Eduard Nikolaevich Artemyev (Russian: Эдуард Николаевич Артемьев, 1937-202… Read Full Bio ↴Eduard Nikolaevich Artemyev (Russian: Эдуард Николаевич Артемьев, 1937-2022) WAs a Russian composer of electronic music and film scores. Outside of Russia he is mostly known for his scores to films such as "Solaris", "Stalker", "Siberiade" and "Burnt by the Sun".
Artemyev was born in Novosibirsk and studied at the Moscow Conservatory under Yuri Shaporin. His interest in electronic music and synthesizers began after his graduation in the 1960, when electronic music was still in its infancy. He wrote his first composition in 1967 on one of the first synthesizers, the ANS synthesizer developed by the Soviet engineer Evgeny Murzin. He was thus one of the first composers and a pioneer of electronic music. His collaboration with the film director Andrei Tarkovsky in the 1970s made him well-known. He wrote the film scores of Tarkovsky's Solaris, Zerkalo and Stalker. Later he also wrote film scores for films by Andrei Konchalovsky and Nikita Mikhalkov. His film scores and his music received several awards, including three Nika Awards. Recently, he licensed several pieces from the Solaris soundtrack in order to use them in the upcoming Spanish production The Cosmonaut.
Nowadays Artemiev is an acknowledged leader of Russian electronic music. Many of his experiments and discoveries have been realized in the sphere of electronic synthesis, where he is a researcher of authority and a highly poetical master. The cultural trends of his time have been originally interpreted in the composer's creative evolution, with different facets of his individuality revealed in an alternation of stylistic orientations.
His compositions written in the 60s-the early 70s belong to the aesthetics of avant-garde. Thank to electronics, which enabled 'to enter a qualitatively different acoustical world, sound colour and timbre became the field where a search for new musical laws and relationship could be undertaken. "Sound is a palette with most subtle and lavish nuances of colours. Electronics lends some new qualities to it: peculiar acoustical sounding, unlimited duration, abundance of timbres". It is in electronics that Artemiev finds what most appeals to his gift. For him the synthesiser is a possibility to compose" sound, timbre, to sculpt it, to lend form, "colour", energy, duration. A most fascinating task for the musician with a creator's imagination, a colourist's talent and an inventor's intuition!
His findings in the sphere of colouring have expanded the limits of timbre perception. In the composition "Mosaic" (1967) "sonors" - timbres become independent means to express the motion of sounds in space. "Mosaic" won recognition at the festivals in Florence, Venice, Cologne, Bourges.
"The possibility of penetrating into the microcosm of timbre, of searching in the field of controlled-spaces creation" has been realised by Artemiev in his composition "Twelve Glimpses on the World of Sound" (1969). Here the unique technical conception - the creation of a series of acoustic "variations on one timbre" - symbolises the idea of the unity of micro- and macrocosm. Artemiev compares "the space of timbre" with perspective: "Such variations can be continued for as much time as one would like, for the given amount of overtones (as the one present in the timbre of temirkomuz - M.K.) can be combined indefinitely". "Mosaic" and "Twelve Glimpses" were included into LP record "Musical Offerings" (1990) & also were published on CD "Electroshock Presents: Electroacoustic Music Volume IV - Archive Tapes Synthesizer ANS 1964-1971" on Electroshock Records label in 1999.
Kindred to the aesthetics of avant-garde is his incidental music for films of Andrei Tarkovsky. The unordinary tasks set by the director required similar creative efforts on the part of the composer. Writing the music to "Solaris", "The Mirror", "Stalker" resulted in serious experiments in electronics and the specific sphere of audio-video contact.
From the mid-70s Artemiev's style underwent a change in the direction of "new simplicity". The dialogue between the academic tradition and rock-aesthetics tended to meet other, "more global tasks: to assimilate the styles, genres . Resonant with those tasks was also his desire to try his hand at an openly emotional, intuitive self-expression. "Polychromaticism of timbre" still preserved its significance for the composer, however, the traditional elements of writing were more actively introduced, accompanied with a new sense of melody, rhythm, harmony.
