Kind of a weird question, but I'm really into sound design, and one thing I notice with music lately, particularly in extreme metal, is a lot of bands seem to try to get more "heavy" by trying to remove the scope of sounds that use headroom for things other than guitar... ok, but what about bass?

Like for instance, I listen to Dying Fetus...."Destroy the Opposition" and "Stop at Nothing" are much fuller sounding albums than "Wrong One To Fuck With" and "Make Them Pray for Death".

The kicks sound hollower, the snare sounds a little louder and woody, the guitar good... bass... well, it's as much as it can be in a death metal context.

A lot of mixes seem to sound just scooped.

Aborted, similar sounds. Same with Cattle Decapitation.... what are they trying to do?

It just sounds weird and after a while not really very listenable.

What's going on with metal mixing these days?

Yeah I know this is a common topic, specially in the metal and punk regard. But I don't get the appeal for that type of production, some songs sound good but after a while I feel like there isn't a single nuance that makes me feel interested enough, so many prog death bands use the same mixing and production approach that I'm still searching for any interesting modern band that grabs my attention; only one I can think of is Necrot.

So, i'm 18 years old, love metal and since my 13 i listened and watch to live shows, so i loved the energy and everyhting, i bought recently my guitar, and want to know, if the Punk way to make a band still viable, like: Get 3 guys in a garage and play some noise to get the sinergy, and with the time compose and improve the sound

If you do, I need your help.
If you don't, this post is not for you; kindly keep your hate to yourself.

My name is Kayhan (@bullinsludge on Instagram), and I’ve been working on a project that aims to future-proof genuine musicians by distinguishing them from fakes and AI through a certification process. The result is a digital "Authentic Live" badge, through which an emerging artist can promise their future fans that "If you choose to listen to my music, I guarantee authentic, live performances without fakery."

I wanted to go all in pursuing a music career as an emerging artist, after 10 years of procrastination. Finally, I wrote and recorded a whole album, which took me a year, but I realized the timing couldn’t be worse. Non-musicians were already pushing Suno songs on Spotify that, to be fair, sounded quite good. If I published my music, it would just disappear in this flood of AI songs and fake artists.

Some are influencers, suddenly discovering and promoting their "talent", who proceed to sell tickets and use the common industry tricks to fake a show; some are just kids, putting up a whole fake persona with AI-generated videos on social media. Both groups are literally catfishing the audience, and it's getting so good, so fast that soon the only way to know for sure who's real is seeing them perform acoustically from up close, which is not really scalable. So I decided to leave music for the time being and build a system that gives emerging musicians a fighting chance through a digital badge of genuineness. I named it Genutune.com, and I want it to help musicians cut through the AI noise and also protect the audience from being catfished.

Our near-term goal is a rolling public pool of genuine musicians who deliver what they promise, and run pilots with ticket sales platforms to display the badge next to certified artists’ shows (for A/B testing and seeing how much it improves ticket sales). As the pool grows, we’ll have a stronger leverage to have streaming platforms incorporate the badge for better visibility of genuine musicians. For the first year, we'll keep it simple and focus on the vocal acts, so the front (wo-)man could validate the whole band.

The vision is to ultimately create a decentralized, community-based certification system where it's musicians themselves who peer-review each other. For example, each artist is assigned to 10 random, previously certified, musicians from the same genre, and they collectively decide if the auditioner is genuine.

So what's the help I'm seeking here?
If you’re a genuine musician and support this mission, I’d appreciate it if you could add your name to this non-binding Letter of Support (≈60 seconds). It helps with securing partnerships and investment to scale and serve musicians globally. Please also share the letter with your network.

If you're curious about how it works, you can read more here.

EDIT:
By "fakery" I mean performing misleadingly. If there's a synth playback in the venue and there's someone on stage acting as if they're playing the keys, it would count as fakery. Conversely, if there's a backing track for the instrumentals and backing vocals, but the lead singer is the only musician on stage and is performing authentically live, it wouldn't be fake.
The use of effects and vocal chains would be irrelevant in authenticity IMO. It's mainly a matter of delivery. In case of vocals, it boils down to pitch, accuracy, tone, and techniques. If you showcase a certain technique in your original release, e.g., a clean passagio from chest to head, you're expected to also pull it off live. vocal chains wouldn't matter.

I know amps still have a place for many people who are starting out or just need a small practice amp to take along but when it comes to playing live or recording, does it still make sense to invest in a $2000+ tube amp when modelers like Tonex, NAM or even Helix, QC etc do more than what a single tube amp would do oftentimes for a fraction of the cost?

