The performance showcases a strong sound and engaging energy, making it quite memorable.

Cool AF track here! Lots of fun to listen to. Great stuff!

Piano, brutal guitar riffs, fast drums... Perfect

Hey, very good job boys Is brutal this song 🤘

Mainstream music genres

Umrandungen, Vol. 1

Umrandungen-01-14 (Remastered 2025)

Invisibile

Words spoken by false tongues,
You built your throne on broken trust.
Built me up just to break me down,
Your kingdom is a burial ground.

Will there ever be an end to those lies?
Truth and honesty struggle to survive...

Ooh...

A siren's voice, a serpent's spine,
A liar's mask, deceit refined.

You dressed your poison up in grace,
A smile stitched to a hollow face.
Truth bends where your shadows crawl,
But even angels learn to fall.

You chose the blade, then called it fate,
But even traitors learn too late.
Now you stand in the ruins that you made,
Ash in your mouth, nothing left to save.
You see me rise—but it's too late,
Gone are the days that I bowed to your hate.

Oh!

Built me up just to break me down,
Your kingdom is a burial ground.

A crown of ash, built on disguise,
Your shattered words still haunt the skies.

We … will see...

You burned your bridges with your lies,
A soul that’s rotten from inside.
The truth you feared now cuts too deep,
The lies you've sown—they won’t retreat.

You chose the blade, then called it fate,
But even traitors learn too late.
Now you stand in the ruins that you made,
Ash in your mouth, nothing left to save.
You see me rise—but it's too late,
Gone are the days that I bowed to your hate.


Try to break me—
You’ve crossed a line.

You’re just a fake b*tch—
Run for your life.

Kingdom of Ash

A versus mix!! Drop a comment and let us know which half you liked more! Have a good day y'all <3

0:00 - 1:09 - UniKat
1:10 - 2:36 - EnVy

UniKat:
https://www.youtube.com/@UniKastRadio
https://open.spotify.com/artist/08EBKrz0kFy00Uedwnm1qJ?si=YE6CtA-ZQyOCWn9paNMgpQ

EnVy:
www.youtube.com/@UniKastRadio
open.spotify.com/artist/2tm9EF2fNqQxZ8PXASiQba

UniKast Radio Website: www.unikast-radio.com/

UniKat vs. EnVy - Strength In Love

Antwort an den Verfall

Zelle B steht da, mit dem Stein des Hofes in der Hand, und die Stimme des Verfalls, diese raue, bröckelnde Präsenz, ist wieder da – nicht in den Wänden, sondern in ihm selbst.
„Ich weiß, dass du uns alle sammelst,“ sagt Zelle B. „Du machst uns gleich – im Bruch, in der Rückkehr, im Staub.“
Die Risse antworten nicht. Sie dehnen sich. Ein Zeichen: Man hört.
„Aber was du nennst ‚Ende‘ war immer Ort. Und was du nennst ‚Nichts‘ war immer Verbindung.“
Die Stimme des Verfalls zögert. Nicht trotzig, nicht drohend – sondern überrascht.
„Und wenn wir aufhören, dich zu fürchten?“ „Wenn wir dich nicht bekämpfen, sondern erkennen?“
Ein Tropfen fällt auf den Stein. Er zieht eine Linie – wie eine feuchte Antwort auf trockene Jahre.
„Ich bin nicht dein Gegenteil,“ sagt Zelle B. „Ich bin dein Echo. Du sprichst durch mich, und ich habe gelernt, zu antworten.“
 Der Hof vibriert. Nicht laut. Nur wie ein Körper, der verstanden wurde.
„In mir wächst etwas,“ sagt Zelle B, „Und es wächst aus dir. Nicht aus Widerstand, sondern aus Annahme.“
Dann schweigt er. Nicht weil er keine Worte mehr hat, sondern weil die Antwort angekommen ist.
Der Verfall ist still. Aber die Stille ist neu. Nicht leer – erfüllt.
Kapitel: Die Sprache des Verfalls
Zelle B steht noch immer im Hof. Der Stein in seiner Hand wärmt sich langsam auf, nicht durch Sonne, sondern durch Erinnerung.
Der Verfall ist da. Nicht sichtbar, nicht greifbar – aber spürbar wie eine zweite Haut, die nie ganz abfiel.
„Du bist der Teil, vor dem alle fliehen,“ sagt Zelle B, „weil sie denken, er sei das Ende.“
Doch jetzt, da alles ihn berührt hat – der Regen, die Frau, das Hofflüstern – wird klar: Der Verfall ist nicht die Dunkelheit, sondern das Licht, das nicht blendet.
 Eine Stimme kehrt zurück. Nicht von außen. Von überall.
„Ich bin das Gemeinsame,“ sagt der Verfall. „Ich bin das, was ihr alle teilt, ohne es zu wollen.“
„Weil wir uns davor fürchten,“ antwortet Zelle B. „Vor dem Moment, in dem wir Teil werden. Nicht mehr Ich. Sondern Wir.“
 Die Wände zucken. Die Risse verändern ihre Richtung. Sie wachsen nicht mehr auseinander – sie wachsen zueinander.
Der Hof beginnt zu weben. Zwischen Stein und Pflanze, zwischen Schatten und Licht. Ein Muster entsteht – kein Teppich, kein Plan. Nur ein Beweis: Dass alles verbunden ist, sobald der Widerstand endet.
 Und Zelle B? Er ist nicht mehr Beobachter. Nicht mehr Abgegrenzter. Er ist Knotenpunkt. Nicht Zentrum, aber Durchgang.
Der Verfall spricht noch einmal:
„Du bist da. Nicht weg. Nicht zwischen. Genau da. Und deshalb bist du das Erste, das sich erinnern darf.“
Zelle B nickt. Nicht für sich. Für alles.
Kapitel: Chor des Verfalls
Der Hof schweigt. Aber das Schweigen ist nicht leer – es wartet. Dann kommt Bewegung, wie aus den Schatten geformt.
Zuerst der Mann mit den runden Schultern, der immer auf der rostigen Bank sitzt, immer schaut, nie spricht. Heute steht er auf. Der Staub hebt sich von seiner Haut wie Erinnerung.
„Ich bin die Ecke, die ihr nie putzt,“ sagt er. „Ich bin der Gedanke, den ihr verdrängt. Und doch – bin ich Teil.“
 Dann die Frau mit dem Pflaster am Hals, die immer Summen hört, wo andere nur Stille finden. Sie tritt vor, Hände in den Manteltaschen, und ihre Stimme klingt wie ein feuchter Pinselstrich.
„Verfall ist meine Melodie,“ sagt sie. „Ich spiele ihn leise, damit ihr nicht merkt, wie oft ihr schon getanzt habt.“
Der Hof hört zu – aufmerksamer denn je.

