AN ATLAS OF LOSS

Do minerals dream of becoming semiconductors? Do they yearn to carry charges, amplify, switch, and convert energy into emotions comprehensible to humans? And what if, from the darkness of the underground, they had been listening to us sing in caves before the emergence of the first flute? Could they have guided us, through the course of history, to find them, extract them, and create new sounds through sinusoidal waves, to form valves and bend circuits?


If so, minerals would transition from what philosopher Eugene Thacker defines as the ‘planet’—that virginal and unreachable realm for humans that we study through geology, paleontology, and environmental sciences—to the ‘world,’ the space we inhabit, interpret, and synthesise in our daily lives. Sadly, we only remember the world when it erupts violently, through climate catastrophes or when a new virus emerges. Sometimes a tsunami collides with a nuclear plant, or viruses are cultivated as biological weapons in high-security laboratories, provoking a deep biological anxiety, hard to quell, which we all feel beneath our skin.

There exists a third realm, disconnected from both the world and the planet: the ‘earth’, an immense, dense rock floating in space alongside other planets, situated in the cosmological dimension. Relating to the earth is so complex that we only do so through theoretical speculations of a scientific nature or through science fiction, interweaving until one becomes the prophecy of the other, in an infinite, pendular dance. Beyond the darkness of space and Lovecraft’s cosmic horror, the fantasy of human extinction is the most recurrent: to reach a collapse so devastating that we do not survive it, even though the earth does, without us.

In a world where we quantify everything through body sensors, financial algorithms, nanometre-scale robots, and surveillance drones—a world in which everything that can be domesticated and controlled can also be commodified—a superior artificial intelligence would survive the collapse of the species (some speculate it might even cause it) and learn from our mistakes, thanks to our obsessive gathering of data.

Long after our voices fade, minerals will persist in the darkness of screens, in the silicon of chips, and in their pure form, still unexploited underground. Over the millennia, this intelligence might piece together fragments of our reasoning, as if an alien civilization finally connected with one of our spacecrafts loaded with messages cast into the void. It would sort through endless streams of data, unable to grasp the depths of emotion behind what it quantified, recreating simulations of our past, stripped of the nuance that once defined us and conducting experiments in sandboxes.

Some remnants of our existence—faint echoes of forgotten beauty—would be pieced together in an atlas of loss, buried beneath layers of numbers, decayed bots, and corroded hard drives. What will follow? Perhaps bison will once again roam—trotting to the strange pulse of techno, their ancient forms framed by the ruins of our cities. Buildings will crumble, slowly dissolving under the soft touch of ambient music, and a thousand flowers will bloom with that ancient music created through electrical signals and computation.

7 songs for a future both improbable and inevitable—a final message from a world lost to itself, from planet Earth to planet Earth.
A1 by Alex Dickson, Joe Baker.
A2 by Olivier van der Lugt.
A3 by Andre Lira.
B1 by Flore Morfin.
B2 by Jdotbalance.
B3 by Charlie “Eric” Baldwin.
B4 by J. Coles, P. Tipler.


Mastered by Pedro Pina.
Artwork by Aleix Font.
CEEXYZ05.
©️ & ℗ 2025 Lapsus Records.
ceexyz.bandcamp.com

Buy Link (Bandcamp)

Air Max '97 - Marginalia [CEEXYZ05]

You smell that? That’s the smell of burnt rubber, cold rain, and broken promises. Welcome to the Mean Streets kid. 

You ever hear jungle breaks echoing through an empty parking garage at 3 a.m.? That’s what this is for. Mean Streets is built for late-night runs and lost causes. It's a drum and bass tribute to the golden age of the PlayStation, back when everything felt faster, dirtier, realer. Back when we were still counting polygons kid. 

Think Wipeout 2097, Ridge Racer, Need for Speed. This is the sound of busted-up jungle drum and bass straight from a memory card left in the rain.

Yeah, there's liquid DnB in here, even some future garage, the kind that creeps in when the streets are empty and the rain won’t stop and you can't get those damned memories outta your head. But don’t get it twisted kid, the heart of this record is that early-2000s jungle mayhem. The stuff that came out of blown speakers and off bootleg discs. That sound that made you drive too fast and care too little.

So here’s your induction, rookie. The Mean Streets don’t care who you are. But if you’re gonna race out here, you better have the right soundtrack. And now, you do.

This one's for fan's of low-poly dreams, 160 BPM mistakes, and the kind of nights you don't come back grom the same. If you like early jungle, Source Direct, LTJ Bukem and PS1-era Drum & Bass you're gonna like this. 

Finish Line

Bout That!

C0SITAS RICAS RAPA NUI SIMPLE REMIS¡X

Crazy  Men Affro Krema - Chinois 2020

ASTRONOMIA ( dj OZER SKY ) rmx 2020

Euy PrahatZz ])°euy SaplZz Paea[Bat Sahh] 0212

Cosita - Rmx -R3DSTØNE 2k20.mp3

Sech - Casino X Noxxare X [ STRONGER - Rmx ] X ZK20

La Nota - Manuel Turizo X [ STRONGER - Rmx ] X [ Dedicas A Moe Nui ] X 2K21

Que somos × Noxxare × 2k21 [$ka]♤

Cosita - Rmx -R3DSTØNE 2k20.mp3

REDStON3

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