cortili del cuore

wish by diplo ft.trippie redd - (mario kart soundfont)

abdio ! ○

iniziamo l'anno per bene
con la collaborazione di @wickthejuicebag

ʙᴜʙʙʟᴇ ʀᴜɴ (epic boss fight)

Rec & Mix & Master : Franco Poggiali Berlinghieri

(BRIDGE)
Eravamo collegati 
da un filo invisibile 
Che ci collegava
Basic bitch non ti ho mai amata
na na na na 
na na na na
na na na na
na na na na

(verse 1) 
 A scuola scrivevo il nome un milione di volte 
A scuola scrivevo il nome un milione di volte
sul quaderno 
Pensavo al nostro amore eterno 
Era solo un’illusione mortale
 Un’attrazione fatale
paragonabile al morso di una vipera 

(DROP)
viverà per sempre quella sensazione di non essere al tuo livello  

 avevi bisogno di qualcuno che coprisse quella carenza d’affetto 

già il giorno dopo ti sentivi con altri ,,dove finito il tuo rispetto (x me )

per trovare il principe devi baciare il ranocchio non succhiare il cazzo a tutto il laghetto



(final bridge)
non ero  perfetto,,
con qualche difetto
non conoscevo casa mia 
meglio del tuo letto
o-o-o-o-o
o-o-o-o-o X(
o-o-o-o-o
o-o-o-o-o:(

MORSOdiVipera

Mifu - Niente da fare (pr6n rework)

Bromance

M&M: BIKKIO

[bikkio]
skinny spara troie
gelato alla fragola
se vede questa quanto incasso
troia mia-mia-miagola
giro con l'ak nel mio backpack
johnny test
e mo questa vuole me sì vuole me
parlo inglese no mambolosco
non ti sento non ti consoco
prendo la whip
si cambio il posto
esco dalla whip
cago in bosco
brutta puttana si sono gohan
faccio spesa al md
tiro coca tiro coca
fumo crack per tutto il dì

[skinny]
sono il famosissimo rapper mambolosco 
mi sono smerdato le mutande, cacca addosso
quando vedo questa merda devo accelerare 
il 19 mi sta chiamando sopra al cellulare
ho due telefoni uno serve per pulirmi il culo
sono indagato ma non l'ho detto mai a nessuno
baby bikkio e *REDACTED* sono migliori amici
dai non togliermi i social points, orietta berti (W L'ORIENTE)

[bikkio]
sto con skinny
senza microfono
se è di mirko
diventa mircofono
non ho roblox
però ci hackero
questa puttana pensa che so un acero

[skinny]
sono un negro vero, trapaholic, sto smerdato
tony2milli è torri gemelle, io l'aeroplano
baby bikkio non ha mai pagato le tasse
skinny chasea gotiche, amo le loro passere

[bikkio & skinny]
ho lasciato il pane in padella
cazzo, devo spegnere la padella
odio la padella x8

super marco world + bikkio

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.

Journal Entry #1—The Past, Like A Strange Bird

The passing of time

November 16, 2025 (Original "plot::13.3": September 13, 2024)

A / B, i actually still like these ones kinda :D
pt.2 coming tmrw <3
