Daily Drops

https://winoiwinyle.bandcamp.com/album/born-to-be-wild-aquarius-2018-remixes

Profesor Label - "Born to Be Wild" (Think I'm Gonna Crash Mix), 2018.

After 18yrs of releasing a new song, Hostal Handshake are BACK!
Maybe just a single, maybe just an EP or maybe...an album? But we are Back! :D
#ripOzzy

Youtube link: https://www.youtube.com/watch?v=lYcakJJnz1E
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lyrics:
This is not a drill!

Give me something to break it in two
give me glory to rule the fools
take me in your house on a big flat screen
Ready to sink you on a dark black dream

Are you ready to become a slave of me?
Corrupted government ain't gonna set u free
All these righteous pre-election pigs
are now pointing the finger for you to pay the fee

Now it's the time, this is not a drill
ain't got no privilege , got nothing to feel
Your heart is gray from the news today
only your soul left in the end to pay


(p) & (c) 2025, Hostal Handshake.

This is not a drill! (new song 2025)

dronbe

released in Jan 2025 - nomatesensemble.bandcamp.com/album/i-am…m-with-you.

Then She Reaches for the Gun was formed in 2021 by Mat Ward. At its essence is sound collage, Ward invites musicians, sound artists, poets and anyone interested to send him files to be used, abused and showcased ‘as suggested by the work’. They are not always musical but field recordings, spoken word, engine noises and drunken rants. Animals participate a lot too! The raw material is arranged with one phrase asking for the next in an alchemical and intuitive process that will most often feature dozens of tracks weaving in and out of each other, colliding, harmonising, arguing and laughing along the way.

Both the aesthetic and the compositional methods use what Frank Zappa called Xenochrony - the mixing together of separately recorded and rhythmically opposing musical phrases to create polyrhythmic and polytempi compositions.The work also features fragmented story telling with the human voice (in many languages) appearing unannounced throughout the tracks offering up snippets of thoughts, conversations, jokes and existential angst. The absurdity of humanities desperate claim to have any real understanding of its place in the universe is revealed through the recorded follies and genuine emotions of the artists. The project is a celebration of chance, diversity and community. It pays homage to all musical tastes and genres whilst maintaining a sense of humour and irreverence that is needed to stay sane in the climate of 21st Century contemporary culture.

Then She Reaches For The Gun is

Humans

Adam Meredith - Ford XD with XF front mods/Voice
Ambient Annie - Electronica/Field Recording/Voice
Andrew Harper - Field Recordings
Angostura Elwar - 2 x Behringer CRAVE analog synths/Yamaha P200 electronic piano
Antonella Eye Porcelluzzi - Text/Voice
Ariad Music - Clarinet/Percussion/Piano
Axel Weiß - Electric Guitar/Robot Voices
Banalytic - Experimental Electronics
Belial Pelgrim - Digital Strings/Electronica
Brendan Corey Benson - Electric Guitar
Carolyn Wigston - Voice
Chicago Word Brigade - Electronica
Dan Hewins - Bass Guitar
Dane Renshaw - Drums/Voice
Dani Kirby - Keyboard/Piano/Voice
Dylan Banks - Intonarumori/Voice
Frank Wilke - French Horn/Trombone/Voice
Garbage Truck Disco - Drum programming/Electric Guitar/Joyous Pop Punk
Glenn Ward - Electric Guitar/Skyhooks
Hakan - Moog Voyager XL
Hverheij- Drums/Electric Guitar/Synth
Johnny Python- Bass Guitar/Drum Programming/Electric Guitar/Text/Voice
JZsuperstar - Electric Guitar/Field Recordings/Keyboards
Lady ElectroTrek - Organ
Libby Laksmi - Jazzy Loops/Synth Bass
Loop(c)y - Electric Guitar
Malo Bernard-O’Meara - Drums
Maxx Black - Guitar/Ukulele
Minimal Drone Girl - Cat Wrangling/Field Recordings
Oberlin - Eurorack/Piano
Paolo D’Emilio - Electronica
Paul Miller - Electronic Percussion/Keyboards/Phat Electro Bass
Phil Bywater - Saxophones/Voice
Raul Mainer - DAW Programming/Heavy Metal
Robert Jefferson - Akai Rhythm wolf/GakkenSX-150 ll/Korg Kaosilator/Percussion
Rosin Dust - Violin/Field Recordings
Sarah Megahertz - Speedway Noise
Scratch Kelly - Beats/Electronica
Stan Magendanz - Electronica
Ten Atmospheres - Field Recordings/Synths
Texmex Shaman - Electric Guitar
The Windscale Blues Experiment - Clarinet/Flute/Saxophones
Timothy Korstad - Demons/Electronica
Thomas Bergheim - Bass Guitar/Electric Guitar
Tobias Schmitt - Electronica/Processed Organ/Text
Tuonela - Demons/Electronica
Vartch - Drones/Things/Trousers (not T-shirts)/Voice
Widar’s Spiritual Front - Electronica/Ms Pacman
W:I:L-o’ the-wisp - Bass Guitar/Electric Guitar/Electronica
Wivresse - Electronica/Voice
Zanshin - Acoustic and Processed Drums

