the-spectres-of-tomorrow.mp3

Candace Owens is a two-bit grifter profiting off Charlie Kirk's death!

(Verse 1)
She screams about a target painted squarely on her back, a global operation and a coordinated attack, claims she got the documents the files and the flight, but she never took a single step to make the record right, loud on the livestream but quiet on the stand, cause perjury is poison to the story that she planned.

(Chorus)
Where are the receipts tell me where is the proof, you’re building up a castle without a solid roof, dangling a carrot just to keep the people fed, spinning wool and fairy tales inside a thread, it ain't a plot it ain't a hit it ain't a crime, it’s just a way to steal the audience’s time.

(Verse 2)
Blaming all the shadows and the planes up in the sky, looking for a villain just looking for a spy, says the Feds are listening says she told the top, but she never filed the paper with a single local cop, she knows that investigation kills the masquerade, she’d rather keep the mystery than have the cards displayed.

(Bridge)
Standing on the ashes of a tragedy so fresh, turning someone’s ending into cash over the flesh, if the danger was reality you’d run and you’d hide, not sell a subscription for the wild joyride, it takes a hollow soul to play a game so low, using death as fuel just to run the show.

(Chorus)
Where are the receipts tell me where is the proof, you’re building up a castle without a solid roof, dangling a carrot just to keep the people fed, spinning wool and fairy tales inside a thread, it ain't a plot it ain't a hit it ain't a crime, it’s just a way to steal the audience’s time.

(Outro)
No report, no receipt, just a grift on repeat, yeah just a grift on repeat, spinning the wheel till the money is sweet.


Lyrics By: S.H. Sydness - Crunchy Creations - 2025

The Candace Grift

Goblins of the Twelve Nights” is a doom-heavy folklore metal track inspired by the chaotic Kallikantzaroi—the mischievous goblins of Balkan winter legend. Slow, crushing riffs and eerie melodies paint the scene as these twisted creatures crawl from the underworld during the Twelve Days of Christmas, sneaking into homes, spoiling food, and unleashing mayhem. The song blends dark storytelling with ritualistic chanting, capturing the wild, unpredictable energy of winter’s most troublesome spirits.

Goblins of the Twelve Nights

Eurotrash

Need You Like a Drug

Send Me an Angel

Hexakosioihexekontahexa

Bis das Blut gefriert

„Bye-Bye Borderline“

Kiss your loved ones goodbye, turn around one last time and burn down the bridges to your old life. No one can join you on this way. No one but this very special band from Norway who deliver the finest soundtrack to your very own apocalypse ever since they started playing in 1999. More than once, the music for your dying world, the symphony of your self-destruction came from ZEROMANCER. Now, they are finally back. And sound more intense, more stricken and determined than they did in a long time.

First a double strike, then the big hush: After “Sinners International” and “The Death Of Romance” were released with barely a year between these two masterpieces, Norway's Electro Rock connoisseurs vanished from view. Except for their unforgettable live appearances, the ZEROMANCER camp fell silent, a whole three years had to pass until a new album was finally born. “Bye-Bye Borderline” is its name – and sounds like a perfect embodiment of the title: Melancholic, bipolar, in one moment brimful with positive energy, in another falling into a bottomless depth. Sure, pleasure and pain share the same bed. Yet, nobody knew until now they were really that close: With the trained eye for pain and sorrow that made hymns like “My Little Tragedy” to milestones of melancholy in recent years, ZEROMANCER advance with new determination, armed to the teeth with the biggest of emotions. Love, hate, desperation or sacrifice are not only empty words for ZEROMANCER, but razorsharp songs for the next breakdown. Electro Rock mysticism in the purest sense of the word – sensual, highly erotic and altogether much too dangerous.

Songs like “Auf Wiedersehen Boy” or the biting title track prove just how much anger and bitterness piled up in the last three years. They drag a raw Industrial Rock edge back into the ZEROMANCER sound that finally stands for all things dark, infamous and forbidden again. But ZEROMANCER are more than that: The slow-motion serenade of self-destruction called “Manoeuvres” would even stir emotions in a rotten heart. Ambivalent, layered, passionate and abysmal is the guise of “Bye-Bye Borderline” – beginning with the title itself. Do ZEROMANCER sing about healing or disease? About life or death? “Ash Wednesday” certainly is on death's side, although hope seeps through some of the wonderful melodies like the sun through thick clouds. Dance, cry, hush or hope – no matter what it is: ZEROMANCER have just the right music for it. More intimate, more intense Electro Rock has yet to be invented.

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Zeromancer