oh hell yeah ! nice stuff !! great work ! I love it !!

The guitar playing is just killer! Once the vocals started I was like this song is killer!

furious+raw = <3 burns through some ditches + 1 aura

Pop / Rock Chart

Website

‘ONE MoRE TRiP (ft. IAMDevante’)’ is a HUGE, genre-defying, track, combining atmospheric hip-hop, with alternative dance. 

Driven by an incredible, passionate vocal, from the ever-profound; IAMDevante', this unique and multidimensional production, takes us on ONE MoRE TRiP down memory lane… and conveys a commanding message of introspective self-discovery… acceptance… and empowerment…


Check out and follow the mythical, multi-talented, IAMDevante' :

https://on.soundcloud.com/VM5JYlbEyKuHDwH8mI

https://www.instagram.com/iam.devante_?igsh=MThycTYwb3p2dDY4dg==

@iam.devante_

ONE MoRE TRiP (ft. IAMDevante’)

“Ego mortuus sum” (“I am dead”) marks a violent turning point on the album — a cry from the edge featuring the fierce vocal presence of Fredrik Keith Croona (Against I). Musically, it’s a collision of extremes: progressive structures twist through shifting time signatures before collapsing into relentless staccato grooves, while old-school death metal riffing forms the scorched earth on which the vocals roar.

The song was born in a moment of spiritual rupture — a place where faith felt hollow and rituals failed to heal. Lying on the metaphorical altar brought not peace, but anguish. The lyrics rage against sacred comfort, throwing brutal imagery into the light: Heaven reimagined as a “cesspool of saints”, sanctity as emptiness. It’s raw, it’s defiant — the sound of someone shouting into the void.

Yet amid the fury, a thread of hope weaves through. The chorus draws from Psalm 29: “Domine, clamavi ad te et sanasti me” — “O Lord, I have cried to thee, and thou hast healed me.” Even at the height of spiritual collapse, the possibility of redemption remains — battered but not erased.

---------------------------------------------------------------------

EGO MORTUUS SUM

One final blink until life gets complete,
until God’s grace destroys my melting meat.
Fermenting in the cesspool of the saints,
I pass away through firmamental drains.

Until my wine starts clotting in my mouth
drowning I dive this quietude throughout.
Candles are lit along my road to death,
out of my mouth I inhale my own breath.

Domine, 
Clamavi ad te,
Et sanasti me,
Domine!

(O Lord, 
I have cried to thee, 
and thou hast healed me.
O Lord)

Until I leave my assets far behind
peeling my lifeblood off this mortal mind.
Let loose this fire, enkindle my distress,
let my soul sink in this subversive hex!

One final blink until life gets complete,
laying face-up over the altar sheet.
My facial features under gleaming stars
this fake subsistence one by one disbarks.

Horror Sacri

Ego Mortuus Sum

Lights Down Low (Acoustic)

Mi Isla est une chanson pour les amoureux des îles. Un hiver rigoureux! Hop!  Un petit voyage dans le sud et on reprend vie!  Les plages chaudes, les soirées enveloppantes pendant que chez-nous le froid perdure… (Avec tout mon amour, mon île… et avec mon corps (quelle chaleur!!)… avec aussi tout mon cœur…Oui!!!

Mi Isla is a song for islands lovers. A harsh winter! Hop!  A little trip down south and we come back to life!  The warm beaches, the enveloping evenings while at our place the cold persists... (With all my love, my island... and with my body (what a heat!! )... with all my heart... Yes!!!