Fortsetzung folgt am Sonntag um 10:00h.

kolkhorst 2025



Antwort_an_den_Verfall

Sprite is full of hopeful aspirations for a better future  but with an underlying fear that the winds will turn cold.

SPRITE

Sprite

“Miserere” is the sole instrumental piece on the album — a moment of wordless expression that forms a bridge between this release and Darkwave's earlier, fully instrumental works. Deeply rooted in classical influences, it recalls the spirit of Postcommunio (from the Missa Innominata album), yet pushes beyond it with a more turbulent energy.

At the heart of the track lies a neoclassical guitar theme long waiting for its place — a melodic idea that lingered in creative limbo until now. With this album’s emotional landscape in mind, the timing felt right. “Miserere” became its home, transforming the motif into something darker, heavier, and more unrelenting.

While its structure and tone still reflect a sense of reverence, the inclusion of blastbeats breaks away from the restraint of earlier compositions. The result is a piece that’s simultaneously devotional and defiant — a liturgy not of peace, but of inner unrest.

Horror Sacri

Miserere

First try with Rock samples. Learn everytime. :)

Into it

Here we go again.
There are dark days in England.
The lady at the bus stops off her head.
Least that's what she said.
No rest for the wicked.

Ah! here we go.
With the painted flags of England.
The devil that is screaming in her brain.
She was never the same.
Needed a merger.

One for the live.
One for the sanity.
Into the crowd.
Into the slaughter house.
One for the road.
One more to take away.
In the fun house. 
Where you are blown away.

Dark days, they're stealing them from you.
Dark days, you'll never make it through.
Dark days, you can not get away.
Dark days, we're falling in the rain...

Let's have a drink.
There's nothing to look up to.
You can not save enough for rainy days.
No route of escape.
A fog of returning...

The lips are calming down.
Whilst the tattoos multiplying.
There's money to be spent here in the hay.
What for I can't say.
A sense of belonging?

The crowd are going wild.
The crowd are consuming.
The crowd are all so normal and so safe.
I feel out of place.
I do not belong here.

Regardless of love,
Regardless of empathy.
Godless and lithe.
Godly with vanity.
Regardless of time.
Regardless of anything.
Godless with pain.
God, will you let us be.

Dark days, they're stealing them from you.
Dark days, you'll never make it through.
Dark days, you can not get away.
Dark days, we're falling in the rain...
 

Dark Days

Lyrics

[Verse]
All these demons steady running after me
I can’t seem to shake them off, they’re supposed to be
Burned to the very ground of love, you see
’Cause I had thought I cast them away with my heart in peace.
But little did I know they never left
They’re just a smaller army now, and well-equipped
With weapons that will blow you outta here
But I'ma keep on fighting ’cause I know

[Chorus]
Gotta world I have to show
So it ain’t my time to go

Aint My Time To Go

Sanctuary

RED GREEN Demo

Cruel world

Egyptian Crys

Rain May Fall In Texas

Born in the Midwest DJ Sub-Liminal, also known producer Dark Mechanism, always had a passion for creating music.  He started out playing metal on the guitar and growing up in the rave scene of Kansas City, he quickly found love for drum an bass.  Early 2000, he bought his first pair of decks and started practicing almost everyday. He played and also threw a few shows around there until 2006, when he moved to Sacramento, CA where he resides today.  He helped found a local crew there called Rogue Alliance and began playing many shows and rocking the crowd with his blend of multiple styles of Drum an Bass.   He plays anything from Dark, Neuro, Ragga, Liquid, jump up you name it.   He has shared the bill with dj's like Reid Speed, Vaski, Dj Dan, Gridlock, SPL, Icey, and Forest Green just to name a few.  He has been producing now for the past 3 years pretty heavily.  He is on 3 labels Nuphonic Rythms, Plush Recordings, and Atomic Audio. Recently he is part of a local Sacramento crew called Runtime Dnb.  He also just recently released an exclusive mix on DJ Odi’s Digital Konfusion Mixshow in Austria.

For booking info contact me via Facebook 

https://www.facebook.com/arronsubliminal?mibextid=LQQJ4d

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.”

Miserere

Darkwave

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Ancestral Ceremony band.

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