Horror Sacri on the Charts

I recently took a look at how the tracks from my latest album Horror Sacri performed on RepostExchange — a platform where independent artists can share and promote each other’s music, and where listener engagement shapes the Pop/Rock and overall Top 40 charts.

Here’s how the songs did:

  • Ego Mortuus Sum reached #1 on both the Pop/Rock Top 40 and the Re-Ex Top 40 — the highest position any of my songs has ever achieved there.
  • Soul Hunt stayed on the charts for 10 days, making it the longest-lasting track from the album.
  • Messiah of Shrinking Shores, Secreta, Soul Hunt and, somewhat surprisingly for an instrumental, Miserere, also made it to the Re-Ex Top 40 — with Miserere climbing all the way up to #5.

I’m deeply grateful for all the support, plays, and feedback.
These numbers aren’t just statistics — they’re echoes of connection, and I’m truly thankful to everyone who helped Horror Sacri find its audience.

Against the Odds

The hardest part of being an independent musician is not the composing, not even the recording—it is facing the odds.

Numbers are brutally honest. Out of a few thousand views, perhaps one or two turn into clicks or likes, and only a fraction of those become actual listeners. Sometimes it takes ten thousand (or even more) plays for a single person to finish a track. On my latest release, at a specific point of time there were eighty-five track plays, sixty-five of which were partial. That is not unusual—it is the rule.

If I were to translate this into practical terms, it would mean that to reach real engagement, I would need hundreds of thousands of views. But for an independent musician, this is little more than an illusion. To generate those kinds of numbers, you would have to pour in enormous amounts of time, energy, and resources—time that for many of us is already consumed by work, family, or simply the desire to preserve some semblance of life outside music.

This is the paradox: to be heard, you must market yourself endlessly, but the more you do so, the less time remains to create. I have written before about the dangers of approaching music as a mechanical process (“The Art of Authenticity: Rethinking Success in Music”) or the feeling of hitting a glass ceiling despite relentless effort (“Lost in the Noise: The Struggle of Independent Musicians“). What I feel now is a continuation of those same themes: that music cannot and should not be reduced to numbers, strategies, and promotional metrics.

And yet, here I am, counting the odds.

It is disheartening, but not defeating. Because in the end, music is a two-way street and it’s not just about being heard—it is also about the act of expression itself, the need to give shape to something that would otherwise remain unspoken. Even if the odds are against us, the music still exists. And perhaps, that is enough.

For those interested in exploring these thoughts further, you can find my earlier reflections here:
– Lost in the Noise: The Struggle of Independent Musicians
– The Art of Authenticity: Rethinking Success in Music

Soundcloud statistics (as of 14.03.2023)

OK, I know that SoundCloud doesn’t own the philosopher’s stone, and it’s a rather closed community of music enthusiasts, but at least it offers reasonable amount of useful feedback resources. I was just checking my statistics and look, what I found. Below you can see the average ratings of all my songs (from 0 – 10), together with the total number of ratings per each songs.

HexaplaAverage ratingTotal number of ratings
Hebrew8.942
Secunda8.739
Aquila8.545
Symmachus8.845
Septuagint8.844
Theodotion8.333
Hexapla – The RemastersAverage ratingTotal number of ratings
Hebrew8.844
Secunda8.938
Aquila9.044
Symmachus8.734
Septuagint8.840
Theodotion8.735
Missa InnominataAverage ratingTotal number of ratings
Introitus8.752
Kyrie8.650
Gloria8.458
Sanctus8.750
Agnus Dei8.746
Postcommunio8.554

What does it all mean?

First of all it means that the average ratings of my albums are high and uniform (8.7/10, 8.8/10 and 8.6/10 for Hexapla, Hexapla – The Remasters and Missa Innominata, respectively). Also, the songs of each albums were scored by 34-58 people, which is really a huge amount of feedback!

I am more than aware of the importance of the feedback and support I constantly receive from you guys, no matter which platform you use to listen to my songs or to communicate with me. Still, the fact that you valued my tracks so high and gave them such incredible scores is heartwarming – and pleasantly unexpected (!) – to me. Thank you for the feedback – this is exactly, what gives me motivation and inspiration to carry on on this long and windy road of making independent music totally by myself! (Btw, I would have said the same if the feedback hadn’t been so positive. I really appreciate the time you spent with listening and scoring – and eventually even commenting! – my songs.)

Thank you for everything!

2022 in two sentences

Well, this is (more or less) the naked truth: I had approximately 18.500 streams in one year, which – I think – is not that bad at all. Let’s see what 2023 holds for all of us!