The artwork is by Yamanashi Taiki: https://safebooru.donmai.us/posts?tags=yamanashi_taiki

All composed, arranged, produced, and performed/programmed by me.

Into Hyperspace

This is the final battle!
Featuring Tohomoko!
A Goldbox song made for The Beepbox Discord's 5th Annual Tournament
Project Link: https://pastelink.net/kapsj4kh

T - 10 ft. Tohomoko

Get you ready for the night
Speak in merry little love rhymes
Wander to the better life
So you can breathe in and kick it back

Wonder leaps around your eyes
Know not how to lead ourselves now
Simple answers are our guide
If we want to find ourselves when

All of yesterday we're sorry and
All we know today is dancing
Find your peace of mind from moving
That's all I want to say...

All I Want To Say

Reconsider.

You're Not Worthless, You Cannot Be

FL remix of Macaron's "Dragons"

Original song: https://soundcloud.com/mac_aron/dragons
Original song artist: https://soundcloud.com/mac_aron

Macaron - Dragons (FL Remix)

All songs I made for the Trans Indie Game Jam. I hope you enjoy!

Dusty Corners

Wav 8b

Still Standing

Auralys returns to Happyhaus with her track 'City Nights'

Artist Name: Auralys 
Track: City Nights (Happyhaus 023)
Written by: Auralys Madden, RJP. 

City Nights

Echoes on the Dancefloor is a defiant, cinematic club journey from Connor Charles, blending orchestral power, gospel soul, and dancefloor fire. Across epic extended suites, the album rises from shadows into light — weaving spoken-word prologues, electric violin flourishes, and thunderous choir drops into euphoric anthems. From the raw fire of Thursday Night on the Edge of a Knife to the triumphant swell of Healing in Time, every track is powered by Hope, Soul, Love, and Light — uniting resilience with the energy of the dance floor. This isn’t just music — it’s survival turned into sound.


1, Opening Prologue - Echo Awakens

https://power46.bandcamp.com/album/new-pripyat

Made in roughly 26 hours, but over the course of more than half a year. The person who started this track isn't the person who finished it. Thus far, this is without exaggeration, the most ambitious, most impressive piece of music I've ever created.

This is a track from an upcoming album which I've teased before. Realising that the album is a long way off, I decided to show off a single for it to ease the wait. Maybe I'll show off more singles as time progresses! We'll have to wait and see.

The album revolves around two concepts:
1. Different environments from around the world. In the case of New Pripyat, this refers to towns, cities and rural areas abandoned after nuclear disasters.
2. Variable mixing. Quickly becoming a staple of interactive media, variable mixing involves loops of music being mixed according to interaction from the audience. When arranged linearly, say, for an album, typically variably mixed music will be structured according to how one loop of music fades into another. This is kind of the opposite: This entire track was written as a linear piece of music, sorted into loops like an imitation of how variable mixing would work.

The original arpeggiator motifs occurred to me after listening to a bunch of Fort Romeau's music, and I knew I had to write it down right away. This section starts at 2:33, and combined with the distant-sounding guitar section which precedes it, contrasts the solemn, desolate loneliness of the area, and the mysterious, electronic side. 

3:48 is the first sign of hostility the irradiated landscape shows, and it's aggressive, powerful, and ever-so-slightly sad. It's a mourning of the destruction caused by this power, as much as it is a display of reverence.

5:32 is what I consider the beginning of Part 2. It's not a very long part, but it's important. It's a moment of majesty and of revelation. I consider this the theme of the reactor core, the epicentre of the disaster, which had the sheer power to provide plentifully for the people it eventually drove away. It is the point where this force originated, and it is the point at which the journey must end.

6:30 marks the beginning of Part 3. This is the piece's climax and its ending. The theme of this part begins with just a string ensemble, to give it that scale, depth and emotional edge, but to leave it timbrally somewhat empty too. The rest of the instrumentation doesn't come in and take the spotlight until the drums kick in, and from there, the piece ascends to its climax.

8:12 was always how this track was going to end. No matter what direction the piece traveled in, I somehow knew that this was going to be its ending. It's supposed to be a point where New Pripyat seems to have reached its peak, only to be pushed just a bit further by that last chord.

9:03 is an obvious homage to Kraftwerk's 1975 version of their track, Radioactivity. I liked the idea of this being quietly played off to one side by an old, worn down record player while something climactic happens off in another room, or perhaps it's just a feeling of winding down after resolving a high-stakes crisis.

New Pripyat (OUT NOW)

im portant busnis

contact me  lordxdefconx@gmail.com

All I Want To Say

xDEFCONx

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