track 003

MONEY CASH HOES(ft.tonziz)

Dawn

kawaii-kitten

Kastro Zizo Bojken Lako- Mono (Enoprod Rmx)

💰 "Meme Coins" is a high-energy fusion of electronic and trap beats, capturing the thrill and volatility of the crypto world. With hypnotic rhythms, pulsing bass, and unpredictable drops, this track delivers an electrifying ride—just like meme stocks on a bull run. 🚀🎶 #CryptoBeats #HypeTrack

Meme coins

There 's something in the air telling us this is the beginning of the end when the only official response is : #adaptation . 
https://youtu.be/3DHsOvvUkZE

Singer Malo,
Music by Air Wey, sound design & percussion by @ritano94
Lyrics by Malo & Air Wey

Garden Of Eden

Garden of Eden

RainDrunk

Myogi - Departure (You give me a lift force)

DJ HamiK - Ebi - maste cheshat - Remix

Years ago I realized that the recording studio was becoming a musical instrument. I even lectured about it, proclaiming that "by turning sound into malleable material, studios invite you to construct new worlds of sounds as painters construct worlds of form and color." I was thrilled at how people were using studios to make music that otherwise simply could not exist. Studios opened up possibilities. But now I'm struck by the insidious, computer-driven tendency to take things out of the domain of muscular activity and put them into the domain of mental activity. This transfer is not paying off. Sure, muscles are unreliable, but they represent several million years of accumulated finesse. Musicians enjoy drawing on that finesse (and audiences respond to its exercise), so when muscular activity is rendered useless, the creative process is frustrated. No wonder artists who can afford the best of anything keep buying "retro" electronics and instruments, and revert to retro media.

The trouble begins with a design philosophy that equates "more options" with "greater freedom." Designers struggle endlessly with a problem that is almost nonexistent for users: "How do we pack the maximum number of options into the minimum space and price?" In my experience, the instruments and tools that endure (because they are loved by their users) have limited options.

Software options proliferate extremely easily, too easily in fact, because too many options create tools that can't ever be used intuitively. Intuitive actions confine the detail work to a dedicated part of the brain, leaving the rest of one's mind free to respond with attention and sensitivity to the changing texture of the moment. With tools, we crave intimacy. This appetite for emotional resonance explains why users – when given a choice – prefer deep rapport over endless options. You can't have a relationship with a device whose limits are unknown to you, because without limits it keeps becoming something else. Brian Eno 1999.





Music Lab: Cross-synthesis and audio morphing. Blending human creativity in a hybrid process of re-skilling and innovation to explore new musical frontiers, with lyrics, prompts, arrangements, and post-production pre-sets in a Digital Audio Workstation, with AI as a tool that ensures each track is a unique and authentic demo and blueprint for future collaborations and creative evolution.

Serial entrepreneur, musician and cannabis enthusiast! 

Fuzz x producer 

Follow me on ig :@thisshitTEKnical

I’m only trying to make good beats. That’s all.

New tracks tagged #BPM120