Those creative aspirations of his were embodied, though differently, in a number of compositions. Declaratively, in his cantata "Ode to Herald of Good" to the text of Pierre de Coubertin, written for the Olympic Games in Moscow decided to take the road not of a synthesis, but of a "symbiosis" of all expressive means at my disposal, and to write each movement of the cantata in a special technique and in different genres, with electronics' expressive possibilities as a unifving pivot"(the author's annotation to the phonograph record of "Ode" ("Ritual").
In a variety of proportions and combinations the synthesis of "musics" was realised in his quasi-symphonies "The Seven Gates into the World of Satori" and "Peregrini", in the poems to Lithuanian texts "White Dove", "Summer", "Vision", in the music for the films "Sibiriada", "Fox Hunting", "The End of Eternity", "Moon Rainbow", in the cantata "The Warmth of the Earth", in the opera "Crime and Punishment" based on F. Dostoyevsky's novel.
There is a new quality perceptible in the works written in the late 80s: a blending of the democratic aspirations inherited from the aesthetics of the 70s with the ideas of avant-garde, of the rational with the intuitive. Here first mention should be made of his nostalgic cycle based on the music of Tarkovsky's films "Solaris", "The Mirror", "Stalker" (1989).
An international response has been gained by another work of the composer - "Three Glimpses on the Revolution" written for the Bicentennial of the French Revolution and commissioned from the organisers of the Electronic Music Festival in Bourges (1989). The review in the Portuguese newspaper Diario de Lisboa" ran: "... the work "Three Glimpses on the Revolution" by Russian composer Edward Artemiev has become a real discovery: his powerful music built with great skill is remarkable for outstanding accomplishment. This is a work of typically Russian composer brought up in the traditions of Mussorgsky, Stravinsky, Shostakovich… This is a music of great epical might and undoubted expression" (from Jorge Peixinho's article "Synthesis" and "the French Revolution", October 27th 1989).
A good deal of interesting music has been created by Artemiev for the cinema. He is one of the most acknowledged masters of film music. Film directors are hopeful of success if Artemiev is involved in the film. The composer's name on the poster or advertising announcement is a lure attracting cinema-goers. It is not a surprise that phonograph records containing his film music, in particular, the disc "Mood-Pictures" with fragments from several of his film scores & double CD "Music to Films of Nikita Mikhalkov" enjoy such popularity. Abroad there is a growing interest in Artemiev's film music. In France a record had been issued with his music to Andrei Konchalovsky's serial "Sibiriada". A compact disc has been released in the Netherlands containing his voluminous electronic cycle based on his music to Andrei Tarkovsky's films and also including the composition "Ocean" written in memory of the late film director (1989). This particular CD was re-issued by "Electroshock Records" in 1999.
Over 140 "scores for sound" created by him for the cinema impress with a diversity of themes, plots, genres and heterogeneity of artistic tasks, no matter whether they are solved by means of electronics or symphony orchestra. If necessary, the composer makes use of samplers, or acoustical instruments, or orchestra.
In creative communion much depends upon Artemiev's individuality as a composer. That was the way he collaborated with Nikita Mikhalkov when working on all the films and the stage production of "An Unfinished Piece for Mechanical Piano" at Teatro di Roma: "When I first heard his music", recollected N. Mikhalkov, "the thing that most appealed to me was its wonderful melodiousness, At the same time the composer has a staggering sense of style".
"Artemiev has a wonderful sense of the screen", notes Vadim Abdrashitov. "He never writes illustrative music. His music is a counterpoint to the image, adding to and revealing the inner meaning of the sequence. He can cope with any most sophisticated task. I'm sure that his potentialities have not been fully realised so far". His music for the film "Fox Hunting" has been included into the first cycle of "Mood-Pictures".
"You ask why I invited Artemiev to work at the film "Homer and Eddie", reflected Andrei Konchalovsky. "Of course, first of all because he is a gifted man and I feel easy with him". The collaboration, which originated in the film "Sibiriada", in the opera "Crime and Punishment" (its stage conception belonging to Konchalovsky), has been going on at the stage of Theatre de l'Odeon in Paris in A. Chekhov's "Seagull", in the Hollywood studios, in the films "Duet for One", where "Credo" from Artemiev's electronic Requiem is sounding, and "Homer and Eddie" (1988).
Artemiev's music appealed to Andrei Tarkovsky with its audiovisuality, spatiality, with his ability to conceive intricate associative turns, to create generalised symbols-images. Artemiev contributed to three films of Tarkovsky, as well as to the stage production of "Hamlet" undertaken by Tarkovsky in Moscow in the 70s.
