AUTUMN WALK / fall aesthetic

Download: https://music.housemusicwithlove.com/lykkeliiknowplaceswesthillremix

As played by Diplo, Adriatique, Blondish, Black Coffee, &Me, Rampa, Adam Port - West & Hill's edit of Lykke Li has been dominating dancefloors over the summer,.

Free Download

Free Download: Lykke Li - I Know Places (West & Hill Remix)

OBVIOUSLY this isn't my album but i need it all on my playlist so :3
Summer's Over Album: https://open.spotify.com/album/4l58JlPq72gOA4veRxboVR?si=fY41Tb9VTcOnQ5POu38dgg
Jordana:
https://open.spotify.com/artist/5Bw9kFNhy019e4IBCJZlzw
tvgirl: https://open.spotify.com/artist/5Bw9kFNhy019e4IBCJZlzw

Summer's Over

Better in the Dark - Jordana x TV Girl

Get In The Car

Her - The American Dawn (official)

Stay Away

[ Albums ]
https://negativeheadphone.bandcamp.com

[ Youtube ]
https://www.youtube.com/c/negativeheadphone

[ Spotify ]
https://open.spotify.com/artist/6yptVqiGbvP3HpQNz2XTyQ

[ Facebook Page ]
https://www.facebook.com/negativeheadphone

[ Twitter ]
https://twitter.com/NegaPhone

Spotify

I'm Hungry!

This is a hybrid track..  Featuring My Neighbor Eco Freq Or just "Benne"

Lithium

instruments: Jeff Gardiner and jo richter
modulation, arrangement and all that: jo richter
lyrics: Jeff Gardiner in collaboration with jo richter
image: Jeff Gardiner in collaboration with jo richter

in an accent long unspoken
in an ancient dialect
curses, blessings, symbols, token
the janitor, the architect
born to care and to dissect
and dream the dream of the unwoken

like a bird within a flight of thought
falling upwards, held within
an endless tunnel copper-wrought
bats, the arching acrobats and next of kin
to passage-dwellers of the interim
who cuddle up head-down and midnight-fraught

about to take flight to the light
like a silent spell and serpent word
burning brightly in the night
like a river’s moon shedding a midnight beam
sheathing the last, unseeing and unseen
sheathing the last remaining sword

scalar field pt 6: Toltec Heath--With Sonic Structures and Silent Stretches

Second song from the rock opera Five Thousand Sasquatch. A musical comedy about a genius toy inventor who is searching for Bigfoot and UFO's in Bellingham, Washington.

The Slurp

Please excuse me for coming up with something new so quickly.

Tomorrow marks the 22nd anniversary of the death of French actress Marie Trintignant, who was beaten to death by her boyfriend, Bertrand Cantat, on 26 July 2003.

Some people will have seen the Netflix documentary about the case and will therefore also be familiar with the media and public debate at the time. This was a broad and heated discussion, as if the categorisation of such a brutal killing was a matter of opinion.

After that, one might have gained the impression that those who prioritise conservative values and traditional social and family roles tend to view domestic violence as an interpersonal tragedy rather than an unequivocal act of violence. ‘Arguments happen in even the best families.’ – ‘Doesn't an argument that gets out of hand often come from both sides?’ – ‘Did the victim overstep the mark and provoke an overreaction instead of making a diplomatic concession?’…

22 years have passed since then. In that time, #MeToo has emerged, alongside all kinds of discussions.

A lot of noise. A lot of media. A lot of talking-is-the-new-doing. But nothing has changed, apart from the number of reported cases of domestic violence, which continues to rise to this day. Whether this is because more and more offences are being reported instead of concealed is massively irrelevant:

In Germany, one woman or girl is beaten, abused or victimised by her partner or a male family member every single minute of every 24-hour day. According to official reporting statistics, this only happens every three minutes. What is clear, however, is that someone dies from their injuries almost every day.

The murder of Marie Trintignant is repeated every day.

There are many explanations for this. Psychological, social, political, and personal, to name a few. After all, we are living in an age of digital polyglotism where everyone has an answer to everything. Somehow, what you can explain is easier to accept. So, let’s talk about acceptance.

The number of car thefts registered in Germany each year amounts to around one sixth of the reported cases of domestic violence. The number of domestic burglaries is less than half.

What would happen if the number of domestic burglaries doubled, or if the number of car thefts increased sixfold? There might also be discussions about the thieves' psychological state of emergency or their possible negligence, provocation or shared guilt. But first and foremost, everyone would agree:

'This has to stop! We must stop it by any means necessary! … Zero acceptance!"

Is a stolen car, despite insurance reimbursement, really more painful, shocking and unacceptable than a woman being dragged through her flat by her hair?

