Protaanta

K1FF

Ponkupine

Get the whole recording (total length: 49:00) on Bandcamp now:
https://randyedgewood.bandcamp.com/track/expedition-20-molitor-elastic

This live was created for Molitor 3, an electronic music event organized by my friend Marti.B at Elastic bar which is one of the most famous venues of Strasbourg nightlife. Unfortunately the event didn't have much success, but it didn't stop us to share a beautiful moment with Marti and his two other guests: Canine who invited me few weeks earlier, and Brian Burger, an electronic music producer close to the German techno scene.

Thank you Marti.B for involving me in this project, and big up to Canine and Brian Burger for their music performances.

Live setup: Reason + MIDI controllers

Artwork based on the event visual created by Marti.B

Expedition 21: Molitor (Elastic) [Intro]

Instrumental 120bpm beats with nice ambient sounds in the background, some mallets, some chorals. Of course, the drums and hihats should not be missing.
The main theme plays a scratchy, scrubbing scratching element together with cheerful synth elements. A voluminous bassline leads through the whole piece.

have fun listening to Awakening :-)

Awakening

noxpox - shepherds delight

From the re-release of Blink Twice’s 2nd album “Newer Unknown Breeds”. (1998)
Available now on Bandcamp : https://moodexhibit.bandcamp.com/album/newer-unknown-breeds-expanded-edition

"Newer Unknown Breeds" was at the time a further development in sound for Blink Twice. The album expanded on the techno and electro genre much more than Blink Twice's debut "Other Locations". There was an increase usage of sampling on this collection of material, often with looped effects incorporated to add further density. With the blend of tribal and industrial elements remaining, it serves as an adventurous concoction of experimental rhythmic and ambient electronic music.
The underlying theme of "Newer Unknown Breeds" was the observance of mutations (both deliberate and natural) within organisms. Evolutionary results of obscure creatures and their advancement and place in the

Blink Twice - Common Threat

Luftpumpe

Teknosis Shift (2025)

summer night

Drummax
Sytrus
Fender Squire Mini guitar 
Yamaha Tenor Saxophone

Artwork-photo of some homegrown olives curing in the kitchen.

Yep, Sure, 100%

Golden Sword (2025)

Visuelle Belästigung

Cardinal

What is there to describe, the song title tells you plainly and simply - don't obey. I've used art made by the awesome Alec McKenzie to make the thumbnail, and the music video as well !

Don't obey

ROCK

Arcadia(AcidHouseRemix)

🚀 Digital Highway – Steven Francis

Cruise the 432Hz sonic motorway with “Digital Highway,” an immersive soundscape crafted by Steven Francis, UK keyboardist with perfect pitch and a passion for healing frequencies. This 3-minute track blends atmospheric drones with subtle rhythmic pulses, creating a journey that’s both grounding and transcendent.

🔊 Designed for ambient lovers, meditation moments, or chill background vibes 🌐 Connect with the flow of thought and energy as you travel this digital route 🎹 Featured on 432Hz Relax 2 — part of Steven's evolving catalogue of sound healing

432HZ RELAX 2

DIGITAL HIGHWAY

DIGITAL HIGHWAY, this is 1 of 10 tracks from the album (432HZ RELAX NO 2 SOUND )

From the rerelease of Newer Unknown Breeds. OUT NOW ON BANDCAMP:
https://moodexhibit.bandcamp.com/album/newer-unknown-breeds-expanded-edition

"Newer Unknown Breeds" was at the time a further development in sound for Blink Twice. The album expanded on the techno and electro genre much more than Blink Twice's debut "Other Locations". There was an increase usage of sampling on this collection of material, often with looped effects incorporated to add further density. With the blend of tribal and industrial elements remaining, it serves as an adventurous concoction of experimental rhythmic and darker ambient electronic music.

The underlying theme of "Newer Unknown Breeds" was the observance of mutations (both deliberate and natural) within organisms. Evolutionary results of obscure creatures and their advancement and place in the biological field.

Blink Twice -Striving

Laborratte

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

Protaanta

Dirk