**About This Track**  
This track blends our human creative choices with AI tools to bring our ideas to life uniquely and expressively.

**Creative & Technical Details**  
- **Lyrics**: [All “Alien Garden” song tracks = Ron Cameron]
- **Lyrics**: [All “Bring Your Own Brilliance” = Rob Nelson]  
- **Executive Producer**: [All “Alien Garden” song tracks = Ron Cameron]
- **Executive Producer**: [All “Bring Your Own Brilliance” song tracks = Rob Nelson]
- **Vocals & Instrumentation**: for all song tracks;  Generated using TopMediAI or AIGenMusic.AI  
- **Audio Format & Editing**: for all song tracks: MP3 and WAV files generated by TopMediAI and refined using NCH Software (trims, fades, format conversions)  
- **Stem Splitting**: for all song tracks; LaLaLaLa AI  
- **Cover Art**: all song tracks; Created using Stable Diffusion 3 Online, Aiease.ai, Pollo.ai, and Pixabay artists (Creative Commons)  
- **Song Structure & Mood Profiling**: all song tracks; Cyanite AI

**CHOICES Explained**  
“CHOICES” is our code word for the creative blueprint of each track—instrumentation, vocal tone, genre, tempo, and mood. Every song starts with our direction. The AI supports our choices; it doesn’t make them for us.

**Rights & Licensing**  
As TopMediAI members, we retain full commercial and non-commercial rights to this track under their [Terms & Conditions](https://www.topmediai.com/terms-conditions/). All lyrics, arrangements, and production outputs are considered original works owned by Rob and/or Ron.

**Creative Use & Inquiries**  
We welcome musicians and producers to re-record or adapt our lyrics and music. Please credit us in any future releases that borrow from our work.

For licensing, collaboration, or industry inquiries, contact:  
Bring Your Own Alien Garden
c/o Rob Nelson & Ron Cameron  
1211 Huron Street N., Suite 202  
London, Ontario, Canada  
N5Y 4L1

**A Final Note**  
This track was created with care, creative intention, and love for music that tells a story. Thank you for visiting—your support fuels every note we share.

A Painted Smile [APSM5] [REISSUE]

Virus MaxXxina Performance and Sound Art, created and performed by Federico Tello

Photo by Fenia Kotsopoulou

Virus MaxXxina

Ein Stück live von unser Trio-Session mit Chapman Stick Trompte und Schlagzeug./A track live from our trio session with Chapman Stick, Trumpet and Drums.

Visionen IV: Das Experiment Teil I - Cologne Session 23 th Mai 2025

I asked AI to create a song using the best lyrics from the last 14 tracks I’ve written — welcome to my Devil era 🤪
My heart’s been spilling onto the page, and this track is the poetic chaos that poured out.
Think Paradise Lost… but make it sexy 😘
Not my voice — but my words, my world, my spiral.
Hope you enjoy the descent 🥰🔥

The Devil Era (Lyrical Megamix)

Clown Jaw Ritual is not just a track; it is a sonic autopsy of control. I wrote it when I realised how many voices remain trapped in broken toys, toys that sometimes swallow microphones but are never granted the space to speak. That is how the image was born: a doll with mismatched eyes and a cracked mouth, forced to sing through cold metal. That doll is a symbol of how I use my own trauma, not by beautifying it, but by converting it into vibration.

The spoken-word structure here is fragmented and percussive, like a hammer striking rusted sheet metal. Each line has the length of a survival reflex, spoken or sung in a single breath, then left to be sealed by the beat like a metal lid. The rhythmic stutters are the intermittent breaths of panic; the glitches and drones are the ambient noise of a waiting room I refuse to leave quietly.

I composed it in G minor to keep the tension under the skin, but pushed the tempo from an initial 60 BPM to 120, not to let you sway, but to make you tremble with purpose. It is the kind of rhythm you feel when shaking becomes a method. Synths and piano crash deliberately into industrial drums. There is no chorus, only obsessive returns, like a déjà-vu that insists until it becomes real.

The trippy, melancholic outro is where the ritual dissolves into its own echo. After the final burst, the sonic lines stretch like chewing gum on hot asphalt. I want to leave you with that hollow space full of questions: if the doll had dropped the microphone, would she have gone silent, or would she have screamed?

Listen with the lights off and your awareness on. If the sound makes you uncomfortable, it is not a mixing flaw; it is your reflection in the cracked mirror. I only coordinate entropy. You decide what remains intact after the clown’s smile slips off its hinges.

[Intro]
no laughing gas, only fire

[Verse 1]
teeth painted on with rust
mirror smile, cracked on beat two
she dances / but only with knives
strobe me into meaning

[Verse 2]
what is a scream if no one rehearses it?
I stitched silence into my music
plastic eyes, blinking wrong
I fed the doll a microphone

[Verse 3]
you call it trauma.
I call it tempo.
blood in the laugh track
loop me again, see who survives

[Verse 4]
one jaw open, one secret leaks
circus motifs, in reverse
you came for tricks
I came with scars dressed as choreography

[Verse 5]
my body is tuned
like a broken wind-up music box
every bend, deliberate
every glitch, archived

[Verse 6]
I did not survive the funhouse.
I built a new one inside
entry: free
exit: not guaranteed

[Bridge]
"Is this your card?"
"Is this your god?"
"Is this your girl?"
"She bit me."