Feeling of ensemble is a valuable quality in a composer working in the cinema. Artemiev is fond of and knows how to create ensemble. His subtle understanding of the director's cinematographic language, manner and style is both his experience and his special gift. "The sequence on the screen has a miraculous effect on me. I'm always patiently waiting for whatever will be shown me by the director, and then his style, language, his imagery of thinking will evoke a response in me".
Following his path in the cinema, the composer encounters different historical styles. The traditions of 19th-century dramatic-lyrical symphonies may be discerned in this music for the film "Gobseck", while the lofty spiritualness of baroque has been achieved in the "old-style" music for Stradivari instruments ("A Visit to Minotaur"). A charmingly sensitive interpretation in retro style has been found for the film "A Slave of Love". A European tune of the 15th century, arranged in the manner and sounding typical of Zen Buddhists meditations, signifies the sophisticated interlacement of the cultures of the Orient and the West ("Stalker").
Usually it is the collaboration of the composer and the engineer that yields serious achievements in electronic and computer music. As for Artemiev, his amazing "technological versatility" makes it possible to combine them in a single person. He is the author of the composition and a programmer and also the man to find a technical realisation for his musical ideas. In addition, he is a performing artist and a sound producer.
Long periods of reclusion at his studio where Artemiev creates his compositions alternate with trips to electronic music festivals - to Baltimore to attend "Res musica" International Electroacoustic Music Festival, to Bourges to take part in "Synthese" Festival International de Musique Experimentale de Bourges, to recording companies or film studios, as well as to take part in the activities of the International Confederation of Electroacoustic Music (ICEM), UNESCO. Russian Association for Electroacoustic Music of which Edward Artemiev is President is comprised as a national section into this International infrastruction.
Artemyev was born in Novosibirsk and studied at the Moscow Conservatory under Yuri Shaporin. His interest in electronic music and synthesizers began after his graduation in the 1960, when electronic music was still in its infancy. He wrote his first composition in 1967 on one of the first synthesizers, the ANS synthesizer developed by the Soviet engineer Evgeny Murzin. He was thus one of the first composers and a pioneer of electronic music. His collaboration with the film director Andrei Tarkovsky in the 1970s made him well-known. He wrote the film scores of Tarkovsky's Solaris, Zerkalo and Stalker. Later he also wrote film scores for films by Andrei Konchalovsky and Nikita Mikhalkov. His film scores and his music received several awards, including three Nika Awards. Recently, he licensed several pieces from the Solaris soundtrack in order to use them in the upcoming Spanish production The Cosmonaut.
Nowadays Artemiev is an acknowledged leader of Russian electronic music. Many of his experiments and discoveries have been realized in the sphere of electronic synthesis, where he is a researcher of authority and a highly poetical master. The cultural trends of his time have been originally interpreted in the composer's creative evolution, with different facets of his individuality revealed in an alternation of stylistic orientations.
His compositions written in the 60s-the early 70s belong to the aesthetics of avant-garde. Thank to electronics, which enabled 'to enter a qualitatively different acoustical world, sound colour and timbre became the field where a search for new musical laws and relationship could be undertaken. "Sound is a palette with most subtle and lavish nuances of colours. Electronics lends some new qualities to it: peculiar acoustical sounding, unlimited duration, abundance of timbres". It is in electronics that Artemiev finds what most appeals to his gift. For him the synthesiser is a possibility to compose" sound, timbre, to sculpt it, to lend form, "colour", energy, duration. A most fascinating task for the musician with a creator's imagination, a colourist's talent and an inventor's intuition!
His findings in the sphere of colouring have expanded the limits of timbre perception. In the composition "Mosaic" (1967) "sonors" - timbres become independent means to express the motion of sounds in space. "Mosaic" won recognition at the festivals in Florence, Venice, Cologne, Bourges.