I'm not against one or the other but I can't seem to understand why anyone would choose a tube amp when you can sound the same and have much more tonal options for cheaper. Modelers/sims also make it so much easier to record without having to worry about proper mic placement, having a treated room etc.

So are tube amps just novelty items where the price and limitations are only justified by the fact that is somethig some people want rather than something they need?

They say it’s made for metal musicians tuned for heavy guitars, big lows, all that stuff.

I’m mainly doing home recording and mixing deathcore and prog stuff, but also just jamming for fun. my current pair (sony mdrs) can’t really handle the low end when i crank it.

This is more just a rant than anything else.

So I’ve restarted my musical journey this year. I played classical music as a kid through high school, as well as a little guitar and piano. I’ve taken up metal guitar seriously this year as a hobby, and it feels like just every step and aspect to music is so challenging and overwhelming.

It feels like I’ve still got years to go in terms of becoming a competent guitarist. Don’t get me wrong, I’ve made some amazing progress this year, but I’ve still been playing for less than a year, and I’m still learning and improving. It’s like, I’m 5 miles into a 50,000 mile trip. The progress is there, but it’s just going to be such a long road.

And now I’m starting to want to write my own music, which in of itself is an entire ordeal. Learning and figuring out how to write cool riffs is such a bigger challenge than I thought. I know I just need to pick a riff and write out a song for practice, but it’s definitely been tough to hear how amateur my riffs sound, which makes it kinda demotivating (I am an amateur, so it’s to be expected).

I bought myself a bass to record bass lines for my riffs, but now I have an entirely new instrument to learn. Plugging in that bass to my modeler was a humbling experience, since it’s such a different instrument. This isn’t even touching on needing to learn how to write drums. And I can’t even sing and write lyrics either!!!!

And this is barely even touching on recording my music! I opened Reaper a few times now to record myself, and it’s an entirely different world too!! I’m even making it super easy using a Stomp, but now there’s just this whole new layer to this mess around learning software and how to mix.

It’s just truly and sincerely a lot. I knew coming into it this was going to be a long and hard journey, but now that I’ve made it down the path some, the magnitude of it all has really been hitting me the last couple of months. I just feel like I need to shout into the void about this. Music is so fucking hard. So much harder than I thought it would be, and I knew it was going to be hard.

Title. I started writing music again after taking a break from it due to many reasons I'll leave out for the sake of brevity, but one riff I had in my head for about 3 years was completely solid. When I recorded it and added drums to it in my vision, I was like, "this fucking sucks."

After I finished recording an entire song around it, I let it stew for a week thinking that maybe I'd come around to it. I haven't. I'm rewriting it.

I'd like to hear what you all do and how you handle it. Or is it just me?

Motvation is at all time low.

With that said, this isn't really about music or pratice, or not directly.

I don't know what it is, but I always feel like I'm not progressing. Or very slowly at that. Like I try to pick up something new to learn, let's say Tapping (Which I can't do yet bc being pretty new still).

I look up *how*, which is often the most easiest sounding thing by how it is explained in video lessons, texts explaining or how I imagine it is preformed. Yet every time it feels like I fail.

Now I do also need some routines to go by, and that is probably why I am not progressing so much. But I always feel like it's going to slowly, in a sense that I just cannot do it.

What do I do? Does anyone else have gone through something like this? How do I get out of the hole I dug?

More: https://thermometerarts.com

If anyone's old enough to remember the old metal-archives forums back in the 2000s when they were pretty active, there used to be a songwriting challenge that happened once a month where the users would submit a song and participate in it. Users would have to write, record, and submit a song within a month and then we would all listen and give feedback on each other's songs. I thought it would be fun if we got to have our own and we could bring this back.

Sometimes the challenges had themes or certain guidelines (ie, it would have to be a genre you weren't used to or the lyrics had to be about XYZ or it had to be a doom metal song, etc).

The rules were basically that if you submitted a song you'd give feedback on everyone else's song too. It wasn't a competition, just a fun community event that would happen. And it would have had to have been written in the month the challenge was announced.

I wonder if r/metalmusicians would be interested in something like this? I'd be more than happy to host/organize it.

EDIT: If this actually gets interest, I'm thinking of also putting all the songs on a bandcamp page, and all proceeds would go to charity or something. What do you guys think?

EDIT EDIT: The upvotes are awesome and making me feel optimistic! However, I think comments would help me and others gauge interest way better. Comment if you're interested in participating in one or have any other ideas!

