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Ashzack™'s sixth album. Rock mixed with a bit of electronic music, EDM, synth, pretty much art rock. It's about how worn out life is like a worn-out shirt. 👕🔌🎹⌨️💻
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12 songs
0:47

A minimalist, rhythmic hip-hop track characterized by a steady, metronomic woodblock or stick-click percussion pattern, The arrangement features a deep, resonant bass guitar line that provides a groovy, syncopated foundation, The tempo is a relaxed mid-tempo around 90 BPM, Production is clean and dry with minimal reverb, emphasizing the percussive elements, A male voice enters with a short, spoken-word introduction, delivered in a calm, conversational tone, The overall structure is built on a repetitive loop that creates a laid-back, urban atmosphere
3:24

5:31

3:54

4:25

Vectyr Zaccade
v4.5-all
Calm, Whispering Male Vocals, EDM, Repetitive Melodic Phrasing, Experimental
3:30

Tinnitus
v4.5-all
Raw, Whispering Female Vocals, A high-energy garage rock track characterized by a raw, lo-fi aesthetic and a driving tempo of 145 BPM, The arrangement features heavily distorted electric guitars playing power chord riffs with a fuzzy, overdriven tone, The percussion is aggressive, utilizing a standard kit with a prominent, crashing ride cymbal and a punchy snare, A thick, distorted bass guitar mirrors the guitar riffs to create a wall of sound, a slight megaphone effect and short slapback delay, The mix is dense and mid-range focused, emphasizing the raw energy of a live garage performance
5:23

1:30

Experimental noise and industrial soundscape, The piece features heavy digital distortion, bit-crushing effects, and mechanical grinding textures, A low-frequency oscillating drone provides a constant sub-bass presence, High-pitched frequency sweeps and resonant filter screams punctuate the mid-range, Glitchy, non-rhythmic static bursts and white noise swells create a chaotic sonic environment, A processed, spoken male voice appears briefly with heavy saturation and a metallic resonant filter, The track lacks a consistent tempo or melodic key, focusing instead on timbral evolution and abrasive textures




