Nati nel 2009 come cover rock band (anni '70/'80), arriviamo alla formazione attuale nel 2019 iniziando a lavorare anche su brani originali.
I nostri testi affrontano soprattutto i temi scottanti della modernità, sempre con un occhio di riguardo al passato, rimanendo sempre attenti a stimolare nel pubblico spunti di riflessione.
Formazione:
Michele "Micky" Vidali al basso,
Fabio Milani alla chitarra,
Alessandra Vicario alla voce
e Lorenzo Gonzino alla batteria.

We are a prog rock/metal band from Palermo, Italy. Our sources of inspiration range from prog metal bands like Opeth to more traditional prog like King Crimson or Genesis, but also many more bands and genres. 

I hope you enjoy these sounds. The audio quality on these tracks are a little rough. They come from cassette dubs which are second and third generation copies. I have the original reel to reel masters but the tapes probably need to be baked. As time goes on and when I locate better copies of these tracks I will upload them here on Soundcloud...

UPDATE: Got some decent studio gear and I will remaster the Leviathan/Scalpal tracks very soon. I will flat master them so they can be heard the correct way that they were intended. Stay tuned!
./P

Scalpal & Leviathan were...

Paul Lopez: Drums.
Steven Renteria: Lead Guitars.
*James Batey: Lead Vocals: (Leviathan)
Curt Beliew: Lead Vocals, Bass Guitar.

One-person-band originally from Florida, now being created in California. Black Stag Rising is metal with power metal and black metal influences as well as electronic and industrial elements.

Sana Obruent is the drone/ambient project from Paul Lopez who lives “somewhere in California”. His music is recorded live, at night and in total isolation – which is something you can hear.

The best description is imagining he's out in the hills somewhere concocting this stuff at the dead of night. Most of his tracks come in at around the ten minute mark and consist of subtly evolving tones in which is firmly set to "relax". 

Like the best music of this genre it undulates and churns. Coming in and out of focus like a blurred photograph of something terribly bleak.


You may listen, you may even witness something slightly disturbing, but you are unable to move. 

Enjoy the freeze.

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.”

This is my ongoing Music Journal, a series of improvised tracks created entirely in GarageBand using a M-AUDIO Oxygen61 MIDI keyboard. Each piece is recorded within a few hours, with no rewrites or polish, just a raw snapshot of that moment’s creative headspace.

Some tracks are melodic, some are chaotic. Some feel complete, others feel like half-dreams. That’s the point.
It’s not about perfection, it’s about process, instinct, and capturing a musical thought.

Followers of Kenneth F. Martin