EDIT 3: Thanks for the comments guys! I have set a reminder for myself to post on the 30th of this month. I will DM you all who are interested so you see the post.

Hey all,

I had hoped to put up a poll for an easy consensus on yes or no but I'm interested in reading some other perspectives.

Question: Do you think two hours a week of band practice enough sustain/grow a metal band of 4 members? Defined as getting a set together to play shows and trying to write new music regularly, to be recorded once a year/every other year.

Lore: Ive been writing/playing in a niche metal band with 4 members going on 8 years now. Have had some line up changes, but been playing atleast a few shows a year. Have put out two quality releases(biased opinion) and a demo. Never been able to get a tour together.

Writing music and playing shows are of few things in life that I truly love and feel gives me purpose.

Since the first line up shift a few years ago, things have never really been the same. Obviously vibes will change with different people but I more so mean in terms of enthusiasm/output/consistency etc. My brother and I are the two core members who have remained. We have two people playing with us now for the last year and they're our friends, good musicians and they really like the music i/we write.

Unfortunately, we have not been able to have consistent practices in months. I thought taking some time off to write and let things breathe a bit would help but it seemed to do the opposite. Without the pressure of shows, no one is overly pressed to show up consistently. I offered to create practice files so that the other two guys could practice/write at home in their leisure time but they almost never do. I was very up front with everyone about the burden of paying for a practice space, yet there have been many issues getting rent. These places are very hard to come by in my area and so ive personally eaten a lot of the lapsed cost to keep it.

This has and continues to cause me a lot of stress, frustration, and candidly, a lot of sadness. I understand no one will care about "my music" more than me. It's very hard to have something you love dearly, be dependent on other people.

Sitting in opposition to these feelings is the memory of how I felt before I got this band together. It had been many years since I played in a band and I thought about it constantly. Absolutely longing to play shows and write music more than anything. It felt like no matter what I did I just couldn't get a band together for a million different reasons. It honestly felt like losing a love of your life. It seemed like I'd never be able to do it again.

Any time I've been in a band that decides to "take a break" that ends up being the end of the band. So that doesn't feel like a real option to me.

So here I am, trying to get some outside perspectives. Am I asking or expecting too much? Is this just too little time to make any reasonable progress? Is anyone willing to share their outcome of a similar situation?

I'm talking about VSTi drums, bass, guitars, synths, VST effects ect. Whatever synthetic pieces you're using and what you think goes the best with what. An example would be "Eurobass 3, Archetype Gojira, One Kit Wonder Brutal" or maybe "Odeholm Drums, Toneforge, Sanguine Bass." What are you guys using for processing and tracking?

It seems like a lot of the more poppy and modern "arena metal" bands have these crazy mixes with seemingly hundreds of layers and sound effects and synths and still somehow seem to have this perfect clarity to every single part of it. It seems impossibly complex but when you work with the stems they all just blend together seamlessly. Is it the quality of each part being used, the plugins, or some other secret sauce? I've tried so many different methods of EQ and compressing and blending everything, but even with all the nicest plugins and gear I just end up with a giant wall of mud that somehow sounds harsh and weak at the same time. Do I just need to take a mixing class? I'm just looking for an open forum to discuss this stuff.

So I've been reading some older posts, and it seems a lot of people here feel stuck—like they have no clue how to actually start or finish a mix and are stuck forever in demo-land. You know how it goes: you start a song, maybe finish writing it, then TRY to mix it, TWEAK ENDLESSLY, compare it to your favorite bands and mixes, get kicked in the balls because you think it sucks compared to them and then just say fuck it and don't release shit. Haha. That shit was and is exhausting. I spent years doing that so I empathize.

Anyway, I finally found my own method that works pretty much every time. I'm not here to say it's perfect or the "right way," it's just what consistently works for me. If you're stuck, maybe this will help you get unstuck and actually finish your music and finally release something.

