body bails 

I ain’t gonna take my time 
I came here to state my mind
You can’t take it away 
That’s all I got to say

TAKE my time

! M@K3 B3@T$ 🎧💧
EM@!L➡️@LOGANPJ41@GMAIL.COM📲
!N$T@-PJAYDRIPSBEWARE🧥🩸💧🥼
YOUTUBE-_BEWAREBEATS_
MP3 LEASE-30$

Follow this account, I'll repost your track and add it to a free playlist.  Like and share the playlist please.  

To make it easier I will likely repost your "top track" from your profile.

𝙇𝙖𝙩𝙚 𝙉𝙞𝙜𝙝𝙩 𝙈𝙤𝙤𝙙 𝙎𝙤𝙤𝙩𝙝𝙞𝙣𝙜 𝙋𝙤𝙥𝙁𝙤𝙡𝙠

This is my work, and it’s distinct.

All about dishing out raw emotions.. Sometimes you just gotta have to shift perspective.

~this is an individual journey~

Minimal Sonic, Alternative folk, Dream pop, Psychedelic folk, Acoustic music, Neo-psychedelia, Psychedelia



#tybg #basedworld #based #Depressmobb #swage #2022
www.linktree.com/depressmobb

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.”

We are the music makers. We are the dreamers of dreams.





TAKE my time

LoFi Phil