"The possibility of penetrating into the microcosm of timbre, of searching in the field of controlled-spaces creation" has been realised by Artemiev in his composition "Twelve Glimpses on the World of Sound" (1969). Here the unique technical conception - the creation of a series of acoustic "variations on one timbre" - symbolises the idea of the unity of micro- and macrocosm. Artemiev compares "the space of timbre" with perspective: "Such variations can be continued for as much time as one would like, for the given amount of overtones (as the one present in the timbre of temirkomuz - M.K.) can be combined indefinitely". "Mosaic" and "Twelve Glimpses" were included into LP record "Musical Offerings" (1990) & also were published on CD "Electroshock Presents: Electroacoustic Music Volume IV - Archive Tapes Synthesizer ANS 1964-1971" on Electroshock Records label in 1999.
Kindred to the aesthetics of avant-garde is his incidental music for films of Andrei Tarkovsky. The unordinary tasks set by the director required similar creative efforts on the part of the composer. Writing the music to "Solaris", "The Mirror", "Stalker" resulted in serious experiments in electronics and the specific sphere of audio-video contact.
From the mid-70s Artemiev's style underwent a change in the direction of "new simplicity". The dialogue between the academic tradition and rock-aesthetics tended to meet other, "more global tasks: to assimilate the styles, genres . Resonant with those tasks was also his desire to try his hand at an openly emotional, intuitive self-expression. "Polychromaticism of timbre" still preserved its significance for the composer, however, the traditional elements of writing were more actively introduced, accompanied with a new sense of melody, rhythm, harmony.
Those creative aspirations of his were embodied, though differently, in a number of compositions. Declaratively, in his cantata "Ode to Herald of Good" to the text of Pierre de Coubertin, written for the Olympic Games in Moscow decided to take the road not of a synthesis, but of a "symbiosis" of all expressive means at my disposal, and to write each movement of the cantata in a special technique and in different genres, with electronics' expressive possibilities as a unifving pivot"(the author's annotation to the phonograph record of "Ode" ("Ritual").
In a variety of proportions and combinations the synthesis of "musics" was realised in his quasi-symphonies "The Seven Gates into the World of Satori" and "Peregrini", in the poems to Lithuanian texts "White Dove", "Summer", "Vision", in the music for the films "Sibiriada", "Fox Hunting", "The End of Eternity", "Moon Rainbow", in the cantata "The Warmth of the Earth", in the opera "Crime and Punishment" based on F. Dostoyevsky's novel.
There is a new quality perceptible in the works written in the late 80s: a blending of the democratic aspirations inherited from the aesthetics of the 70s with the ideas of avant-garde, of the rational with the intuitive. Here first mention should be made of his nostalgic cycle based on the music of Tarkovsky's films "Solaris", "The Mirror", "Stalker" (1989).
An international response has been gained by another work of the composer - "Three Glimpses on the Revolution" written for the Bicentennial of the French Revolution and commissioned from the organisers of the Electronic Music Festival in Bourges (1989). The review in the Portuguese newspaper Diario de Lisboa" ran: "... the work "Three Glimpses on the Revolution" by Russian composer Edward Artemiev has become a real discovery: his powerful music built with great skill is remarkable for outstanding accomplishment. This is a work of typically Russian composer brought up in the traditions of Mussorgsky, Stravinsky, Shostakovich… This is a music of great epical might and undoubted expression" (from Jorge Peixinho's article "Synthesis" and "the French Revolution", October 27th 1989).
A good deal of interesting music has been created by Artemiev for the cinema. He is one of the most acknowledged masters of film music. Film directors are hopeful of success if Artemiev is involved in the film. The composer's name on the poster or advertising announcement is a lure attracting cinema-goers. It is not a surprise that phonograph records containing his film music, in particular, the disc "Mood-Pictures" with fragments from several of his film scores & double CD "Music to Films of Nikita Mikhalkov" enjoy such popularity. Abroad there is a growing interest in Artemiev's film music. In France a record had been issued with his music to Andrei Konchalovsky's serial "Sibiriada". A compact disc has been released in the Netherlands containing his voluminous electronic cycle based on his music to Andrei Tarkovsky's films and also including the composition "Ocean" written in memory of the late film director (1989). This particular CD was re-issued by "Electroshock Records" in 1999.
Over 140 "scores for sound" created by him for the cinema impress with a diversity of themes, plots, genres and heterogeneity of artistic tasks, no matter whether they are solved by means of electronics or symphony orchestra. If necessary, the composer makes use of samplers, or acoustical instruments, or orchestra.
