Cat Scaffolding v0.01

Welcome to KnG FsT/I-Polar Entertainment music world!!! I-Polar Entertainment is a fully independent label from outer space located on Planet Namek. Hosting a variety of music and talent. Current premier artist is KnG FsT and hosting other up and coming talent. Follow all socials for future updates and related content.

Christiane Hommelsheim sings and plays on sound objects, Ralf Haarmann electronics and mandoline. With a central interest in loops, they create intertwined acoustic layers. Through the looper all sounds loose their corporality, they resolve within themselves, they appear and
disappear, they become soundfields, and soundshadows. Ocassionally a sentences might appear out of nowhere, and lingers unfinished in the space, like a piece of thought-furniture, that might develop within the ear of the listener before it retreats back out of focus. HAARMANNHOMMELSHEIM create poetics of absence, poetics of nothing.

Jean-Michel Regnault, connu sous son nom d'artiste DJ Blush, est un compositeur de musique électro qui se distingue par une approche minimaliste mais innovante dans la production musicale. Installé dans son home studio, il compose des morceaux en utilisant une vaste collection de synthétiseurs et de samplers, tous contrôlés par un processeur MIDI, créant ainsi des sonorités électroniques uniques. Sa méthode de production, intime et créative, reflète un dévouement à l'exploration sonore, et son travail en solo lui permet de manipuler chaque élément de ses compositions avec une grande précision.
L'élément marquant de la carrière de DJ Blush est sa collaboration avec Diki Records, un label belge de renom dans le milieu de la musique électronique. En 1998, Jean-Michel Regnault a signé trois morceaux avec ce label, une décision qui a marqué un tournant dans sa carrière. Diki Records est célèbre pour avoir signé l'iconique morceau Age of Love, un classique du genre trance, et en collaborant avec eux, DJ Blush a pu se faire connaître d'un large public européen. Cette collaboration lui a ouvert des portes et a contribué à son développement en tant qu'artiste.
Aujourd'hui, DJ Blush préfère partager sa musique via des plateformes numériques, notamment Soundcloud. C'est sur cette plateforme qu'il entrepose ses créations récentes, permettant ainsi à ses fans d'écouter et de découvrir ses nouveaux morceaux. L'ère numérique a permis à des artistes comme DJ Blush de se libérer des contraintes des labels traditionnels, offrant une plus grande liberté créative tout en restant proche de leur communauté.
Le style de DJ Blush, caractérisé par une fusion de mélodies électroniques enveloppantes et de rythmes entraînants, fait de lui une figure appréciée dans l'univers de la musique électro. Toujours fidèle à ses racines et à son studio, il continue de repousser les limites de la musique électronique, tout en restant accessible à ses auditeurs à travers des plateformes comme Soundcloud.
https://www.facebook.com/groups/898612528166764

I don't claim any ownership over any of this. Anyone can use any of it for any reason forever. Also I accept liability. Please don't sue me (and/or let's collaborate).

"Holy fucking shit, this shit is crazy wtf"

"Moments of being passable beyond novelty"

"Very ok"

"Actually slaps"

At its core, the blorgpulkf is a pulsating, iridescent orb that thrums with an energy that can only be described as "the sound of a thousand bees having a rave inside a kaleidoscope." It's hypnotic, it's unsettling, and it's strangely addictive - like watching a lava lamp filled with Mountain Dew and gummy bears.

But that's just the beginning. Surrounding this pulsing heart are layers upon layers of... well, your guess is as good as mine. One moment it's a tangled web of neon tubes that hum with an eerie frequency, the next it's a churning mass of what appears to be sentient silly putty. And is that a tiny disco ball I see nestled in there? You bet your sweet bippy it is.

As for its features, the blorgpulkf is like a Swiss Army knife designed by a mad scientist with a penchant for pranks. It's got a button that releases a burst of confetti and the sound of a rubber chicken being stepped on, a lever that causes the whole thing to fold in on itself like a origami crane having an existential crisis, and a tiny compartment that dispenses a single, perfectly spherical grape every 37 hours.

But perhaps the most baffling feature of the blorgpulkf is its ability to communicate. Not with words, of course - that would be far too pedestrian. No, the blorgpulkf speaks in a language all its own, a cryptic code of flashing lights, whirring gears, and the occasional burst of atonal jazz played on what sounds suspiciously like a didgeridoo.