Musiciennes et musiciens :
Marie-Christine Tremblay : vocal
Denis Caouette : paroles et musique et arrangements, guitares, back vocals et programmation.
Les M’s  aux brass : 
Marlène Claveau : Sax Alto
Michel Otis : Sax ténor et piano
Marcel Bergeron : Trompette
Martin Tremblay : Trombone
Sébastien Savard : Violons
Frank Corneau : Basse
Jérôme Vandal : Batterie
Martin Larose (Studio Septentrio) : Réalisation


PHONOGRAPHE

Mi Isla

Der Schwellenwind (Auszug aus dem Buch "Schwellenwind")

Der Wind ist da, und er ist nicht zu übersehen. Nicht, weil er laut wäre – sondern weil er alles verändert, ohne je sich selbst zu zeigen.
 In den Baumkronen beginnt es. Ein Flüstern, kaum hörbar. Die Blätter zucken, als würden sie sich erinnern. Dann ein Ruck – nicht mechanisch, sondern plötzlich lebendig. Die Äste schwingen nicht im Rhythmus, sie verhandeln mit der Bewegung.
Das ist der Schwellenwind. Nicht Wetter. Nicht Meteorologie. Eine Haltung der Luft. Er weht nur dort, wo Dinge bereit sind, sich zu verändern.
Man erkennt ihn an der Grenze: Zwischen Schlaf und Wachsein. Zwischen Feuerstelle und Wald. Zwischen gestern und gleich.
Er ist mal seicht, ein Hauch, der wie Zuspruch klingt. Ein Kinderatem, ein Seitenwechsel. Er streichelt die Fenster der Wagen, und für einen Moment vergessen alle, dass Glas trennen kann.
Aber dann – kommt der Druck. Nicht Sturm. Kein Orkan. Ein gezielter Riss durch die Luft, der alles aufhorchen lässt.
 Die Bäume biegen sich. Nicht aus Angst. Aus Zustimmung. Als wüssten sie: Jetzt entscheidet sich etwas.
Der Wind ist nicht zerstörerisch. Er ist Prüfung. Er rüttelt nicht an Wänden, sondern an Ideen.
Zelle B – der nun nur noch einer von vielen ist – steht am Rand des Hofs und sieht in die Bäume. Er weiß: Wenn der Schwellenwind kommt, muss man hören, nicht antworten.
 Denn er spricht in Bewegungen, nicht in Sätzen. Er sagt:
„Ihr seid bereit.“ „Oder noch nicht.“ „Aber ich komme trotzdem.“
Und in diesem Moment – in drei Uhr Licht, in Glut, in Moos, beginnt die Umgebung sich zu dehnen.
Nicht nach außen. Nach innen.
Der Hof denkt. Die Wagen horchen. Die Schlafenden träumen anders.
Und der Wind? Er lässt los, nachdem er alles berührt hat, was sich erinnern wollte.
—

Die Fortsetzung folgt am nächsten Sonntag um 10:00h.

kolkhorst 2025
fuck it, l do german country hip hop music 2025

Der_Schwellenwind

Quick acoustic cover of rock and roll star by oasis

Rock and Roll Star (oasis acoustic cover)

Like a nebula dissolving into the void, it lingers with cosmic grace.

Nebula

Caving In (Studio Version) – Eileen Noise
A raw dark-grunge track, heavy and distorted, carrying all the weight of frustration and chaos. This is the full-band version, born to sound rough, loud, and unapologetic.

But sometimes, when the noise fades, the song reveals a different face…
👉 Watch the brand-new Unplugged version of “Caving In” now on YouTube: 
https://www.youtube.com/watch?v=u-fEXztEOEM

🎧 Follow me on Spotify for more releases: https://open.spotify.com/intl-it/artist/3gyawiyn1h42aeP11nH2KC

📺 Subscribe on YouTube and don’t miss the next chapter: https://www.youtube.com/@eileennoise9515

🖤 Two sides of the same breakdown. Which one speaks to you?