In creative communion much depends upon Artemiev's individuality as a composer. That was the way he collaborated with Nikita Mikhalkov when working on all the films and the stage production of "An Unfinished Piece for Mechanical Piano" at Teatro di Roma: "When I first heard his music", recollected N. Mikhalkov, "the thing that most appealed to me was its wonderful melodiousness, At the same time the composer has a staggering sense of style".
"Artemiev has a wonderful sense of the screen", notes Vadim Abdrashitov. "He never writes illustrative music. His music is a counterpoint to the image, adding to and revealing the inner meaning of the sequence. He can cope with any most sophisticated task. I'm sure that his potentialities have not been fully realised so far". His music for the film "Fox Hunting" has been included into the first cycle of "Mood-Pictures".
"You ask why I invited Artemiev to work at the film "Homer and Eddie", reflected Andrei Konchalovsky. "Of course, first of all because he is a gifted man and I feel easy with him". The collaboration, which originated in the film "Sibiriada", in the opera "Crime and Punishment" (its stage conception belonging to Konchalovsky), has been going on at the stage of Theatre de l'Odeon in Paris in A. Chekhov's "Seagull", in the Hollywood studios, in the films "Duet for One", where "Credo" from Artemiev's electronic Requiem is sounding, and "Homer and Eddie" (1988).
Artemiev's music appealed to Andrei Tarkovsky with its audiovisuality, spatiality, with his ability to conceive intricate associative turns, to create generalised symbols-images. Artemiev contributed to three films of Tarkovsky, as well as to the stage production of "Hamlet" undertaken by Tarkovsky in Moscow in the 70s.
Feeling of ensemble is a valuable quality in a composer working in the cinema. Artemiev is fond of and knows how to create ensemble. His subtle understanding of the director's cinematographic language, manner and style is both his experience and his special gift. "The sequence on the screen has a miraculous effect on me. I'm always patiently waiting for whatever will be shown me by the director, and then his style, language, his imagery of thinking will evoke a response in me".
Following his path in the cinema, the composer encounters different historical styles. The traditions of 19th-century dramatic-lyrical symphonies may be discerned in this music for the film "Gobseck", while the lofty spiritualness of baroque has been achieved in the "old-style" music for Stradivari instruments ("A Visit to Minotaur"). A charmingly sensitive interpretation in retro style has been found for the film "A Slave of Love". A European tune of the 15th century, arranged in the manner and sounding typical of Zen Buddhists meditations, signifies the sophisticated interlacement of the cultures of the Orient and the West ("Stalker").
Usually it is the collaboration of the composer and the engineer that yields serious achievements in electronic and computer music. As for Artemiev, his amazing "technological versatility" makes it possible to combine them in a single person. He is the author of the composition and a programmer and also the man to find a technical realisation for his musical ideas. In addition, he is a performing artist and a sound producer.
Long periods of reclusion at his studio where Artemiev creates his compositions alternate with trips to electronic music festivals - to Baltimore to attend "Res musica" International Electroacoustic Music Festival, to Bourges to take part in "Synthese" Festival International de Musique Experimentale de Bourges, to recording companies or film studios, as well as to take part in the activities of the International Confederation of Electroacoustic Music (ICEM), UNESCO. Russian Association for Electroacoustic Music of which Edward Artemiev is President is comprised as a national section into this International infrastruction.