The plorksickle. It's like someone took a fever dream, a Mad Lib, and a Dada art installation, threw 'em in a blender, and hit "puree."

Picture this: a contraption that looks like it crawled out of a Salvador Dali painting and mated with a Rube Goldberg machine. It's got a crank that sounds like a yodeling ostrich, a button that releases a puff of glitter and the scent of existential dread, and a tiny screen that just flashes the word "moist" in Wingdings.

But here's the kicker - every time you think you've figured out what it does, it changes the game. One minute it's reciting beat poetry in binary code, the next it's turning itself inside out and becoming a Klein bottle. And don't even get me started on the time it started oozing a viscous liquid that tasted like the color purple.

Is it a tool? A toy? A sentient being from another dimension that's just really, really bad at communication? Your guess is as good as mine. All I know is, it's the most beautifully useless thing I've ever laid eyes on.

But maybe that's the point. In a world where everything has to have a purpose, a function, a reason for being, the plorksickle is a big, fat middle finger to the very concept of sense. It's absurdity for absurdity's sake, a Zen koan in physical form.

So if you ever see me on the street, cradling this bizarre little gizmo like a newborn lovechild, don't ask me what it does. Just nod, smile, and know that you're in the presence of something truly inexplicable. Something that laughs in the face of logic and spits in the eye of reason.

Work/Produce/Mix/Master/Selector/Beat Maker/Collaborator     HI all I've been with the rave music since the start of it and feel blessed to be a part of the uprise of a lot of different genres of music witch I had a passion for going to the early Acid House free parties in fields squats abandon warehouses peoples house and Garages and then when it split into different beats like Jungle Tekno ,Jungle, House , Ambient,Trance , Dub ,Dub Reggae Ragga I decided to follow Jungle Tekno ,Jungle and then to follow Drum n bass going to the big raves from back then normally the same line ups Fabio, Grooverider ,Micky Finn ,Elis Dee ,Carl cox ,Jumping jack frost,Top Buzz,Ratpack,and normally you would here the same white label dropped about 10 times in different mixes through the night ,the after parties sometimes turned into 3 to 4 days of raving on a beach or abandon warehouse or derelict buildings or a squat and plus there were so many record Labels back then with some awesome classic tracks from back in the day like Reinforced records ,Shut up and dance records, Warp Records, Moving Shadow, suburban bass Records, Boogie Times, Production House, Xl Recordings, Network Records, Ibiza Records, Strictly Underground Records, Strictly Hardcore, Kickin Records, Lucky Spin Recordings, Dee Jay Recordings, Basement Records, Formation Records, Absolute @ Records, FFRR, Slammin Vinyl, Urban Shakedown, Jumping & Pumping, Rubeboy Records .....I could go on and on there were soooooo many and again I feel blessed to have been apart of that going to the records shops in different towns and cities going through the white labels and getting to know the branded labels and trying to work out the bpm of the wax ....so many good memories were had and i still have a love a passion for Jungle first and foremost and Drum n Bass ....and all music Thanks for Reading this maybe we could share some old school and new stories some time just hit me up in the messages....One Love Big Love to all old and new People in the Dance , Production, DJs ,Big Ups Massive Blessssssss  
 Also I like  Produce Jungle and Drum n Bass... Love all music
@Spotify junglist1972@gmail.com spotify:artist:0m3AIejjoLurKuvHQTbdXq

Derek J, Aka dubMizaaj, was born in Karachi, Pakistan 🇵🇰, and is based in Bahrain 🇧🇭.

Immersed in the world of music from a young age, dubMizaaj has become a beacon of sonic innovation and inspiration. With a journey spanning over 23 years in the industry, they've evolved from a curious music enthusiast to revered tastemakers, shaping the electronic music landscape with their boundless creativity and unwavering passion.

From the underground clubs of their hometown to the festival stages of the world, dubMizaaj has left an indelible mark on audiences everywhere.
Their sets are not mere performances; they're transformative experiences that transcend the ordinary, weaving together pulsating rhythms, ethereal melodies, and soul-stirring vocals to create an atmosphere of pure magic.

A true maestro of the decks, dubMizaaj possesses an encyclopedic knowledge of music spanning across genres and eras. Their ability to seamlessly blend elements of House, Deep House, Minimal, Techno and beyond speaks volumes about their versatility and deep-rooted connection to the music they play.

