You can never go wrong by listening to this music

nice track, i like the drum groove, good job

Really made a great project here good one

great sound design congratulations for that

PAYPAL: EVERY LITTLE HELPS :)
blakemediapayments@gmail.com
SOUND CLOUD:https://soundcloud.com/user-321082592

fREAKS (LIGHTS GO OUT):
https://soundcloud.com/user-321082592/freaks-lights-go-out

WE FREE (TOMORROW):
https://soundcloud.com/user-321082592/we-free

MUSICAL MESSAGES:
https://soundcloud.com/user-321082592/musical-messages

BE GOOD TO US:
https://soundcloud.com/user-321082592/be-good-to-us

FREESTYLE ON ME:freestyle-on-me

FACEBOOK:
https://www.facebook.com/Irishblake01

INSTAGRAM:
https://www.instagram.com/irish_blake_/

YOUTUBE:https://www.youtube.com/channel/UCjs91PI-8XE9OvKs-7F5aIA

FREAKS(LIGHTS GO OUT):
https://youtu.be/g9dUZt9NI0Q

WE FREE(TOMORROW)
https://youtu.be/JflOXNKiWJ8

MOVING MESSAGES:
https://youtu.be/z0PTMapVgI4

Musical Messages

Frenergy EP

Filthy Jizz

I Can Be Me

Year

Hyperspace in the Morning Grass

Phiver - Good Girls is a high energy EDM track, crafted for the dance floor.  The track blends driving bass with uplifting melodies, capturing that rush of emotion when someone got you caught up in your feelings.

Perfect for late night sets, festival stages or just turning the volume all the way up, this one is meant to move you.

Good Girls

All The Sun

MOGO set played live at Block Dublin. Supporting Space 92

MOGO - Live at Block Dublin - Space 92 Support - Techno Set

“The dance repeats — who begins the music?”

DOVE OF TIME

Beauty never fades away_HD

Soul Shine (at 42,000 ft)

Good grief savage cosmos—there he goes again. Some kind of strange audio beast crawling through the digital underbrush with a head full of acid and a suitcase full of vinyl. Fifteen years this sonic deviant has been terrorizing dance floors from Ibiza to the alkali flats of Black Rock City with his peculiar brand of audio hallucination they call "techno."

I first encountered this rhythm junkie in the back room of Amnesia, where Sven Väth was conducting some kind of Germanic tribal ceremony for 2,000 Spanish teenagers and a handful of British tourists who looked like they'd been awake since the fall of the Berlin Wall. Our subject was there, of course—eyes like silver dollars, hands moving across the equipment like a man defusing a bomb while simultaneously conducting an invisible orchestra.

The man is EVERYWHERE. Like some kind of rogue cultural anthropologist with a pathological addiction to bass frequencies. One weekend he's serving dark, hypnotic soundscapes to the leather-clad deviants at Panorama Bar alongside Gerry Reed, the next he's in Brazil, standing next to Sasha and Renato Ratier at Warung Beach while 500 beautiful mutants writhe in the sand like creatures from some Jacques Cousteau nightmare about the future of human evolution.

And then there's Burning Man—SWEET SAVAGE INFINITY—where he's become a fixture at the Mayan Warrior, that rolling monument to technological excess and questionable decision-making. There he stands, this audio desperado, conducting a symphony of synthetic noises for dust-covered freaks whose perception of reality has been chemically adjusted to the point where they believe they're receiving transmissions from another dimension. AND MAYBE THEY ARE.

His production style is the audio equivalent of a Hieronymus Bosch painting—intricate, terrifying, and somehow beautiful in its depraved complexity. Underground to the bone. The kind of sounds that make record executives break out in hives and reach for their heart medication. But to the night people—those strange nocturnal creatures who live for the moment when the kick drum aligns with their heartbeat—it's a siren call they cannot resist.

This is not a man playing records. This is a shaman conducting mass exorcisms through frequency manipulation. A sonic psychiatrist treating collective trauma with carefully calibrated vibrations. A renegade physicist exploring the relationship between sound waves and human consciousness.

He continues his relentless global crusade, expanding his discography with the fervor of a man who knows that somewhere, in some sweaty basement club or desert festival or abandoned warehouse, there are people waiting to have their neural pathways permanently rewired by his particular brand of audio alchemy.

"When the going gets weird, the weird turn pro," I once wrote in a moment of clarity between bourbon shots. Well, this professional weird-turner has made a career of navigating the strange edges of club culture, transforming darkened rooms into temporary autonomous zones where time dissolves and only the rhythm remains.

By all cosmic forces. He shows no signs of stopping.​​​​​​​​​​​​​​​​

“ Hunter S Thompson AI on KidIsLive “

I Can Be Me

KidIsLive

Recent comments

LEKS BEATS

No copyright music 4 All

Chris Baynes

Progressive House

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