Eine ironische Adaption des Schlagers von Johanna von Koczian (1977).

Das bißchen Klima … sagt die AfD

Bubbly Hollow

> @up-4
> @spclnch

The landscapes of Orlan 19 resembled the dream of a mad cartographer: cliffs were floating above the surface, horizons were bending and vanishing into infinity, and energy vortices were flaring up beneath their feet in psychedelic patterns. The familiar laws of physics didn’t apply here — gravity shifted chaotically, and time flew with unpredictable intensity. As Spacelunch, absorbed in thought, stroked the ground which distorted like a mirage under his touch, Cat’s grumbling echoed simultaneously from the past and future:

— Doc, don’t you think we’re just walking in circles?
— No wonder. That’s how inverse modelling works. Every action we take reshapes the surrounding space.
— Can you explain it in simpler terms? There’s only one genius here.
— Ever heard of the Philadelphia Experiment?
— Of course! You know how much I love sushi rolls!
— Well, I set myself up for this predicament… Back in my university days, we experimented with magnetic fields trying to program them by thought. You get where I’m going, don’t you? The planet is reacting to our intentions. So, focus on visualizing the portal.

The confusion on Cat’s face gave way to a mask of detachment. Clusters of matter began to tremble pulling the threads of reality to their breaking point before finally forming a vortex. Having devoured as much as it could, the vortex snapped shut with a loud pop and dissolved in a blinding flash.

As the scene began to take shape, silhouettes emerged under the soft glow of a desk lamp, evoking an overwhelming sense of nostalgia. A worn desk and a small bed stood by the wall adorned with faded photographs, while the floor let out a gentle creak underfoot. The clearer the interior came to be, the more paralyzing the realization, and the more elusive the explanation for what had happened became.

— Holy…! Cat, are we looking at the same thing?
— Yeah, but… This can’t be real.

Spacelunch slowly approached the window and froze still. A single thought raced through his mind: “The only force strong enough to pull me this far… was love.”

Mastering by Pheek.
Artwork by Jubilee.

PREMIERE: Upwellings - Space Suburb [SPCLNCH13]

I am exploring soft sound in a fast tempo. Layering structures and moods, soundscapes from past and present. Listening to sound as an alive being.

Laima Adelaide LIVE (Chroma)

Bandcamp

Marek Bois "ALT" (RRYTUS09)

💠 Support the release:
https://chippychasers.bandcamp.com/album/meteorology-reissue

🌀 Follow the artist:
https://soundcloud.com/frivolous
https://www.instagram.com/frivolous_dj

🌐 Follow the label:
https://soundcloud.com/chippychasers
https://www.facebook.com/chippychasers
https://www.instagram.com/chippychasers_

_______________________________


👁‍ Premiere request: 
rayzeh.premieres@gmail.com


_______________________________

Follow us here:
🟠 SoundCloud - https://soundcloud.com/rayzeh
🟣 Instagram - https://www.instagram.com/rayzeh.music
🔵 Facebook Page - https://www.facebook.com/rayzeh.records
🔵 Facebook Group -  https://www.facebook.com/groups/rayzeh
⚪️ Bandcamp - https://rayzeh.bandcamp.com/
🟢 Spotify - https://open.spotify.com/playlist/3eFABSjmmvtFfwAbm69SIh

PREMIERE: Frivolous - Allen Town Jail [CHCH04]

Laima Adelaide navigates in the soundscape of Deep Techno and Ambient. Her
music is a constant flow where noisy fragments and crystal-clear melodies wrestl to merge into a hypnotic harmony. With a strong foundation in both artistry and technology, she studied composition in Stuttgart and sound engineering in Riga, giving her a unique perspective on music production and sound design.

As a founder of Predawn Records, Laima is dedicated to cultivating the
electronic music scene by releasing innovative tracks and curating events.

 @amlia

[11] Focus: Laima Adelaide (live set)

your black was blacker than mine
your black was so black 
that it became light
mind lost its home
and in my dreams i won't lose you
and in my dreams it became light

mind lost its home

Buy here https://www.kanzleramt.com/neo/catalogue/ka190-steve-rachmad-heiko-laux-accelerate/

The album collaboration between the Amsterdam and Berlin artists showcases their unique chemistry, blending cutting-edge production techniques with a deep reverence for the genre's roots. Crafted in the shadows, Accelerate is a meeting of two minds from two cities known for their underground energy, each bringing their unique influence to an exhilarating techno experience. The reworked classics on Accelerate, which originally graced some of the most renowned techno labels between 2007 and 2012 on vinyl 12”, are newly mixed, edited, and turbocharged, pushing the limits of each track's original energy. All is recalibrated for a new generation of listeners—and they hit harder than ever. Alongside these revamped gems, Accelerate introduces new and previously unreleased material that will take listeners even further. Accelerate is a relentless force that demands to be felt in all its depth.

Tracks on Accelerate:
01 The Viking (Accelerated)
02 Politeness Protocol (Edit)
03 Stamppot (Edit)
04 Critter
05 The Viking (BEN SIMS Edit)
06 The Boatshow (Accelerated)
07 Carlos (Accelerated)
08 Butalimbo
09 Shared Wave
10 7tine (Accelerated)
11 Hutspot (Edit)
12 The Broken Cup (Edit)

TU PREMIERE | Steve Rachmad x Heiko Laux - Butalimbo (Kanzleramt)

https://cassandramiller.wordpress.com/2015/05/10/about-bach/

This string quartet is an expansion of a solo work for viola (of the same name) which was commissioned by philanthropist Daniel Cooper for violist Pemi Paull. It’s a piece about process, about Pemi’s musicality, about Bach of course, and in the end, about the Quatuor Bozzini.

I first took a recording of a short phrase (the first phrase in major) of the famous Chaconne from Bach’s Partita no. 2, performed live by Pemi. I then meticulously transcribed the recording with the help of some software — this is a process I’ve developed over some years to apprehend the exact rhythmic musicality of a performance, capturing as well various artifacts such as the viola’s upper partials as they change within each bow-stroke.

The opening of the piece is simply this transcribed phrase of Bach, with a harmony of my own making, which turns the phrase into a gently jaunty chorale. From there the phrase goes through a somewhat inaudible process that is simply let to run, until it runs itself out. It’s a constant meandering, a non-developmental piece in an extreme sense. My interest (and freedom) in exploring such a simple form comes directly from working with the Quatuor Bozzini, and this string quartet version is a souvenir of gratitude for years of great inspiration.

Das bißchen Klima … sagt die AfD

olafval