Stalker
Эдуард Артемьев Lyrics
We have lyrics for 'Stalker' by these artists:
1NB Like a fire Hot Hot So Hot Hot Like a fire Hot…
3ye Boom boom boom bu-ru boom boom Boom bu-ru boom boom, boom…
7L & Esoteric You again Are you following me? Why no, I'm stalking you Fr…
7l and esoteric You again Are you following me? Why no, I'm stalking you …
After Crying Az ember végül homokos, szomorú, vizes síkra ér szétnéz …
Aiden & Ian That time I saw you cleaning floors in the store You…
All I know what time you will arive Cause I've been waiting…
Alys Was it a mistake? Cause you know this is torture…
Analias Feels like I'm high Up in the sky For once it feels…
Annika Rose these days when u talk about me do u speak…
Anuka I drove by your house the other day You left late…
Arne Åsmund When the wine is gone you kill all the lights…
Audiovent You Don't give up You're my stalker Leave me be I know I sh…
B. Howard Ja ze is een vieze stalker Ze komt gevaarlijk dicht Ja ze…
Badflower Stalker, stalker One day I'll probably fucking kill her, kil…
Bangers Only New Balenciagas Walkin like I cannot touch the lava Ouuu …
BEAT WIN Alright ladies and gentlemen, Yes, guess who's back We came…
Between Friends I lost my memory U say HA Alone consistently We say HA But i…
Bonnie li I′m feeling anxious I don't know why There′s no particular r…
Bror Gunnar Jansson I miss you. Why haven't you answered any of my calls? Do you…
Cascada Hold on W-where you going? I can't get enough of you Yo…
Christian Durstewitz Some people hate me Don’t know why. I’m just a boy, I’m u…
Christina Milian Verse1. Rolling through the streets though i got somewhere …
Coez Na na na na na L'amore è come un amo da…
Colin Macintyre You have never seen the darkest side of me So don't…
Control Alt Deus Another power, another source, I hunt your soul for my…
Covenant In transit you pass among the strangers of the world Paying…
Deadly Vipers Girl, can I have your attention, Not looking for troubles, I…
DJ T. Ooh yeah I know ya better, I know ya better…
DjT.O She changed her name and her number, the place she called…
Duwap Kaine Got that glick at the show I really think they scared…
ElyOtto Waah! Elliott, we're leaving in like five minutes! Are …
Emma Cairo Stalker, stalker, what do you do? What do you do when…
Endochine I watch you sleep We lay here under covers I watch you…
Evan A. James She's got eyes like daggers, Watching every move I make, Lur…
F.L.E.X 나도 알아 나의 문제가 무엇인지 난 못났고 별볼일 없지 그 애가 나를…
F.L.E.X. You again Are you following me? Why no, I'm stalking you …
Felix Schorn she follow me on every step can feel her breath…
Fire And Theft I'm in the dark I'm in the hurricane I'm in…
Firescape It won't matter if you're in disguise I'll be there It won't…
Francois Couturier Anja Lechner Jean-Louis Matinier & Jean-Marc Larché Lets get it! Lets get it!…
Friska Viljor When it's over, we'll roll over and keep to our…
Goldfinger She calls me on the phone Hoping that I'm home And that…
Gucci Hernandez I know That I shouldn't want her Stockholm Syndrome I can't …
H.P. Zinker 날 그냥 내버려 둬, 제발 좀 사라져버려 어디서 뭘 하는지 제발…
Hannah Jane Fox See that man behind that tree? He's spent seventeen hours…
Hate Plow When I first saw her, I knew she was mine All…
Hateplow When I first saw her, I knew she was mine All…
Herman Gjeitanger Girl of my dreams To tender and nice The cutest smile And yo…
Hyolyn 집 앞에 지금 나 서있어 근데 왜 문은 잠겨 있어 아프길 바래…
IAMX I know you′re aching to be saved From all the bullshit…
In Extremo Ich seh' dich und versteh' nicht Sag mir, warum verfolgst d…
IV-V-VI Вижу тебя Я будто бы сталкер Убью тебя я Я будто бы сталкер …
Jacek Kaczmarski Kogóż to z nas tonący nie wiózł wrak Któż z nas…
Jake Daniels Verse 1- I don’t get problems, I’m just honest and you…
Jazzy Bazz P't'être qu'on s'conjuguerait encore à deux Si on avait vécu…
Jerry Williams I can't help thinking I'm A little bit obsessed I know your…
Joell Ortiz She was the flyest thing on the block Long hair to…
Kauai Shawty Bebeu do meu copo entortou igual Pisa Vadia estranha acha qu…
