DAPHONK - Nightlife

DAPHONK - Nightlife (VIP Mix)

"CYAN" is a sonic hallucination.
DA-PHONK crafts a slow-burning, hypnotic track where shimmering synth waves collide with sharp phonk beats.
The track feels like driving endlessly through neon landscapes lost between dreams and code, between liquid light and solid shadows.
Cold but sensual, minimal but obsessive, "CYAN" is a meditation on repetition and resonance.
Where beats echo like heartbeats… but wired.

CYAN

"Sedna's Music" is not a song, it’s a signal.
Dark Earl finally unveils the key track of her long-awaited third album, delivering a 6-minute sonic ritual in collaboration with DA-PHONK.
This track imagines what the music of Sedna the distant, frozen planet might sound like if it were translated through human machines.
Bizarre, hypnotic, unsettling yet beautiful, "Sedna's Music" floats between darkness and madness, between the pulse of Earth and the silence of space.
A melody that doesn’t ask to be understood… but felt.
Strange frequencies for strange souls.



Sedna's Music

Lotus Pastel’s rare demo of Dark Orbit (originally by DA-PHONK). Unfinished yet haunting, it drifts through empty space like a lost signal, fragile and spectral.

Dark Orbit (Da-Phonk Cover)

An unfinished collaboration between Da-Phonk and an unnamed singer, maybe Emma Hope. No Time in the City remains a fleeting sketch, lost in the cracks of the night.

No Time in the City (Deleted version)

Da-Phonk’s deleted track a squeezed ball, removed from the album due to restrictions. A dirty, raw cut that survived only as a rare hidden piece.

A Squeezed Ball

DA-PHONK’s Yellow was pulled from the official dark album because it was too bright and too different. Instead it found life on rare_version, where the whole city glows in yellow.

YELLOW

Zero Two Seven is DA-PHONK’s encrypted odyssey. A cyber-myth where vocoded voices confess across collapsing timelines. Heavy bass collides with glitching arpeggios as cosmic echoes unravel between alien empires and forgotten codes. A track that turns raw phonk energy into a paradox of silence, neon, and fate.

Lyrics :

Verse 1

There… beneath my Beskar skin,
Lives a lucid future within.
Zero two seven carved in steel,
Across my chest, a code surreal.

A formula sung by Traveler Gods,
Passed to the Klingon angels, flawed.
Unearthed by demons dressed as men,
Mix of magic, xenotech again.

Chorus

Here comes that hyper-eternal time,
I confess inside my tesseract’s line.
Shall I speak to me, or let it lie?
Will I unveil the truth I tried to hide?

Verse 2

I know I’m no Mandalorian kind,
Not Romulan blood, nor Vulcan mind.
But I have fought the Empire’s end,
And twice I watched the world descend.

No phone-box spinning through the void,
I never touched inhuman artifact.
It hung between Kronos and Naboo,
Bio-forged from Thanagar, Sakaar too.

Chorus

Here comes that meta-celestial time,
I confess inside my tesseract’s line.
Shall I speak to me, or let it lie?
Will I unveil the truth I can’t deny?

Final Verse

At last I crossed the orbit of silence,
Where comets bleed equations of alliance.
No throne, no relic, no blade to claim,
Only the paradox that wears my name.

Stars collapse in binary rhyme,
Time rewinds yet skips through time.
The secret isn’t empire, war or crown,
I was the algorithm breaking down.

Zero Two Seven

Ghost of Maya revisits No Time in the City from Da-Phonk, joined by the French artist Bob Salim. This dark trip hop version deepens the atmosphere, slowing the pulse into shadows and echoes. The track feels cinematic, almost like wandering through rain-drenched streets in a film that bears the same title, currently in production. The vocals glide between whispers and distant cries, amplifying the existential weight of the original while painting a darker and more haunting space. It is both a tribute and a reimagining, where the city becomes timeless, and time itself disappears.

No time, no place.

