Aktæon

Watch the video 🌿 https://www.youtube.com/watch?v=bCocYG-qAYI

A journey deep into the heart of nature 🌿🤍🌿
Narration by Carl (The Beautiful Dark) 
Music by Sarah (Scratch Kelly), featuring native Tasmanian native bird calls and field recordings.

Ecotaria

Audio ripped from my old video edits. Excitement ripples through the Soundcloud community -https://www.youtube.com/watch?v=nekvlm6oDIk

They Are A Part Of The Wave Of The Future (4th Generation VHS Version)

This one—whoo boy. One of my oldest songs, made around 2014.
It’s one of those “cursed” tracks—but in a good way. The more I tried to perfect it years later, after learning all kinds of new tricks in Fruity Loops, the more it lost that certain magic I tapped into when I was younger. That raw energy is gone now, and while I can improve the song with better mixing, bass, synths, programming, and sound quality, every “improvement” risks erasing that special something—that je ne sais quoi, that zazz.

It’s like a reflection of me, frozen in time inside an MP3 file. The spirit of these early works is more important to preserve than to sacrifice in the name of perfection. Sure, it takes skill, dedication, and time to create a masterwork—but I also believe there’s genius in capturing a unique feeling with as little effort as possible. Kakaphoney is an album where I try to balance both philosophies, though most songs fall into the “finished, not perfect” category. My next album, after sharing Kakaphoney, will be an album I currently call "Tracks back from high school when I had no clue what I was doing", and it will feature all of the tracks I actually shared on Myspace, my edgy solo noise project "Spinal Menstruation", and yes I was a one man Myspace noise band. So, this album is a collection of my earliest works that embrace this "save the vibes fuck mastering" mindset and take it to another level - because i did not even know what mastering was back when I made those tracks ! 
Anyway, I did not listen to these primordial melodies (most of them made in High School) for many years, and once I did go over it finally relatively recently - I was stunned. Why did I just make so much music and then just forget about it ? And how the hell did I manage to stuff so much soul into every track with such little experience. I realized that the vibe these old tracks portray is unique and nowhere to be found in any of my newer, fancier tracks (Here’s one example from that project—a song that perfectly captures the weird energy that animated me when I was young : https://www.youtube.com/watch?v=N_R022SObfk
 
But yes - Nee-Cola was one of those tracks I dug out of those ancient folders, and when I found it and listened to it again after 10 000 years I remembered everything about it. It actually started out as something completely different—until I realized I’d accidentally programmed the main synth to sound like it was calling my name (Nikola). My original concept was to create a song that felt like a stage performance, with different synths and samples taking turns. But this main synth refused to just play a simple tune and stop—it fought to stay on stage and sing (the song was also named "It's my turn" back then). The other synths, including a deep bass, seemed to try to pull it back and silence it. As the track progresses, the main synth goes haywire, growing louder and more chaotic, eventually overshadowing everything else.

I was fascinated by what I’d made, but it felt a bit ridiculous to name a song after myself. Still, it fit perfectly with the Kakaphoney theme—synths that sound like voices, and non-voice synths manipulated until they seem to speak, as if they’ve gained a voice of their own. That’s the ultimate goal here, as it is in my “Suck On These Tears” track from the same album.

So instead of making it about me, I invented a fake cola drink with a name that sounds like mine—easier to explain, and far less narcissistic. So drink up bitchezz

Nee-Cola

EXcursion9

Part of: Dark Bouquet. Variations on a theme. soundcloud.com/velvetsomethingsuperdark/sets/dark-bouquet
All material - cut, altered, mixed at will - comes from a nocturnal solo improvisation with fretless acoustic bass guitar with piezo pickup, effect pedals (Carcosa - Dark Star - Obscura), non synchronized loops, three amps. Recorded in the room with Zoom H2n, edited in Audacity. All sounds made with the instrument. All sounds, mixing and production: Velvet Something Superdark.

Dark Flower

Lights In The Storm

Yearning Sunrise

Shadows keep marching on 
No more tears, only fire 
Silent cries in the night 
Still burning for the light 

Echoes fade into the sky  
No more words, only survivre  
Ashes drifting in the air 
Silence heavier than stone 

Live in the storm

https://youtu.be/yNl3KAMa6bo?si=cGLODvm3TOBkyelx

Last one in a series of short downtempo sketches that forms part of a set I'll be performing (in my living room to a tortoise called Leroy) on a SP404 - I'll put a continuous mix of the tracks on youtube with visuals at some stage soon, and meantime they're all there as shorts with degraded blue cartoon animations. This one is available to view here (like. subscribe, comment and all that):
https://youtube.com/shorts/gCAs8GKtqy4?feature=share

I have more of my style of house music coming soon, for those of you who like their music to be over 120bpm.

Aqua Soul

fête triste, un peu.

https://fhauna.bandcamp.com/album/13-gnoses-vol-4

fhauna_bc

Nag Fiasco

Trans Pop For Real Live Girls. Subliminal Propaganda & Liminal Space Rock. ⁶𖤐⁶

A limited edition career retrospective boxset so luxuriant, extensive and rare, it has a mezzanine floor.

Lifestyle Beats. Sinister Wallpaper. Ambient Wellness. Mindful Tone. Heretic Sound. Reverb Cult.

Nothing Time!

𐕣⛧𐕣

Woke Noises From The Dirtbag Left, spittin' feathers in the chill out lounge. Anti-Fascist Sunset Soundtracks. Relax, sit back, punch nazis.

They Are A Part Of The Wave Of The Future (4th Generation VHS Version)

lesbianhorse