A dramatic, tense, dark soundtrack in the style of classic arthouse with string quartet, synth and tape modulations

Petri dish - Trap

A suspense horror film soundtrack with eerie cello and hysterical violin

Petri Dish - Ennui

A suspense arthouse soundtrack with noise, retro synth and echoes of piano

Petri Dish - Shadows

* An experimental track about mental overload and information chaos - life feeling like static, can't think straight, everything is noise.

STATIC

I as we

A haunting, drone-like cello soundtrack with a tense, nervous, desperate mood

Solo

A dark soundtrack with a mysterious fantasy atmosphere, piano, synth, female vocals, cello

Mentalist

Couldn't record vocals just yet because my family is home and I plan to scream the lyrics really loud.

YOU"RE FAKE Instrumental

2. Kramer - Book I - The beginning - (Orchestral Dubstep) [172bpm/Gm]

The 'adrift' float has ended. We are no longer moving, but have arrived, suspended in a new stillness. But this stillness is not silent. This is 'A Hum Draped in Shadows.' A beatless, tense interlude, the track is the sound of an unanswered question. The Cello 'shivers' with a long, dissonant, 'shadowy' hum, while the Kalimba echoes like a ghost in the dark. This is the 'hum' we've been chasing, a mysterious and uneasy 'calm before the storm.

A Hum Draped in Shadows

A fairytale soundtrack in the spirit of Slavic folklore, mixed with the atmosphere of wonder

Play Pretend

This is an lively duet for two harpsichords. It is cast in the typical baroque binary form but is quite dissonant, non-tonal, and avoids any pretense of conventional harmony. It employs canonic writing.

Frolic for Two Harpsichords

Dia-Zé-Pam-100MG unleashes a new anomaly in high-velocity electronic music: the birth of Dissonant Extrabreak. “My Foots Twist” pushes the limits of tempo and tension, firing at 640 BPM with a groove so unstable it feels illegal in several dimensions.

This track bends rhythm into impossible shapes, twists dissonance into momentum, and transforms chaos into something strangely addictive. Razor-edged drums, fractured harmonics, and a pulse that shouldn’t groove — but absolutely does.

Not made for the faint-hearted. Not made for this timeline.
Just hit play and hold on.

My Foots Twist

Expressionist Caprice for the Violin in G Minor

CANDIDLY, FRIENDS I DONT REALLY CARE WHAT ANYONE SAYS THIS SHIT IS DOPE. GORDON GECKO JUST HEARD IT ON HIS ENORMOUS CELL PHONE AND NOW REALIZES HOW CORNY IT IS TO BE ALONE ON A BEACH AT DAWN.

NO BASS MINIMAL MODEM HIP HOP INSTRUMENTAL BY MORROW

This is my Sonata for Solo Violoncello No. 2 recorded by Juan Aguilera Cerezo, to whom it is also dedicated to.

Sonata No. 1 focused on harmonic fields, but Sonata No. 2 (2024) focuses mainly on lines and linearity of material.

Sonata No. 2 for Solo Violoncello "Vertex"

I don't know what to name the genres of my songs half of the time

Renoise as my DAW/Tracker

Sandefjord is a Norwegian/French music producer exploring the depths of electronic sound, where powerful rhythms meet immersive atmospheres.
His creations blend the intensity of techno, Tech House, the weight of dubstep, and the raw energy of drum & bass to craft an experience both cinematic and visceral.
Each track tells a story of movement, emotion, and pure sonic exploration.

Dia-Zé-Pam-100MG is an unruly force in experimental electronic music — a creator who doesn’t just break the rules but pulverizes them into stardust and builds new sonic worlds from the debris. As the inventor of the Extrabreak genre, he mutates it constantly, birthing new substyles almost as quickly as he composes.

His constellation of influences forms a beautifully deranged paradox:
the theatrical extremism of Mike Patton,
the limitless imagination of Buckethead,
the baroque brutality and meticulous chaos of Igorrr,
the alien logic of Aphex Twin,
and the fractured rhythmic geometry of Venetian Snares.
These giants don’t shape him — they orbit him, while he generates his own gravitational anomaly.

What truly sets him apart is his creation method:
no shortcuts, no fake double-tempos, no “4× trickery.”
He records his percussion patterns live, using 1/16 note repeat, at grounded tempos like 130 BPM — and then accelerates the entire sonic ecosystem into impossible velocities (560, 580 BPM or whatever the next universe demands).
The result is authentic hyperspeed:
a human-guided, intentional velocity that remains surprisingly groovy, structured, and alive.

Every track is more than a composition — it’s a world-building ritual.
He designs mythologies, landscapes, physics, emotional atmospheres, then sculpts sound as if chiseling open alternate dimensions.
His music becomes a map of impossible places: fractured planets, cosmic avalanches, luminous abysses, and psychological states too extreme for normal rhythm to contain.

Dia-Zé-Pam-100MG isn’t following the evolution of electronic music.
He is tunneling beneath it at 580 BPM, resurfacing with something feral, visionary, and strangely beautiful.
A cartographer of hyperspeed.
A world-forger.
A genre engineer.

And somewhere in the underground, a legend whispers:
he’s preparing to push breakbeats past 1000 BPM…
and somehow, impossibly, make them groove.

LIKE IT LIKE YOU LIKE IT CAUSE ITS LIKABLE.

morrowbeatsmorrowbeats@gmail.com

Hi! My name is Falconn and I've been making music since middle school. Give it a listen! 

I am a composer, currently studying mathematics

Film / TV / Game - Composer

Composer in Legio Sound & Music 

Hello! Here you can listen to my up-to-date music portfolio

New tracks tagged #Dissonant