9.5 HOURS of amaze 🔥🔥🔥🔥🔥🔥🔥🔥🔥🔥

summer sounds to stay cool 100 EXCELLENT TRACKS

Minimal tracks series no. 131

20 tracks is the goal.

created: 2025/07/28

hk_minimal_tracks_131

PLumP00H

Meet ___________ (insect and spider species, when my computer is fixed)

Calm and Steady tracks series no. 583

created: 2025/08/15

Picture CREDIT (none yet, there's no picture so far ; )

Capitalized tags in the "Additional tags" field are SoundCloud's.

hk_calm-steady_tracks_583

Protaanta

Live Analog Techno Jam
Made:
Roland AIRA TR8
AKAI MPK MINI
Behringer xenyx x1204
Behringer TD-3
Oscilab groove box



138bpm
experimental techno
[TEB]

SNY Aka Silent Rage [Connection] Live Act

I Won't Bite

A soundtrack from the double star system Døåregæan 51

Hybrid Symphony Nr°3

Drip, Drop, Jump & Run

My new song is about feeling hope. What is under the man's waist? It could be a huge drum of nuclear waste, or race, or an immature system of society that denigrates poverty. But the man has hope. It's also a form of hope that wants the music to be as beautiful as possible.

Projecting hope (235)

derivata quarta

EXcursion8

Worm

Persephone's Fields
Valhjim 

An ethereal, dark ambient, dreamlike Berlin-School type, "Persephone's Fields" enwraps the listener in an Otherworldly atmosphere of magic and myth. In our imagination, we see Persephone in a field of flowers, follow her chant to the horizon, witness Hades lurk, approach, and snatch her away.
**********

Valhjim: Synthesizers, Samplers, guitars
Martin Miers: drums

© 2025 Valhjim. All rights reserved. Original music by Valhjim.

Persephone's Fields - Valhjim w/Martin Miers

Produced and programmed by Julian Maramieri
Arranged and mixed by Julian Maramieri
Written by Julian Maramieri
Recorded at Oalanka Studios 2.0
Released by Sequenz Frequenz Records

Move Your Body

Nostromo - Move Your Body

Drummax, Sytrus, Fender Squire Mini guitar , Yamaha Tenor Saxophone

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

Yep, Sure, 100%

‘solus, altius’
Personal.
Live performance.

Pyrénées.

Tools :
Marbles (with jitter).
- Telharmonic (H & P outs) > Zagrzeb (hp out) > Desmodus Versio.
- Pluck > Fold 6 > FX Aid.
Zadar, Batumi, Ochd, Diode Chaos.
Sinc Defero.
Quad Vca, A-138s, StMix, Black stereo mixer, Listen IO.
Recorded live and mastered with Logic Pro.

Associated image : Petrus Major.

Mirapeis [personal]

More on the 705th weekly Disquiet Junto project, Book Start — The Assignment: Let the beginning of a book help you begin a new piece of music — at https://disquiet.com/0705/. This week’s project was proposed by Neil Stringfellow.

disquiet0705 - Lubadh

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

new collaboration just dropped with the one and only BobbyBPhoolan bringing lyrical assassination and rhetorical evisceration on the track. Check out her page for more ice cold dopeness: https://soundcloud.com/bobby-b-phoolan

samples
-Scenes de Guerriers, Lee Gagnon
-The Mob, Macbeth 1954 (film)

Rude Gyal ft BobbyBPhoolan

The fourth track of CHEMICAL is BEGINNING 3. 140 BPM. 6m1s. This is avant-garde and lacks any clear scale-based melody. In that sense, this may be similar to Polygon Window QUOTH. Dance music consists only of beats, sound effects, and noise. I guess I just hate common sense and preconceived notions. CHEMICAL Link in Bio!

BEGINNING 3

🚀 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

speed_this_train_is_going

https://www.youtube.com/watch?v=7m92Fy09FEA

noxpox - intermezzo 2

Las Palabras lo dicen mar de laguna musical…

link descarga
https://www.safecreative.org/user/Jeshdez

3.Mar de Laguna

PLumP00H&TK - D'ya.ava.match?

This “song” is entirely in DeeP. speech. I am interested in music and moods, not messages. My close contact with the Clockworkgod enables me to speak this language fluently and convey moods completely authentically. ;-)
You must listen to the song beyond the 1:37 mark, otherwise you will miss something essential!
Everything was done artistically and technically by DeeP.

Float

Worker Bee (2025) Remastered

Experimental artist ex.sses makes her debut on traverse with 4 body - a 4-track EP that embodies her bass led-palette of sounds and fuses heavy bass, broken drums and textural sounds. 4 body imagines the body shifting and mutating though diﬀerent states,
breaking apart and coming back together to find itself anew. We are drawn into landscapes where the voice whispers from the edges asking the listener to submerge themselves.

Australian and Paris-based artist Gillielove contributes with a remix that depicts to the perfection their love for hypnotic and deep grooves, broken percussions and mutant basslines.

credits
produced and mixed by ex.sses
remix by gillelove
additional mixing on ‘ada’ by kincaid
mastered by umvral
artwork by olga and faustine morisset

ex.sses - Ada touch it (Gillielove euphoric mix)

Rege - Csicsi Is Toooooo Skvicsiiiii

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