---

Lyrics, music and production by ©Hans-Michael Albers. Vocal performance by suno4.5

video: https://www.youtube.com/watch?v=Kn16cxiq-64

Google translation:

I won't let you rest
It's the only reason you're hitting me
To get revenge for all your frustration
You just have to do so

It's not even good for you
But what are you going to do with your anger?
It's all my fault
I'm pushing your patience to the limit

Your pain should be mine
I deserve to feel it
You give it my face
So it can break me instead of you

What nobody sees or hears
It destroys the perfect world
Whenever it bangs
I wanted it that way

Only because of me do you see red
And because of me, you beat me to death
Only because of me do you see red
And because of me, you beat me to death

I would have liked to live
How I felt, how I moved freely.
One last pain, one moment
Then it's over, happy end

Ich hätte gern gelebt

https://soundcloud.com/rumple-snakeskin
Mat Planet, guitar
Sparky B, rhythm & production
(additional guitar from Sayge)

Philosophy

Recorded in Modesto, Ca.   Featuring Gibson 335 Electric Guitar solo. Harmonica solo. Trumpet solo. Hammond B3 Electric Organ Rhythm. Fender Rhodes Electric Piano Rhythm. Acoustic Standup Bass. Roland Synthesizer Bass. Full Drum set kit. Percussion Full Tree Chimes, Zildjain 22" Crash & Ride Cymbal, Tambourine.

Blues Street

Bluez it out

Cast of characters:
The Beautiful Dark -- @thebeautifuldark -- Carl — Ovation guitar, lead vocals, lyrics, and compostion
K2 and the Three [and the Four]--@k2andthe3, @k2-kara –Ken -- drums
Entheogenic Psychonaught (Josh Clary)– @josh-clary-1 –Josh – Warwick fretless four-string bass
Mistermark-- @user-432503709 -- Mark –- VST timbale, production editing
TexMex Shaman– @texmex-shaman –Stephen — Tom Anderson Custom T electric guitar, production, mix, and mastering
J.J. Terrell– @j-j-terrell – electric piano and synth
Llanpsych -- @llanpsych -- Tez – Fender Telecaster HSS electric guitrar
This song began as Carl's tribute poem to our drummer, Ken. Carl came up with the chord progression and started a project, to which he invited the rest of us. This is the third song Eclectic Collective has done that is a tribute by Carl to one of our members.  We couldn't feel more honored than to be the subjects of his wild and boundless creativity.
  Fittingly, Ken was first in line to add his magnificent drums. Once we had drums, Josh had something to work with to add his bass, which he did shortly after the drums were up. Mark paid the project a visit next, helping out with a bit of production editing, and dropping in a mad percussion solo using his VST timbale drums.l.Stephen jumped in soon after, adding the melodic electric guitar riffs that appear throughout. Not to be outdone, JJ added some sonically thickening electric piano, as well as the throwback psychedelic synth that pops up towards the end. Finally, Tez came along and added the electrifying solo that appears about a third of the way in, as well as the one at the end. 
  Once the recording was finished, we turned it over to Stephen to mix in his always professional manner. 
  This song is all about our very talented teammate and brother, Ken, and it is well deserved, too. As mentioned, this is the third song from Carl about one of us. It's hard to describe the feeling of having someone who you respect take the time and energy to think about you in such a positive way as to produce a song about you. Then to have all your buddies join in to amplify it to a solid song is just mind-blowing. We are all very grateful to Carl for not only sharing his music with us, but for his thoughtful consideration of each of us as subjects. We hope you enjoy listening to this as much as we enjoyed creating it.
Original lyrics by The Perfect Dark:
Karakoram human
You decorate good future
As many lose their Gods
You stand tall as suture

Rhythmic mountain maestro
Each day, graft, working hard
So kids can eat
Bruised back sees very best of yard

Still, beats get born of evenings
Deep love finds joules to jam
May generation X soothe meaning
Let's teach the younger pussies what we can

To Ken, from pen, to page, to Music
To friends, Now is when, Good sage soup soothes us
Honest and brave, To Jesus he save
Kudos our maestro of percussive wave

Karakoram human
You decorate good future
As many lose their Gods
You stand tall as suture
Sticks in hand
Cymbals a floating
Snare and bass backbone gland
Tom'ed Ringo Star man keep quoting
Keep life steady paced by hand

To Ken, from pen, to page, to Music
To friends, Now is when, Good sage soup soothes us
Honest and brave, To Jesus he save
Kudos our maestro of percussive wave

Rhythmic Mountain - The Eclectic Collective with The Beautiful Dark

Hazard Zone

an old song about something that happened a very long time ago

Little Boy, Where Are You?

Hey Billy, where are you?                  
Your mama wants you back home
Unlocked the door, walked into the night
Nobody knew you were gone
And I was just a kid myself
That cold September 1970
Little boy lost to a mean old world
It was the first time that death touched me
Where are you?                                   
Little boy, where are you?                     

The neighbors combed the streets and yards
The police they drove down
Brought his pillow out for the sniffer dog
As they searched their way through our town
A crowd gathers by the river's edge
Somebody yells, “Hey man, do you see just what I see?”
Face to the sky, he floats on by
It was the first time that death saw me
Where are you?
Little boy, where are you?

Tonight, when I close my eyes, all our yesterdays, they're slipping out of view    
No one to pull us back from those twists and turns that we're heading to
Over 50 years have slipped away from a darkened day that no one can undo                  
No playtime or pretend, goodbye, my friend
I remember you

A man pulled him from the water
His mother's scream it echoed in my head
Remember, I was only six when I witnessed this
I couldn't read what the papers said
I felt the sadness stretched across the yards
As the season changed and the guilt came tumbling down
Our childhood games all rearranged 
Until it was our time to leave that town
Where are you?
Little boy, where are you?
Where are you?
Little boy, where are you?








Get In The Car

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