Mat Ward - Arrangements/Bass Guitar/Double Bass/Field Recordings/Intonarumori/Marimba/Noise/Percussion/Piano

Dogs
Boogie
Brophy
Buddy
Hancho
Jack
Momo
Neska
Poldo
Senna
Shyamsundara
Star
Oily (cat)
And many cows from Milis, Sardinia

Cooking Hard Boiled Eggs in a Cheap Motel In Adelaide Part 1

This is a collaboration with Stan Magendanz (https://soundcloud.com/stan_magendanz)
Hear the awesome original at https://soundcloud.com/stan_magendanz/opheretri
K995 Fagott

Bridge (Stan & Robert)

Moonbase Six Implosion

https://www.instagram.com/reel/DNntOqxN1fi/?igsh=OWJ1M2hqZ3ozNW5j

MARTIAN WASTELAND
The Martian winds whispered across the empty plains, carrying dust like ash from an old fire. When SPACECAT landed, he knew immediately—something here was wrong. His whiskers tingled, his tail flicked. Mars wasn’t just silent. It was watching.

Shapes appeared through the red haze. Astronauts. But their suits were torn, their visors cracked—inside, nothing but pale light, shifting like smoke. They walked with jerking, unnatural steps, boots leaving no trace in the dust.

Ghosts.

The stories were true. The lost crews of Mars missions, trapped between life and death, now wandering the wasteland.

One lifted its helmet, revealing a hollow void that hissed his name:
“Sssspaaacecaaat…”

SPACECAT didn’t flinch. He’d faced worse. Probably.

Then came the sound—metal grinding against rock. A rover rolled into view, but it was twisted, warped by something beyond engineering. Its headlights burned white like empty eyes. Chains rattled as it tore across the soil, hunting.

The ghosts pointed, and the rover roared forward.

SPACECAT sprinted, claws flashing on stone, his jetpack coughing weak sparks. The rover chased close, its mechanical arm snapping inches from his tail. The ghosts drifted after, whispering in unison:

“Stay. With. Us.”

He leapt into the shadows of a crater—and there, waiting, was Zorgo. Oil on his claws, sparks in the dust, he grinned his lizard grin.
“Fixed it. Just in time. The MARS RIDER is yours.”

The machine stood ready: sleek black hull, neon veins pulsing, engines glowing like fire in the dark. It looked alive. It looked hungry.

SPACECAT dove into the cockpit. The rover crested the ridge above, screeching, its jaws widening—

FWOOOSH!

The MARS RIDER launched like a lightning strike, neon trails tearing across the wasteland. The rover gave chase, but the Rider cut sharper, faster, burning over ridges and craters. With a final burst, SPACECAT flipped a switch marked with a claw-scratch: Overdrive.