He moved at a young age to the Middle East. He has lived abroad for many years in Bahrain & travelled to many Countries in Europe, including Amsterdam, Sweden, Denmark, and Germany. All these colourful factors influenced and enriched his taste and sound in music.

DubMizaaj has shared decks-time with some of the world’s leading electronic music artists Paul Darey, Simon Baker, Matt Tolfrey, Gordon Matthewman, Alex Miles, Damian D'Costa, Nakadia, Greg Stainer, Ohm Hourani, Matthew Charles & many more.
DubMizaaj playing in a Radio Show as a Guest DJ http://thecastleclub.com/ & http://www.idealclubworld.com/ http://www.casadcosta.com/ Deep House Pakistan.
DubMizaaj is playing some quality pool parties this summer.

DubMizaaj believes that acquiring technical skills and polishing them is an ever-evolving process. More importantly, evolving with the music that is setting trends in the industry is more important and of top priority regardless of the genre.
Although his style choice is Deep House/Tech/Minimal/House/ Afro/,
he has taken a deep liking for Deep House. You can expect a variety in his sets.

Bookings: derekj1717.dj@gmail.com

Robert E Flynn III is a software-developer, author and musician from San Antonio, TX. He is living with his beautiful fiancé, Claudia, whose delightful, positive outlook on life has given him the motivation to finish this work. He has two wonderful children, Caitlin and Zachary, who are grown and exploring their own fantastic lives. He has spent his entire life pursuing creative endeavors. Music was his first love and still is, and writing was always part of his life. 
Robert lived in Austin, Texas for many years and was part of the music scene in the city during that time. He was a member of several bands during those days and tremendously enjoyed playing live in many venues in the music rich area. Music is a great example of our creativity, which speaks to the Creation of all things. He also lived in Denver, Colorado for several years when his children were young and then relocated back to San Antonio, Texas to be close to family.
Night of the Living Dead was recorded at Salmon Peak Studio in San Antonio, Texas.  Mark Sinko acted as the recording engineer and also contributed a guitar part on the song.  Robert Flynn’s longest friend, Brian “Red” Moore played bass on the track as well.  Brian is the lead recording engineer at Q Productions in Corpus Christi, Texas. Q Productions is owned by the famous music artist, Selena Quintanilla-Pérez’s father.  Brian also plays bass and sings on most of the tracks I currently have on Soundcloud.  In addition to Brian, other contributors and long time friends are on these recordings also.  Jerry Bazil, from Michigan, plays drums on several tracks. Bobby Lancaster, from Texas, plays drums on several tracks as well.  Also, Joe Mota, from Texas,  plays keyboards on several tracks (Sadly, Joe is no longer with us, but he was a genius in many ways musically and an inspiration to me). 
I play keyboards, guitar, drums and vocals throughout these tracks.

http://itunes.apple.com/album/id1547160428?ls=1&app=itunes
https://music.apple.com/us/artist/robert-flynn/1526505616
https://open.spotify.com/artist/3lx8cQlclBh1slpwByR0Tk?si=wDa3nJWAQ6qL1btF0hp6WQ
https://www.youtube.com/channel/UCKdR_YZQ5AlfByTdQEDtFDg

https://www.facebook.com/robert.flynn.1000/
https://www.instagram.com/reflynniii/
https://twitter.com/reflynniii
https://robertflynn.musicprosite.com/
The Touch: A Supernatural Story - Part 1 is available now on Amazon
Connect with Robert on Facebook or http://roberteflynn.com
https://musician.artistpr.com/p/robert-flynn/

Although he may be fresh to the Hip Hop scene, Yung Balboa is far from a rookie in the culture and language of music. 
Yung Balboa brings talent, skills and ingenuity to his music and it is displayed by featuring rhythmic beats, smooth buttery flows and beautiful chorus harmonies throughout some very different styles of song. 
Hard metaphors and witty wordplays mixed with a lifelong passion for making music are what you will find while listening to Yung Balboa

klangmœbel label - You find us on many streaming platforms.
haarmann / hommelsheim / Igden Daledrop / Aldo Tamarind
Electronic music.


#alternative #soundtrack #downtempo #indie

Cat Scaffolding v0.01

blorgpulkfplorksickle