Kelley James [Chorus] Just because I like to wait right outside your lock…
Kim Boekbinder I like to watch you as you walk by Open…
Kings & Creatures Never let someone in Never let someone in that'll start bull…
Krim Daga Por oro fué la encontró un instante que la miró…
L.A.R You again Are you following me? Why no, I'm stalking you Fr…
Lead Weight You will never recognize me And will not hear my genuine…
Lee Minho Good night 날 위로 했던 말 그 마지막 순간 그대의 웃음이 내겐…
Leito Hay un fuerza de ti Qué me hace sonreir Y no me…
Librium Who's to say you're alone when you're walking More afraid t…
lilspirit Caught you out here while you following me Everywhere that I…
Louis XIV I can stare at you all night and you won't…
Luca DG I like to feel the pain Running under the rain I do…
Lumaraa Du hattest weder meine Nummer Noch wusstest du Bescheid Wo i…
M-Tek HAY UN MOMENTO PARA CORRER Y ESPERO QUE SEPAS CUAL ES. ESTE…
M.L.J. tha Beatmaker You again Are you following me? Why no, I'm stalking you Fr…
Macy Gray People say that I'm your stalker, the way I follow…
Mad Clown Niga ipsureul du beon kkaemulgo nuneul han beon kkamppagil t…
Mercy Necromancy Sometimes i feel like i'm a stalker Because you're always on…
Mr. Eff [Mr. Shadow] I follow you All of you Every single one of you…
MrRenz Ich sitze hier vor deinen Haus doch du kommst nicht raus u…
ND Lee 니 사랑을 갖고싶어 이젠 내게 다가와 더 바라볼것 없잖아 숨겨진 모든…
NervoChaos Another year has passed me those fears don't hunt me…
O.B Ja ze is een vieze stalker Ze komt gevaarlijk dicht Ja ze…
OST S.T.A.L.K.E.R. 날 그냥 내버려 둬, 제발 좀 사라져버려 어디서 뭘 하는지 제발…
Palmer Eldritch Moje spojrzenie na Ciebie to jedno długie ujęcie Chciałbym a…
parc jae jung 첫눈에 첫눈에 첫눈에 첫눈에 가만히 머리를 매만진다 따뜻한 라떼를 주문한다 지금 그녀는 한동안 거리를…
POL-Y 날 그냥 내버려 둬, 제발 좀 사라져버려 어디서 뭘 하는지 제발…
Pultixima Something keeps me high Something keeps me going But I could…
raegan I'm just a little curious I'm sorry mister I won't even…
Recoil I can make a perfect picture from a voice Her serenity…
Recoil (Alan Wilder) I can make a perfect picture from a voice Her serenity…
Regency Buck If you wanted to know I'd tell you what I…
Robert Rich & B. Lustmord Ja ze is een vieze stalker Ze komt gevaarlijk dicht Ja ze…
S.T.R.S.G.N There must be a reason Why it´s you that I´m seeing Everytim…
Sillyboy Three floors down Lives this guy who thinks he owns this…
Sonic Youth Got me prowling like a police car I'm stalkin' and walkin'…
SP-X 나도 알아 나의 문제가 무엇인지 난 못났고 별볼일 없지 그 애가 나를…
Stalker Expressionless This artificial god The ultimate in evil Dest…
Stevie Howie Now I think about you now What is he doing with your…
SURFBORT I see you everyday watchin through my window pain I know…
T-L You again Are you following me? Why no, I'm stalking you Fr…
T.O.M.G She changed her name and her number, the place she called…
The Covenant In transit you pass among the strangers of the world Paying…
The Crash Girl I can't stop being in love with you I can't…
The Dahmers Staring eyes hiding out in the dark I'm watching you strolli…
The Pillows プリッグ症のストリップショー 完壁なんでしょう？ 僕は汚れたストーカー 狙って つばを吐く ベビーカーに乗る…
The Recoil I can make a perfect picture from a voice Her serenity…
The Warning Look at me my dear, look at me my dear I…
Tim Hawkins I've been watchin you for a long, long time And you…
Torment You sense a presence, but you don't care You should because…
Turin Brakes I'm in the dark I'm in the hurricane I'm in the rain All…
U&K 날 그냥 내버려 둬, 제발 좀 사라져버려 어디서 뭘 하는지 제발…
Urge Overkill Thought you wanted. Thought you wanted. I thought you wanted…
Vent You Don't give up You're my stalker Leave me be I know…
War Rocket Ajax You got a stalker. Just call me Jack. You'll never see me…
Wolves of War Oh Brothers come and let us pray! The Monolith will guide…
You Are My Everything Think of all the times I've wasted on you Waiting by the…
Z-Ro Stalker Vers 1: Jeg ser deg smile og tenker på. At du…
ZBIGNIEW HOŁDYS Przepraszam cię za to że Wywróciłem całe życie twe I wybacz …
비트윈 Alright ladies and gentlemen Yes guess who\'s back We came …
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