“Messiah of Shrinking Shores” unfolds like a sorrowful parable — the story of a soul who gave everything, only to be abandoned by both Heaven and Earth. Written in poetic form years ago, the lyrics speak in third person, echoing the voice of someone who once carried the burdens of others, now discarded, worn down, and left with nothing but silence. “The ashtray of God” — a chilling metaphor for spiritual obsolescence — captures the depth of his disillusionment, culminating in the heartbreaking surrender: “Let me sink into the flood.”

This song gives voice to that universal moment when we feel used up, overlooked, and forgotten — when the world no longer sees us as valuable, only convenient. Hungarian vocalist Fati Urbán lends her angelic, haunting tone to these emotions, adding an ethereal fragility that elevates the pain into something strangely beautiful.

Though the song carries the atmosphere of gothic and doom influences, it never settles into one mood. Progressive metal elements weave through its structure — the intro and outro riffs pulse with complex time signatures, and the chorus rides on staccato rhythms that resist collapse. It's both a lament and a protest; a farewell and a final cry for meaning.

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MESSIAH OF SHRINKING SHORES

He clung with nails of wood so tight,
Scratching the fresco-black of night.
Obscured he wrote a gospel’s rhyme, 
Ashtray of God, clandestine grime.

All that he saw, all fails did stay,
No skyey dew would fall his way,
breathing desert dust-eating life,
rotten finger-flesh, he played a strife.

If he was saved, he tore his crown,
blood-stained tears fall, like storm pour down,
showing his fake gloriole,
he will baptize you, he will bury.

And as he climbed the western sky,
the stars within themselves did die,
"Embrace me now, and take my blood” 
said “Let me sink into the flood."

Horror Sacri

Messiah of Shrinking Shores

Halena Morbida is the product of a middle age crisis. It is not about a particular genre, it's about the joy of creating music.

I use Ableton Live 11, Ibanez GIO electric guitar, Harley Benton electric bass guitar, HB acoustic guitar and acoustic bass guitar, Boss ME-80 processor, bongos, tambourine, cajon, and a bunch of different kinds of flutes.
 I am not a musician, I just fool around, while learning how to play my instruments. 
The artwork for the tracks is AI generated and the titles are chosen mostly using the method of free association.
Thank you for listening to my crap! 
Have a nice life while you still have it!

Joliet native on a bigger scale I am from Chicago-land. My music is my diary its how i face my biggest fears by sharing them with others on the hope they relate, within the grand scheme of thing I make music to heal I make music for the youth to hear a banger without a derogatory message. This music is for the FUTURE!

Psych sounds, dub vibes and a whole bunch of FX in operation
SoundCloud collabs most welcome. Remixes, guitar bashing, conceptualising (a big word for a guitar player, I know) or whatever you have 😎

Member of the transatlantic music machine that is The Eclectic Collective

Member of Mid-Wales’ premier cheezepunk band The Recursives - watch us get down and boogie!!

https://youtu.be/f0CnN7FsIzM?si=4yCzlCMsylbIjKLx

https://youtu.be/E_tYwc83XPs?si=MjmQbwNeRpNXRhQS


Logo and cover art by Marianne

You may wish to check out my older dub based stuff here 
https://soundcloud.app.goo.gl/TwJYv9QgWsDdKNvu9

Hard Rock punk composer, producer.... I love work with original free acapella tracks, I give them the music that I have always liked listen to.

This is the Blagovrecords record company page. We do the recording, digital processing (mastering and mixing), assist in the preparation and composition of the material and publish our musicians.

Unapologetic musical calamity from around the world. The only way to support: https://gomjabbar.bandcamp.com

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.”