This song explores the emotional numbness and surreal detachment of living through a digital apocalypse. It blends poetic imagery with ironic commentary on modern life, where love, memory, and identity dissolve into static, spreadsheets, and algorithms. The tone is melancholic yet rhythmically charged, evoking a world where emotional connection flickers like corrupted data.

The lyrics follow a narrator drifting through a collapsing reality:

> “I woke up in a headline, scrolling through the static”  
> “The calendar’s a weapon, ticking in reverse”  
> “You whispered ‘I love you’ in binary speech”

Recurring motifs include digital decay, bureaucratic metaphors, and ghostlike intimacy. The chorus refrains:

> “It’s the end of the world as we ghost it / Falling through the cracks in the post-it”

The song ends not with panic, but with quiet resignation:

> “And I feel... kind of fine / Kind of fine / Kind of...”

---

Lyrics

`
[Intro]  
I woke up in a headline, scrolling through the static  
Coffee tastes like carbon, the mirror’s diplomatic  
The neighbors are rehearsing for a televised collapse  
I’m humming old disasters in a suit that doesn’t match

[Verse 1]  
I woke up in a headline, scrolling through the static  
Coffee tastes like carbon, the mirror’s diplomatic  
The neighbors are rehearsing for a televised collapse  
I’m humming old disasters in a suit that doesn’t match

[Pre-Chorus]  
You said the moon looked tired, like it’s working overtime  
I said the sky was a spreadsheet, and we’re just cells misaligned

[Chorus]  
It’s the end of the world as we ghost it  
Falling through the cracks in the post-it  
You smile like a warning, I toast it  
To the end of the world as we ghost it

[Verse 2]  
My inbox is a graveyard, full of unread goodbyes  
The president’s a painting, blinking Morse code lies  
I tried to write a love song, but the chords were classified  
So I danced with the algorithm 'til my battery died

[Pre-Chorus]  
You said the stars were blinking like they’re trying to confess  
I said the night’s a spreadsheet, and we’re just rows of regret

[Chorus]  
It’s the end of the world as we ghost it  
Falling through the cracks in the post-it  
You smile like a warning, I toast it  
To the end of the world as we ghost it

[Verse 3]  
The calendar’s a weapon, ticking in reverse  
We kissed beneath a drone light, rehearsing every verse  
Your jacket smelled like static, your laugh was pre-recorded  
We danced around the silence like it might be rewarded

[Reprise]  
It’s the end of the world as we ghost it  
No sirens, no slogans, just posted  
You blink like a warning, I coast it  
Through the end of the world as we ghost it

[Bridge]  
I remember your voice like a voicemail glitch  
Soft and distorted, stuck in the pitch  
We kissed in the fallout, dressed for the breach  
You whispered “I love you” in binary speech

[Outro]  
It’s the end of the world as we ghost it  
No panic, just poetry posted  
We fade like a forecast, unhosted  
It’s the end of the world as we ghost it  
And I feel... kind of fine  
Kind of fine  
Kind of...
`

---

© Lyrics and concept by MOBest / Martin Oliver Beinersdorf. All rights reserved.  

The Sky Was a Spreadsheet

fluctuation 1 40 bpm take 1 21625

smoke

Around the time that I moved into a street-level apartment in North Philly at 17th and Jefferson, literally the worst locale I have ever lived, I would spend hours on borrowed wifi with YouTube suggested algorithms feeding me music while I laid on my couch with my cats. There was one such instance that a tune popped up with extremely primitive, proto-techno sound so I got up to see whose track was playing. It turns out it was Shane English, a name I had been seeing more on flyers around the east coast and who I would eventually meet when he played as part of his duo Corporate Park at the Vat the same summer. Corporate Park was one of the best sounding and exciting acts and I had seen in a long while. I kept up with their work as well as the solo endeavors of Shane as well as Jonah Lange, the other half of CP. 
Now, in 2019, Shane has released several records on LIES as well as having a hand in the groundbreaking comp Eminent Domain, a catalog of the recent American underground. The project was large in scope with multiple pressings in different wax colors, posters, and multi-fold jackets. It was extremely impressive. 
Aside from his capable productions, Shane is also a renowned collector of obscure musics and media. On this mix, he pulled out tapes and records from the more relatable content of Vox Populi! and delves deeper into strange French and Italian electronics. It is a rare treat to host a mix of material in which you are new to the things you are hearing and I hope this acts as a learning experience for us all.

MX13 - Shane English's Perpetual Midnight Shift Mix

From the album Vertigo KO, out 4 September 2020 on Disciples https://phew.ffm.to/vertigoko

"This was recorded in 2019 at the request of the radio station WFMU in New Jersey, USA. They had compiled covers recorded today of tracks from 1979 debut albums and asked me to contribute, because Aunt Sally was released in 1979. Since the album with Ana had been released just a few months ago, I had chosen “The Void” from the first album of The Raincoats. I wondered how to install this song, recorded in 1979, into the 21st century. I wanted to represent a multi-layer time axis separated by forty years, considering the context of punk, post-punk and new wave. Specifically, the beat of this song uses a sequence of four slightly different tempo rhythms to create one groove." - Phew

Phew - The Void

A1 from "Falling Frontwards Into Pincers" EP out now on Great Curve (@greatcurverecords)

Mastered by Rupert Clervaux
Artwork by Max Jedwab
Distribution by Rubadub

Download code included with record.
Available from:

Rubadub: bit.ly/2WFRQlp
Bleep: bit.ly/2JdFnxy
Phonica: bit.ly/30Is3ZD
Juno: bit.ly/2G9cMb9
Redeye: bit.ly/2ReRzCO
deejay.de: bit.ly/2G9Am7p
HHV: bit.ly/2Ggbk6x
Chez Emile: bit.ly/3auglq1
Syncrophone: bit.ly/2trEVrb
Disco Piu: bit.ly/3dolim1
Newtone: bit.ly/39pzszU

Digitals on bandcamp: greatcurve.bandcamp.com/releases

Falling Frontwards Into Pincers

Taken from Tsap's 'Flickering Lyghte In Campsite' LP, available here:

https://alteredtapedstates.bandcamp.com/album/flickering-lyghte-in-campsite

Tsap -  Gorseddau

"[mix for endlessly studying, in follow Moten; ‘I think we were committed to the idea that study is what you do with other people. It’s talking and walking around with other people, working, dancing, suffering, some irreducible convergence of all three, held under the name of speculative practice.’ (The Undercommons)]" @zourry

Art by Celeste Stein
https://www.instagram.com/celeste_stein

LXXVI - zourry

Impatiens -  Scene At The River

A compilation to celebrate the first year of activity… not an easy task: too young to have a clearly defined personality and too old not to have one.

Lots of thoughts crossed our minds, mainly revolving all around the same question: should we try to do something different? And lots of advice came our way: you should! You must! You need to! Let me show you how things are done!

So, this one is not only a combined action taken in Commando Vanessa style, but also a reaction.

We are not looking to be different, we just want to embrace differences.

That’s why this is what it is: a diverse, colorful, exaggerated, intimate, political, sexy compilation.

Just a flow of different music we like.

LET THEM MANSPLAIN!

Deeat Palace - HYSOPE

Mark Vernon - Black Faile, 2020
https://lullabiesforinsomniacslabel.bandcamp.com/album/transmigration

Phew - The Void

Disciples

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