Heard this song for the first time live, in the mist of holding on a past life, and this song may have been an indicator that it wasn’t meant to be. I mourned in a way and let out a tear, trying to accept for what it was. This song holds a special place in my heart, as cheesy as that sounds, but it truly does. Thank you Phantogram. My heart hurts but hey, gotta make my bed, go to sleep, and move on.

Casita

All A Mystery

What's The Point

Adult Swim

You Don't Know How to Drive

Memory Of A Day

Ashes

Move In Silence

It Wasn't Meant To Be

My Own Summer (Shove It) – Musora Session

My Own Summer (Shove It) - Musora Session

KMT KI Media 2025 (18.08.2025)
Album Nr. 133 "Scherben des Lebens by KMT" - Style: Darkwave, Electro, Industrial | Tracks: 30 (ai generated)
Lyrik: Deutsch

Thema: "Scherben des Lebens" ist eine Sammlung berührender Darkwave- und Electro-Lieder, die die Nöte von Kinderseelen beleuchtet und Eltern hilft, die traumatischen Folgen ihres Kindes zu verstehen. Umso mehr ist es auf die herzliche Liebe der Eltern angewiesen.

Track 01: Flüstern im Dunkeln
darkwave, electro

Track 03: Schatten der Vergangenheit
industrial, ambient

Track 05: Zerbrochene Spiegel
synthwave, electro-pop

Track 07: Stumme Schreie
darkwave, industrial

Track 09: Flügel aus Papier
ambient, electro

Track 11: Narben der Zeit
industrial, darkwave

Track 13: Im Labyrinth der Angst
electro, synthwave

Track 15: Licht am Horizont
ambient, electro-pop

Track 17: Scherbenhaufen
darkwave, industrial

Track 19: Tanz der Schatten
electro, ambient

Track 21: Goldene Fäden
synthwave, electro-pop

Track 23: Verlorene Unschuld
industrial, darkwave

Track 25: Echo der Stille
ambient, electro

Track 27: Tanz auf dem Vulkan
electro, synthwave

Track 29: Neues Morgenrot
ambient, electro-pop

Wenn Sie meine Musik kommerziell nutzen möchten, kontaktieren Sie mich bitte. Ohne meine Zustimmung dürfen keine finanziellen Einnahmen aus meiner Musik erzielt werden. Meine Musik ist für den privaten und kommerziellen Gebrauch kostenlos. Ich würde mich jedoch freuen, wenn Sie mich (Kurt Michael Treichl) als Urheber angeben. Weiters sollten Sie erwähnen, dass es sich um KI-Musik handelt.

Vielen Dank für Ihre Zeit. Genießen Sie Ihre Reise durch mein künstlich erzeugtes Musikparadies.

© Albumcover und Musik wurde von Kurt Michael Treichl mittels KI-Unterstützung realisiert.

Liebe Grüße,
Kurt Michael Treichl (KMT KI Media | AI Music Austria) - Austria / Salzburg

Besuchen Sie mich für mehr auf
https://www.mystic-arts.com
https://www.ai-music.at
https://www.kmt.zone

15 Licht am Horizont v1

Violet Street

When Am I Gonna Lose You

Way Out

Sparked by a color or song that recalls the most joyful and tragic moments in your life, a sense memory vaults you into the distant past. These subtle triggers remind us that memory isn’t confined to the mind; it lives in the body, too. Phantogram’s fifth album, Memory of a Day, captures that disorienting sense of time travel. “We put these songs together as a capsule, thinking about how a certain sound or melody can bring you back instantly to a memory of a day,” Phantogram says. 

While they were recording, the duo fixated on life calendars, a gridded sheet in which each unit represents a single week of a person’s life on the planet. As you fill in the grid, you witness the progression of your life in stark terms. The older you get, the darker the grid becomes, reminding you of how much time you have lived, and how little you may have left. “It’s this exploded view,” Phantogram says. “Like an image of Earth from a distance.” The life calendar is both morbid and nostalgic, a physical representation of our ephemeral time on Earth. 