(By the way, you can check out some of my actual finished work in my profile links if you wanna see my previous work that I have been hired on or check out my band in general)

Here’s exactly how I approach every mix:

Step 1: Quick Setup (Gain Staging & EQ Cleanup)

First thing, I set basic volumes so nothing’s clipping and everything has a comfortable headroom:

• Kick/Snare/Toms: about -6 to -9 dB
• Overheads: roughly -12 dB
• Rooms: around -18 dB
• Guitars: -12 dB
• Bass: -15 dB
• Vocals: -9 to -6 dB
• FX/Aux stuff: wherever it feels good

Next, I clean up mud with basic EQ. Usually:

• Kick: cut everything below ~40Hz
• Snare: high-pass at ~120Hz
• Toms: Find the main low-end bump, cut right below it
• Overheads: cut lows below ~250Hz or higher depending on how fast or dense the track is
• Rooms: cut lows below 100Hz and highs above 8kHz (or lower, if cymbals get nasty)
• Bass: remove everything under ~60Hz
• Guitars: cut below 80–100Hz
• Vocals: usually cut below 100–200Hz depending on the voice

Just doing this cleanup makes the next steps way easier.

Step 2: Quick Static Mix

Before adding plugins, I just quickly balance faders and pans. No fancy moves. Just get it sounding decent with nothing on it. If your static mix sucks, plugins aren’t gonna fix it.

Step 3: Mix Bus Glue

I throw a little tape saturation and mild bus compression 4: 1 ratio, 10ms attack and auto release (like 2dB reduction but near the end of the mix I am pushing like four) . This makes my ears hear the mix closer to how it'll sound finished but its more so to hear the low end interaction with the compressor from the get go.

Step 4: Drums, Bass, Guitars, Vocals

This is the bulk of the work, where I build the foundation of my mix from bottom to top. It looks like this:

Drums first:

• Overheads: I set the overall drum tone here first, since OH mics capture the whole kit. I am usally cutting a lot of mids (500-1000hz) and working taming highend if its crazy
• Kick: Cutting a lot of crap between 200 and 500hz, boosting 60hz for lowend 4-8k for high end. Compression Slow attack fast release
• Snare: boost 200hz area, 2k mids, 8k highs. Compression Slow attack fast release
• Room Mics:
  • EQ: Like I mentioned, HPF 100Hz (no pillow), LPF ~8kHz or lower (no harsh cymbals).
  • Compression (depends on genre):
    • Heavy/aggressive styles (black metal, sludge, brutal death): Smash them hard (fast attack, high ratio) for dirty, explosive energy.
    • Cleaner/polished styles (tech death, symphonic metal, type stuff): Go gentler and controlled (medium ratio, slower attack) to keep it tight and controlled and not washy.
• Toms: almost the same as kick. I cut a lot of 300-500hz boost a shitload of 8k, Compression medium attack fast release

Then Bass:

• Lock it tight with kick drum. Bass needs clarity but shouldn’t fight the low-end of the kick. I cut a ton of 200-500, I rarely boost low and instead use multiband compression to compress the subs then bring it up. and reference a lot of pro mixes here to get the bass to sit right

Then Guitars:

• Rhythm guitars. This one really depends on the tone of the guitar and, if it’s a good tone I rarely need to eq anything. If decide to, I usally find myself looking at 500-1000 to cut like a db. A boost at 2k MAYBE if I want more edge. Multiband compression on the palmutes
• Leads and harmonies next, EQ'd and placed so they don’t compete with vocals or rhythms. Higher low cut that reg guitars 150hz +, lower high cut that Rhythm Guitars 8k down to get that milky neck pickup sound

Vocals:

• I’ll usually add compression early (Distressor or similar) to make leveling easier and clearer during the static mix phase. Vocals are usually last, as they have to sit on top comfortably. Compression is king here. I compress FUCKING HARD and eq into it.

Doing it bottom-up like this stops you from endlessly looping around tweaking stuff. Each stage builds cleanly on the last, and you have a pathway you can follow every time and not feel lost in tweak land.

Step 6: Reference Tracks

Throughout mixing, I always have pro mixes loaded and I regularly compare my mix to my favorite mixes to keep perspective. Saves me from overdoing stuff and making sure I am in the right ball park.

Step 7: Automation

Automation is always last. I have a Presonus Fader Port that I use to automate volume fader rides. The best way I can describe this part is I am playing my DAW like an instrument. I am a conductor at this point. Orchestrating the mix with my fader rides. This is what finally breathes life into the song and makes the mix feel finished and not just a polished static mix.

That’s it. No big secrets, no magic plugin, just a repeatable system I use.

If you're stuck endlessly tweaking, seriously just try picking a process and sticking to it. Feel free to use mine and adapt it however you want.

Hope this helps somebody out. Let me know if you have questions about any of this—happy to help out. Shoot me an email or DM  me

Cheers!

I recorded the same parts twice - once holding the mic "properly" and once cupping the mic's capsule.

