Violin-bow on electric guitar, effect-pedals, unsynchronized loops, tube amps. Mellow piano in the background: someone's playing somewhere in the house during the recording. All sounds (except the piano), mixing and production: VSS. Image: Snowy bench, Berlin (photo: VSS).

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Snow

POLYPHONIE 
En 1543, le concile de Trente demandait aux musiciens de simplifier la musique, car la polyphonie, étant devenue très complexe, empêchait la compréhension du texte. Cette demande obligeait les compositeurs à imaginer de nouvelles manières. 
"Créatures" expose deux lignes bien définies : un piano que l'on peut comprendre comme diégétique, sur le thème "ominoso" et une ligne de bruit (les sons de la bête) réalisée avec la voix et la guitare. 
Pour une première approche de l'œuvre, une version piano solo est aussi disponible.

MONSTRE
La beauté du sinistre ...
Le monstre est-il humain, ou nous reflétons-nous dans sa condition? , Sommes-nous des monstres? 
Sur un fond de beauté mystérieuse au clavier, on entend les sons de la bête (production vocale du guitariste et de la guitare), une respiration, le bruit de son nez, ses secousses violentes, son cri. 

RECOMPOSITION 
Le piano, en étant tonal, se rapproche du référent chopinien et, vers la fin de "Créatures" (voire 4'19), une recomposition de l'étude op. 10 nᵒ 9 de Chopin (voire ca 1'30) apparaît. En effet, la publication des études se rapproche de la publication du roman de Mary Shelley, Frankenstein ou le Prométhée moderne, l'un des plus grands monstres.

Creatures

Digital instrumental composition for keyboard and electric guitar.
Inspired by Franz Schubert.

Schubert dans ma tête

The world's largest iceberg, A23a — equivalent to the size of Rhode Island- is endlessly spinning near the South Orkney Islands, about 375 miles from the Antarctic Peninsula. Its dance is caused by a phenomenon in fluid mechanics known as a Taylor column. It's essentially a rotating cylinder that forms when there's an obstruction in a flow. The A23a is trapped in a kind of ocean vortex, a Taylor column.
There are many paths a collaboration can take you down. Although the typical one tends to be shaped as a kind of dialog or turn-taking, I like the most those that, instead, become as sawing a seed and watching what happens then, including some active intervention: somebody tells an idea, or provides some materials or tracks to you and they start a self-organizing process in one's DAW. That's what happened here: @user-737426987 Ambient Annie provided some tracks that made some musical sense by themselves, but I used them as seeds for something different though related. Another of Ambient Annie's relevant contributions to this track has been in providing a concept, even though this was originally unintentional: some of our email conversations deal with natural phenomena, and therefore Antarctica, its fauna and icebergs gracefully popped up. Some months later, the seeds swelled, stems grew and leaves appeared, giving way to the flowering that you can now listen to.
During the final mixing rounds, Nyarlathotep, the three-lobed burning eye creature from Lovecraft's cosmogonies, passing his crawling chaos through the throat of @lhtrah Lht (another SC artist you should listen to), unexpectedly contributed with some primordial chants to this track: my degree in Miskatonik studies allowed me to decode the singing as "I will die and nobody will remember me", which is quite appropriate for an iceberg that is slowly melting. As far as I could find out this song was first featured in a film by Alejandro Jodorowsky, "Fando y Lis" (1968).
Ship bell by Mateusz_Chenc @ freesound.

A Taylor column

na vdd ela eh uma Banshee "é um ente fantástico da mitologia celta (Irlanda)"~Wikipedia

*celta nao eh um carro?
((antiginha inspirada numa do dj vini da zo / / salve dj vini da zo))

vamp+ra (🦇🧛‍♀️)

Nocturnal improvisation turned into something quite sinister again....

Whisk on electric guitar, Yamaha P-120 (church organ, grand piano), effect pedals, percussion, non synchronized loops, two tube amps. All sounds, mixing and production: Velvet Something Superdark. Image: VSS.

Undertow

@catzinkkkk
@catzinkkkk
@catzinkkkk
@catzinkkkk
@catzinkkkk
@catzinkkkk
@catzinkkkk
@catzinkkkk
@catzinkkkk
buy: https://catzinkkkk.bandcamp.com/track/kmoe-dumpster-fire-catzin-remix

KMOE - DUMPSTER FIRE {{CATZIN REMIX}}

COPIA AGORA QUE EU QUERO VER 👿

Whisk on electric guitar, Yamaha P-120 (church organ, grand piano), effect pedals, percussion, analog bass synthesizer, non synchronized loops, two tube amps. All sounds, mixing and production: Velvet Something Superdark. Image: VSS. 
Original track: https://soundcloud.com/velvetsomethingsuperdark/undertow

Undertow (Dark Mood Remix)

Dedicated to those who oppose.
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Analog bass synthesizer, fretless acoustic bass guitar, unsynchronized loops, two tube amps, breaking glass. Field recording at a demonstration in Berlin, July 2025. All sounds, mixing, and production: Velvet Something Superdark. Image: Police officer using a pain grip during an arrest, Berlin newspaper photo from July 27, 2025, edited by VSS.
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More Resistambient: https://soundcloud.com/velvetsomethingsuperdark/those-were-the-days

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