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LORD OF THE FLYEZ x FRAUNHOFER DIFFRACTION – Himbeeren

ʚǝɔнɐ

Didem Madak - Mutsuza Kim Bakacak

Esege Malan

Матушка Тоска [Single 2016]
Produced by Iиfected Uиicorn

Original vocals & samples from "Sonne" (Mutter 2001) by Rammstein

Matushka Toska

*şimdi
utançtır ta(n)elenen
sarışın çocukların başaklarında.

ovadan
gözü bağlı bir leylak kokusu ovadan
çeviriyor o küçücük güneşimizi.

taşarak evlerden taraçalardan
gelip sesime yerleşiyor.

sesimin esnek baldıranı
sesimin alaca baldıranı.

ve kuşlara doğru
fildişi: rüzgarın tavrı.
dağ: güneş iskeleti.

tahta heykeller arasında
denizin yavrusu kocaman.

kan görüyorum taş görüyorum
bütün heykeller arasında
karabasan ılık acemi
-uykusuzluğun sütlü inciri- 
kovanlara sızmıyor.

annem çok küçükken öldü
beni öp, sonra doğur beni.

beni öp, sonra doğur beni

White Flowers Will Never Awaken You

gitar : devrim 
vokal : murat



1998
stüdyo 2000 kayıtları..

siyasiyabend "kopruden gecti gelin"

This is a brief extract of Nocturne #1, an artistic project by Graziano Meneghin. It is recommended to listen to this extract using headphones or speakers with subwoofer due to the upper frequency range of the song ranging from 20 to 250 hertz.

On the night of January 23, 2011, eleven amplifiers installed in the windows of buildings spanning from east to west along the Fondamenta dello Squero and the Fondamenta Gerardini will each play eleven nocturnes, all composed by Fryderyk Chopin between 1829 and 1838. Their actual length of 66:06 will be slowed down so as to coincide with the duration of the night in Venice, amounting to 857 minutes, from 5:12pm of 1/23/2011 to 7:31am of 1/24/2011.   The sounds begin to spread from the terrace located furthest east until reaching the westernmost terrace, with a sound delay between speakers of one second every 1.5 meters, corresponding to the average walking speed of a person along the Fondamenta.  In this way, each amplifier is postponing its nocturne into a sort of repartee reminiscent of the dialogue between church bells along the valleys of Italy prior to twentieth century synchronization.   This long sound wave moving from east to west mimics the segmentation of global time zones, and together they generate a constant ambient sound, creating a long, uncertain and unstable vibration of bass. The dilated temporality of sound generated through fragmentation is the attempt to restore and imitate the “moving image of eternity” in which every single sound in the sky is rhythmic.


Didem Madak - Mutsuza Kim Bakacak

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