This song takes me on a celestial journey under the moonlit sky. ✨

i wish i was just a bug who eats dirt and shit and dies 2 days later

yabujin inspired 
bloom
i will never stop changing and becoming a better version of myself, this year I've changed a lot and recently I've been doing better and im feeling very happy at times :)

hymn of the seed

Keeper Of Galahields Entrance (reupload)

PERIIISH SONG ==LiiibraryTheme01== تُرى هذه الزهور في كل مكان حول Sunjhia (°◡°♡)

@soowamisu

goth angel girl giving curses down frm heavennn (∩ᄑ_ᄑ)⊃━☆ﾟ*･｡*･:≡( ε:)
got my money up wit my lucky number $even. .・。.・゜✭・.
tryna snake on me n then ill leave you empty handed.
got the pzychic zword, finna cut u like i plannd it (ಠ o ಠ)¤=[]:::::>

got some new drip with some new swag underneath, ( ◡̀_◡́)ᕤ $$$
i been getting hella cheddar cuz i ball like Kenny B.
and if you tryna link with me you better pay me for the feat.
i be using all my SP i cant even fuckin see. ⋆｡༄⋆˚⊹

in the night, beaming light, looking at the bright-side.
i b killin demons and im sniping with a good siiight. ⚝⟡(˵ •̀ ᴗ - ˵ ) 𓆩♡𓆪
got my holy armor, im the holy daughter
give my graces 2 the god, hes my only father. ˗ˏˋ ✞ ˎˊ˗

knife up in da jeans, gonna cut you to extremes. ▬ι═ﺤ
and my pockets getting fat cuz i jus filled em up wit greens.
i b luvin all da cash but i fuckin hate the #greed.
ima gatekeeper n yk i got da key Ⓞ═╦╗ₓ˚. ୭ ˚○◦˚.

┊ ┊ ┊ ┊ ┊ ┊
┊ ┊ ┊ ┊ ˚★⋆｡˚ ⋆
┊ ┊ ┊ ⋆
┊ ┊ ★⋆
┊ ◦
★⋆ ┊ . ˚
˚★.

ㄗꛉꚲꛕꛅꛈꛕ ꛉꛃ𖣠𖦪𖤀 ▬ʃ══════ﺤ (prod. me)

𪚥 𪚥 𪚥 @bossdr5 another account on Soundcloud. 𪚥 𪚥 𪚥

cover art and prod by me

all i do is dream my life
dream too during daytime
i dont care if sun shines
i miss how it used to shine

can u wake me up fast
need to hit my face real hard
close ur fist be strong
since long time been feeling none

dreamt about u last night
u were killing with a smile
met my eyes and i was gone
i was meant to be reborn

im so happy u came back
i wake up and feel sad
know u gone
real feeling stay i save forever in my treasure box

notice sharp point of a sword
comes out of my chest with blood
i can only feel regret
that i met u and couldnt help

not sure this a dream or not
i give myself to ur sword
anyways ill live again
new chance to forgive myself

𝓭𝓻𝓮𝓪𝓶444𝓮𝓿𝓮𝓻

@tohsakarin — “アンビエンティスト” (BIRTHDAY TAPE 2)

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

hymn of the seed

glossalia

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