Engines screamed. The Rider leapt a canyon, fire spilling behind. The rover couldn’t follow. It fell, crashing into the abyss, its death-screech swallowed by the Martian dark.

Silence returned. But not peace.

The ghosts still stood on the plain, far behind now—hundreds of them. Their glowing visors turned, following the Rider’s path. They raised their hands in eerie unison.

SPACECAT narrowed his eyes, tail lashing as he sped into the horizon.
“They’re not gone,” he muttered. “And next time… they’ll come for me.”

The Martian night swallowed the MARS RIDER, leaving only dust and whispers in the wasteland.

Martian Wasteland

ghutous_05

Here's my take on this Yanni's masterpiece. I've changed the original arrange in some sections to differ slightly, improvisations during the recording sessions are always full of surprises. I've added some subtle strings as an essence of Yanni's original version, no intention to copy it anyway. It wouldn't be an appropriate approach to this project, I think. It is strangely satisfying to dive into a genius mind to discover what is moving the gears inside. Yanni as a composer seems to be simple and minimalistic, but there are some quite complex twists in his compositions...

The End Of August by Yanni - piano remake

When Everything Was Ours

Heavenly Ray

More on the 712th weekly Disquiet Junto project, Zebra Code — The Assignment: What rhythm do you hear in a bar code? — at https://disquiet.com/0712/

abc iodized request - disquiet712

When the authentic self seeks to create an environment set apart from the all pervasive false reality and narratives of these distorted times, it must do so without foundation or context, upon a tabula rasa, an arte povera, from nothing, and how better than through joyful aimless play with no intention other than to create and exist within the moment, through art and music and dance, away from symbols and language and meaning, away from expectation or reception, a creator with no audience or consumer, for the simple  fun of it. And it must be fun; if working hard and making effort are key to success or gaining respect then neither success or respect are important, one need not pass beyond gatekeepers for something as worthless as approval. There are no bad paintings. Want for nothing other than to know the people sing even if you hate their song. Smile at their terrible dancing, then dance yourself.

SQRIA is like all my other recordings in that it is made live only with small cheap synth boxes (Korg Volca (Sample1, FM1, Modular, Kick), Korg NTS1, Korg SQ1, Bastl Kastle (1.5, Drum and ARP)) - no daw or complex programming - just some forethought/intention and the generation of a suitable playspace - then recording what happens as I move things about. SQRIA is different in that each track is originally hours long and then edited down to something near 20 minutes.

A/ Like Seeds Without Rain

A Sunday after the Storm

A live stochastic experiment
with four Korg Trident synthesisers,
from Cherry Audio.

Distant Dawn

Made for Naviar Records' 614th Haiku Challenge

Includes a re-worked version of an old, old track of mine which contains traces of the beautiful piano of Dave Greening.   https://soundcloud.com/tuonela-1/dave-greenings-numb-the-water

Dragonfly determination [naviarhaiku 614]

Heavy Punk Rock 'n' Roll band turns into Synthwave nowadays! Brand NEW album "Ultraviolet Cosmos" available NOW!
https://shockthealgorithm.bandcamp.com/album/ultraviolet-cosmos

Almost all tracks are free to download and covered by a Creative Commons license. Collaborations / Remixes are welcome so feel free to experiment - no need to get my permission first. Just send me a link to your track when you're done :)

I love listening to & creating ambient, dark ambient, avant-garde & experimental electronica (and the occasional beatscape). I have no professional aspirations  - I just really like creating music / manipulating sounds. It's my way of relaxing after a hard day at the office. All my tracks are produced using monitoring headphones (Audix A140) so I recommend that you listen to my music through headphones. My DAW of choice is FL Studio. I also use Reason every now & then. 


To the artists I follow; I do my best to try to listen to as many of your tracks as possible each night (I listen to each track all the way through - you went through the effort to create a track so you deserve to have it heard in full). If I miss a recent upload of yours, please forgive me...

Thank you for taking the time to visit my little corner of the soundcloud.

ghutous_05

Stan Magendanz

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