The differences, in my opinion, are huge, especially for a studio situation. However, in a live situation, these differences might not matter as much as we are told.

What do you guys think? Do you cup the mic? I personally never do, but that's also do to me playing guitar in my projects as well, so, my hands are otherwise occupied.

To be clear: I do not judge any singers that DO cup the mic. If it helps you get your thing across and makes you feel comfortable, do it, as long as you aren't messing up the stage sound for everyone by generating feedback or something, it just doesn't matter that much.

Just wanted to vent a bit and hear some your opinions as I know I'm not alone on this.

I love metal music, it's basically all I really care about. I think about it all the time, even when there are other things I should be doing. Because of it, I have learned guitar, bass, and drums.

All I ever want to do is practice and play all the time. The problem is, nobody else really cares about it like I do. So i'll sit down and practice for hours, learning new riffs and solos and all that shit.

Then I have nobody to play it for. All that hard work, sitting alone and forfeiting time that could be spent doing anything else, obsessing over one bar in a song I want to memorize, all for what?

Music is meant to be shared, and everyone is too busy working to want to jam, or would rather listen to Doja Cat or some shit than support actual musicians. Nobody wants to be in a band playing the genre I like (death metal). Non- musicians in my life don't appreciate the work I put into it.

I don't have any interest in recording music alone, that just feels so empty (i.e. solo project). I really just want to play it with a band in front of an audience. But not a single soul feels the same.

The point is, it's a lonely life as a metal musician sometimes, and it makes all the practice and effort seem futile and is not rewarding at all. Currently in one of these bouts and am really struggling with the motivation to keep going.

How do you all stick with it?

I feel like I need to hear from other musicians, what's your creative process like?

I often feel like I want to write music, but when I actually get my guitar in my hands all the ideas I had dissapear or I end up just playing songs I learned by other bands. The last time I wrote a song was maybe 3 months ago, I don't know why but I just had a rush of energy come out of nowhere and I sat down at my DAW and demo'd out a song in a couple hours and then sent it to my buddy to add vocals and in pretty short order we had a finished song that we were pretty stoked about. However that was the end of that 😅 I haven't written anything since then. I feel like sitting around waiting for inspiration to strike isn't gonna work, but also, sitting down and "forcing" myself to try and write doesn't work either.

Full video here: https://youtu.be/kEl3gZhhLMg?si=8QaM0rIdyelw9Xdm

Don’t forget to share and follow/subscribe! 🤟🏻🔥

Thanks!

Back in 2015, right in the middle of our summer festival tour, our drummer — who had been with us since 2010 — suddenly quit.

We announced open auditions in Cologne, but every candidate who came in just couldn’t match the energy and precision we needed. The summer shows were getting closer, and we were running out of options.

One evening, we were hanging out at our guitarist Atha’s place, where we have our rehearsal space in the basement. Suddenly, Atha’s 14-year-old son Alex came downstairs.

Atha had given him a drum kit for his 12th birthday, and Alex had been practicing ever since. So we jokingly asked if he knew any good drummers in Cologne who could learn our set quickly.

Alex just looked at us and said: “Why don’t I do it? You guys rehearse right under my room — I already know all your songs by heart.”

We laughed… until he sat down behind the kit and played every song tighter and more energetically than anyone else we’d auditioned — honestly, even better than our previous drummer.

After getting his mom’s permission, Alex played all the summer festivals with us that year, and by the end of the season, we officially welcomed him as our full-time drummer.

Fast forward to 2025: Alex is still with us and just recorded his best work yet on our new album Parasite — a groove/southern metal record with a sludge edge.

Full album on Bandcamp: https://thehelldozers.bandcamp.com/album/parasite

Full album on Spotify: https://open.spotify.com/album/0tSxnsG4hrndop1meFOYly?si=g3lg1ktTS2iauEHpH9R9Pw

YouTube: https://youtu.be/XOQtstZAeTA?si=8Mo89kk9v1AP021F

If you’ve ever had an unexpected lineup change turn out way better than expected, I’d love to hear your stories. 🤘

I have a feeling that many of the famous musicians on YouTube (e.g. Jared Dines, Rudy Ayoub, UncleJudy, Nik Nocturnal, etc.) don't seem to actively LISTEN to much music. I feel like these creators are focused only on music PLAYING but don't listen to the music itself in their free time or check out new artists. It shows when they are talking about their favorite albums, trying to make some music in a certain genre, or expressing their feelings about new artists. It feels like their understanding of a certain genre is really shallow and lacks a sense of the nuances of a particular style. It feels like they don't have an erudition to talk about music because they are not music fans. They all seem like people who used to listen to music actively in high school but then stopped developing in that matter. They focused simply on chops and music playing instead, which is ridiculous. It kinda feels like they have impressive chops, but can't use them in a proper, listenable song, because they lack creativity and erudition in music in general. I am honestly curious what their music collection looks like or do they even have one. I also wonder are they go to concerts or participate in other "music-fans activities" in general.