#CavingIn #EileenNoise #DarkGrunge #NewMusic
Produced by EileenNoise
Singer Sophie

[Verse]
The mirror cracks
I don’t even flinch
Shadows crawl where the light won’t pinch
My head’s a cage
No lock
No key
Who’s this ghost that’s haunting me

[Prechorus]
I scream at the silence
It just laughs back

[Chorus]
I’m caving in
I’m caving in
Walls made of whispers
I can’t win
I’m caving in
I’m caving in
The fight is gone
I can’t begin

[Verse 2]
The clock spins slow
Then stops dead cold
Minutes feel like years I’ve sold
Rain falls inside
The roof won’t hold
My soul feels rusted
My heart’s been sold

[Prechorus]
I claw at the surface
But it crumbles away
[guitar solo]

[Chorus]
I’m caving in
I’m caving in
Walls made of whispers
I can’t win
I’m caving in
I’m caving in
The fight is gone
I can’t begin

Caving in

This is my latest pop song with male AI vocals. Lyrics are taken from a poem by William Shakespeare. Listen with headphones...

Out now on all streaming platforms and distribution sites.

https://open.spotify.com/intl-de/track/19TSGR6UfVhBZGm0KTZl8y?si=4eff4cbdc8454a7c

William Shakespeare - "To me, fair friend..." (sonnet 73)

"That time of year thou mayst in me behold
When yellow leaves, or none, or few, do hang
Upon those boughs which shake against the cold,
Bare ruin'd choirs, where late the sweet birds sang.
In me thou see'st the twilight of such day
As after sunset fadeth in the west,
Which by and by black night doth take away,
Death's second self, that seals up all in rest.
In me thou see'st the glowing of such fire
That on the ashes of his youth doth lie,
As the death-bed whereon it must expire,
Consum'd with that which it was nourish'd by.
This thou perceiv'st, which makes thy love more strong,
To love that well which thou must leave ere long."

If you enjoy what you hear hit the like and repost button.

Follow me on Soundcloud and Facebook.

@constellation-lyra

www.facebook.com/pages/Constellat…/377825935649048


Constellation Lyra - Thy Love [out on Spotify now]

Lyrics:

Yeah, they told me fitting in is the only way
But every time I try, it just feels so fake
Smiles on my face like a plastic display
Keeping quiet just to make the world okay

Take your medicine, work your daily grind
Shake a stranger’s hand, pretend you feel fine
But truth is something I can't leave behind
I don't wanna be another copy in line

Tell me why you need to close your mind
I don’t wanna be normal like you
Every day I’m running out of time
Searching for a place where I can be true

Closer, closer, to a dream inside
Where I don’t need the mask just to survive
Closer, closer, I can almost find
A way to be normal too
Or maybe just normal for me, not you

Whispers in the crowd say "dont stand out"
They laugh at the ones who live too loud
But I just smile, I know what they're about
Fear of themselves they can’t talk out loud

They want control, they want to choose your clothes
Script your life like a TV show
But I won’t bend, I won’t play that role
I’m the fire they can’t control

Tell me why you’re chasing their design
I don't wanna be normal like you
Every day I break another line
Finding out I’m something brand new

Closer, closer, to a spark inside
Where my flaws are fuel and my faults can shine
Closer, closer, I begin to find
Maybe my normal's the truest kind

Normal’s a word they use for control
Keep you in line till you’re grey and old
But I won’t fall for the lies they sold
My spirit’s rich, even if pockets are cold

So call me strange, call me out of place
I’ll wear my scars like a badge of grace
While you hide behind a plastic face
I found freedom in embracing my space

Closer, closer, every step I move
Not “normal like you” ... I’m carving my truth
Closer, closer, I can finally see
Being normal just means being me

Normal like me, not you.

Stacks

ololygon

Just another song (of mine) that makes no sense.

Copyright: 1984

Watch our dog catch a Frisbie to the jam part of this song:
http://youtu.be/czhxwiaZ9A4

Main Channel:
http://www.youtube.com/user/SnyderRon

This song was recorded in 11 hours on a 4-track recorder in October of 1984.
Remastered with Soundcloud in 2021.

Ron Snyder - Shoot The Bull (1984)

RepostExchange is the home of up and coming talent on SoundCloud, helping artists grow and develop through supporting each other and sharing audiences. The Re-Ex community consists of over 400k artists and labels at all levels.

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.”

Ego Mortuus Sum

Darkwave

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