“Days are only numbers,” Sarah Barthel sings on the chorus of “Come Alive.” That lyric became a north star for the duo as they set forth to make Memory of a Day. At once heavy and ebullient, “Come Alive” distills the lasting impact Phantogram has made on popular culture. Since their 2010 debut, Eyelid Movies, Phantogram has been comparable to no one, futurists who still manage to stay ahead of the curve more than a decade into their career. Their genre-bending approach to pop has led them to work with everyone, from Big Boi, with whom they founded Big Grams, to Subtronics, Future Islands, Deftones, the Flaming Lips, Tom Morello, and Miley Cyrus, to name just a few. A festival staple across the globe, Phantogram has also toured with Queens of the Stone Age, Arcade Fire, the XX, and many more. “We’ve always been proud of that: not being afraid of the experimental.”

Though their music has always been future-facing, to make Memory of a Day, Phantogram looked back. “Recording this album, it felt like how it did when we first started making music together,” Phantogram says. Alongside special collaborators like Mikky Ekko and Dan Wilson, Phantogram was joined in the studio by producer John Hill, who helmed Phantogram’s second album, Voices. The duo experimented in the studio and indulged in the music that brought them together in the beginning, artists such as J Dilla, Prince, Slowdive, and so much more. They reference new wave acts like the Talking Heads, ESG, and Liquid Liquid as influences on the percussive punk track “Feedback Invisible,” which is followed by the wistful burst of color “Attaway.” It’s a shoegaze song so sumptuous “you can almost see the grain in the guitar sounds.” 

Phantogram think in images when they write, drawing on scenes from films that linger with them years on. “Ever since Eyelid Movies, our work has been visually driven,” Phantogram says. In the video for the fuzzed-out waltz “All a Mystery,” snippets of human lives coalesce into a montage of experience. “Erase all the tapes in my mind/ Throw them all away,” Barthel sings, accompanied by a bittersweet swell of synths. “Turn back the tables of time/ Let all those memories die.” A swirl of memories, both triumphant and tragic, surface on Memory of a Day. “Come Alive” was written after Barthel experienced a transformative live show on her own, while the title track recounts the moment Josh Carter had to put his dog down. “It’s what you wanted, but couldn’t say,” he sings. “I’m not afraid of dying or what it feels like”

The album’s penultimate track, “Happy Again,” is a thrumming, bass-heavy rock song with a chorus that sounds like a wave crashing against the sand. “Another empty summer sunset/ Feeling homesick,” Barthel sings ahead of the bridge, her voice catching on the breezy, luminous production. “Can you believe this is your life?” It’s a moment of realization Phantogram compares to the dour scene in Forrest Gump, where Lieutenant Dan, “mega depressed and drunk,” throws a bummer New Year’s Eve party. Still, the song ends with an enlivening mantra. “I can be happy again,” Barthel repeats as guitars careen and crash. If days are only numbers, then how else can a person measure a life? On “Ashes,” the answer seems to be in moments of resilience. Based on the adage “you came into this world alone and you’ll leave it alone,” the throbbing production infused with elements of trip hop, shoegaze and indie accompanies Barthel as she reminds the listener: “Ashes rise, ashes rise.”

When they penned the lyrics, Phantogram thought of the mythical phoenix spreading its wings after catastrophe to take flight. The vulnerable, even despairing moments on Memory of a Day are stark, but they’re buoyed by a relentless optimism that has driven this project from the outset. In the Los Angeles studio where they recorded Memory of a Day, Phantogram often marveled at the distance they’ve come, both physically and spiritually, since they first started making music together in a barn in Upstate New York. “Tomorrow never knows,” Barthel nods to the Beatles on “Come Alive.” The accumulation of days together tell a story bigger than any finite lifetime, and Phantogram’s life calendar is only a fraction full.

It Wasn't Meant To Be

PHANTOGRAM

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