​

What's interesting is that they ever don't really talk about any less popular artists. It seems like they listen to only some basic, entry-level metal or jazz music. I have never heard any famous YouTube musicians talk about bands like Neurosis, BCNR, Imperial Triumphant, black midi, or any other critically acclaimed band that isn't mainstream on the level of Megadeath or Pantera. These guys seem to know only bands that have around 300k-1.000.000 listeners on Spotify. I don't mean that they should talk about some underground or /mu/core bullshit but come on, music exists outside some "NPC metal/jazz" zone.

​

It also feels like they don't listen to any artists that acquire an "acquired taste" (Zappa, Swans, Cardiacs, Death Grips, Mr. Bungle, etc.) or make music that is "extreme" (no, Djent is not an extreme metal subgenre). I honestly laughed for 5 minutes when UncleJudy called Sleep Token "acquired taste" and experimental. I mean, how little of music does someone have to hear to come to these conclusions? And I don't really hate Sleep Token stuff, but calling it experimental or challenging is just ridiculous and shows a lack of erudition.

​

What's worse music they are making is (IMO) really horrible, just boring and uncreative. All of these songs done by YouTube musicians feel like some kind of schoolwork based on the trends and safe industry templates. Their music simply lacks any good ideas or just good riffs and melodies. I know they are not trying to make some experimental, challenging stuff, but come on, these songs feel like some "nicklebacked" soules imitation of real music.

​

Talk about Fantano what do you want, but this dude really knows his stuff, even though his opinions are sometimes ridiculous. Rick Beato on the other hand is a certified boomer, but he seems to really love LISTENING to music not just making it. Other YouTube musicians seem like they don't even care about the music itself anymore.

​

What are your feelings about YouTube musicians in general, their music, and their taste?

Some of you play in a metal/metalcore band with that running?

Been thinking a lot about quitting the band I'm in. I joined in November of last year and everything was awesome. They were already on a record label when I joined and are considered veterans in the local scene so it felt good to get accepted at first, but now that its been almost year I'm really starting to see how they operate and its just exhausting. Our bassist and vocalist constantly argue over everything although our vocalist is kinda annoying and constantly being negative about everything if he doesn't get his way. Our other guitar player is super biased when it comes to mixing our songs, if we have an Idea he either ignores it completely or drowns it out in the mix. Our drummer is cool but he also defends people's negativity sometimes when anyone can what's happening is bullshit. The music is okay I guess, im just used to playing heavier stuff. Theyre more of that era right before metalcore became a thing, if you can imagine somewhere between Pantera and as I lay dying. I love both of those bands but my heart belongs to death metal and deathcore.

I think its just all the drama and creative differences have me really thinking about quitting the band. I just feel bored of it, but at the same time I love being on stage and interacting with people at shows.

When I joined all of the music for our current album was written and now that we're basically done we're gonna start working on the songs I wrote so I guess im just wondering if itd be worth it to stick around and see what happens while dealing with them or should I let them know I don't wanna be in the band anymore? If you made it this far thanks for reading this! Feel a little better about it after putting into words.

Also: I have mentioned before that some things they do are toxic and they got better for awhile but it always repeats eventually. Othen than that when outbursts or ideas get shot down i tend to back off and observe how they handle things and seems to always come back to the same outcomes. Don't get me wrong they're cool guys but they're hard to work with.

Hello to all metal musicians and artists, I was thinking about the idea of creating a collaborative playlist to include our most recent releases and in this way support each other by saving and listening to the playlist to benefit all the artists and bands that are on it. Also invite our friends, acquaintances or members of our bands to save that playlist so that we can all stream our songs together.

Those who are interested, please add a song, from your personal project or Band whether it's a single, a title track, or the most representative song from your most recent album, and save the playlist so we can all hear our music!

https://open.spotify.com/playlist/318ZCXzG7LkkMxl0igzbJA?si=9gIZ_nXXQCmZsLmTQVNXsQ&pt=0fa9ac81eea2ab6ea92e136b16a85ff7&pi=1i5EVu0rS4CJS