Dark Earl a shadows and light sorceror who roams through transmutating from mystery into sublime, immersive worlds that are singular and mesmerising.
Influenced by dark trip-hop and beat oriented electronic textures with innervining rhythms, he fuses some depth into the darkness of despair background with notes of redemption and escape.
Dark Earl, hailing from a polyglot melting pot, interprets the borders of his multi-ethnic sounds. By his tracks it as if stories – usually contemplating where every note holds feeling and each pause perpetuates reflection.
Amateur music productionist from the beginning back in 2003, Dark Earl evolved his sound and gone into the realms of experimental weirdness and outlandishness.
He refuses to limit himself to a 1-genre domination and finds outlet where music is more than just a quest for empire, but freedom and authenticity.
He is one of the most important figures today in a group of young artists supporting hands-on, and collaborating with DJs, sound engineers as well as singers from all over.
Dark Earl is not a producer, he makes experiences.

Maya Guzmania, alias Ghost Of Maya, est une artiste belge dont le parcours oscille entre l’ombre et la lumière. Avant de devenir autrice-compositrice-interprète, elle a longtemps œuvré dans la production musicale, sculptant les sonorités des autres sans jamais oser imposer sa propre voix.
À six ans, elle enregistrait déjà des bribes de mélodies sur de vieux magnétophones, convaincue que la musique était un langage secret. Adolescente, elle passait ses nuits dans les clubs underground de Bruxelles, absorbant les rythmes du breakbeat, du dubstep et de l’électro, en quête d’une alchimie sonore qui lui échappait encore. À vingt ans, elle plongeait dans l’industrie musicale en tant que productrice, affinant son art dans l’ombre des studios. Pendant des années, elle façonnait des morceaux pour d’autres artistes, effleurant l’idée d’écrire pour elle-même, sans jamais franchir le pas.
Puis, un soir, au détour d’un morceau inachevé, elle a compris que sa place n’était plus derrière la console, mais au cœur du son. La voix qu’elle modelait pour les autres devait désormais être la sienne. C’est ainsi que Ghost Of Maya est née, fruit d’un vertige et d’un besoin urgent de rattraper le temps perdu.
Aujourd’hui, elle prépare son premier album, une œuvre immersive où les spectres du passé rencontrent les pulsations du futur. Et demain ? Si le futur appartient aux âmes qui osent, Ghost Of Maya pourrait bien devenir l’un de ces mystères musicaux qui traversent les époques, insaisissables et hypnotiques.

Maya Guzmania, known as Ghost Of Maya, is a Belgian artist whose journey sways between shadow and light. Before becoming a singer-songwriter, she spent years behind the scenes as a music producer, shaping the sound of others while keeping her own voice in silence.
At six, she was already recording fragments of melodies on old cassette players, believing that music was a secret language. As a teenager, she wandered through Brussels’ underground clubs, absorbing the pulse of breakbeat, dubstep, and electro, searching for a sonic formula that remained just out of reach. By twenty, she had dived into the music industry as a producer, perfecting her craft in the shadows of recording studios. For years, she created for others, brushing against the idea of writing for herself but never taking the leap.
Then, one night, amidst an unfinished track, she realized her place was no longer behind the console but within the music itself. The voice she had shaped for others had to become her own. And so, Ghost Of Maya was born—from that moment of vertigo, from the urgency of reclaiming lost time.
Now, she is preparing her debut album, a hypnotic journey where echoes of the past merge with the rhythms of the future. And what lies ahead? If the future belongs to those who dare, Ghost Of Maya may soon become one of those musical enigmas elusive, timeless, unforgettable.

rare_version is a label for what hides between the lines. Lost takes, demos, deleted cuts, and fragments that were never meant to be seen. Nothing polished, nothing staged. Just rare moments, released as they are.

DougMix é responsável pela fábrica de hits do interior paulista.
Dono de duas gravadoras e um Podcast semanal que gira ao redor do Mundo.

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