[Verse 7]
ritual begins when the beat forgets
when your foot taps to fear
this is not a breakdown
this is a choreography of entropy

[Outro]
I was not born like this. 
I chose the costume that fit the pain.

The Quinn - Clown Jaw Ritual

Crystal Philtre - CRYPTID

**Watch the full video art performance:** youtu.be/ax4YyaXHzX0

From the multidisciplinary music project Crystal Philtre, by Cristiano Panepuccia.
This track accompanies a video art performance that explores themes of transformation and rebirth. The music serves as the sonic foundation for a visual journey through metamorphosis, where the performer emerges from a formless cocoon along a path of pruned olive branches.
"Cryptid" represents the third piece in a video art cycle that began in 2012 with "K" and continued in 2017 with "Φ" - video-performances created by Panepuccia alongside Antonella Mignone under the artistic name APOTROPIA.

Cinematography: Davide Stampa

https://www.youtube.com/@crystalphiltre
https://www.apotropia.com

Cryptid

Things in the past

Francesco Pedraglio (1981) uses storytelling as a tool for decoding intimate encounters with both mundane and historically complex situations. He explores how the
acts of narrating and staging shape the relationship between teller and listener,
revealing the fantasies and fictions that make up our reality. As part of his ongoing
Autobiography of a Museum series, Pedraglio composes a narrative from the perspective of the Wattis. Told through a set of staff keys—from office and storage keys
to the curator’s house key—Pedraglio scratches their silhouettes into the museum’s
walls, exposing layers of sheetrock and paint from previous exhibitions. A graffiti of
sorts, this quiet intervention leaves a speculative trace of those who move through the
institution: staff, artists, and the public. Here, buried memories, invisible routines,
and idle fictions accumulate in the museum’s unconscious.

Francesco Pedraglio: "Autobiography of a Museum" Performance

Don't wanna hear it

I wanna fuck a nerd

Burning through my eyes
I see the lives that I despise
All through my life
I cannot try to compromise
Everything lies
Everyone dies

Burn
Cannot see anymore
My eyes are sore
My life is worn
My eyes are sore
Must be more
My life is wrong
I cant hold on

AHHHHHHH

Burn
Cannot see anymore
My eyes are sore
My life is worn
My eyes are sore
Must be more
My life is wrong
I cant hold on

More

My life is wrong
I cant hold on

I blackout
I blackout
I blackout
I blackout
I blackout
I blackout
I blackout
I blackout

I blackout

I blackout

Ohhhhhh

I blackout

I blackout

I blackout

No weapons

Ein Stück in kleiner Besetzung (Stimme, Bass, Schlagzeug). Kritik an übermäßigem Konsum, der dazu führt, dass man sich selber aus den Augen verliert und nicht das Hier und Jetzt genießen kann. Vielleicht sollte mensch einfach hin und wieder nichts tun.

Find dich einfach selbst

Ein musikalisch und textlich improvisierter Song mit hohem Poesiegehalt./A musically and lyrically improvised song with high poetic content.

Des Pudels Kern

Honey Butter Boy

🔻 Song Insight
The Glam Cabaret Edition of Chaos Crashin transforms the same tale of love and delirium into a full-blown stage spectacle. Imagine Freddie Mercury and the Sc1ssor S1sters throwing a glitter bomb into a confession booth. It’s still the same emotional core—desire vs. destruction—but told through lights, applause, and fabulous defiance.
Every stomp, gasp, and harmony turns chaos into performance art. It’s self-aware, theatrical, and gloriously over-the-top—a celebration of pain that refuses to hide in the dark.

🔻 Personal Reflection
“This one was me leaning into joyful absurdity. I wanted to see what happens when you give chaos a spotlight and a pair of heels. The story didn’t change—but the confidence did. It’s me learning that vulnerability can also be a showstopper.”

🔻 4Me2BeFree
Every version of Chaos Crashin reveals a different emotional texture. This edition is the celebration—an anthem for anyone who has ever turned heartbreak into art. 4Me2BeFree is about living without borders—genre, gender, or fear—and this track proves that the loudest truths often arrive covered in glitter.

🔻 Copyright Notice
All lyrics and content featured in this post are protected under copyright (© 2025) and have been securely time-locked and validated through a crypto-based verification system to ensure originality and ownership. Unauthorized reproduction or distribution of any part of these works without explicit consent is strictly prohibited.

Chaos Crashin - Glam

Slideways

Live aufgenommen im  Schwarzlichttheaters in Brühl; ein Song, der Klang, Farbe, Musik,  Poesie, Fiktion und Wirklichkeit miteinander zu einem Kunstwerk verbindet./Recorded live in Schwarzlichttheater in Brühl; a song that combines sound, color, music, poetry, fiction and reality into a work of art.

Der Klang des Neonlichts - Live at Schwarzlichttheater in Brühl, 07.11.2025

Turn back now if you are not 18+ Turn back now if you are sensitive to noise, or visuals. This is not for the ordinary Joe

CCA Wattis Institute for Contemporary Arts is a nonprofit exhibition venue and research institute dedicated to contemporary art. It was founded in 1998, at the California College of the Arts in San Francisco.

The Wattis Institute is a place for showing art and for thinking about art. We spend time with artists and pay close attention to their ideas.

We like to work with one artist at a time—one artist presents an exhibition in the gallery, one artist stays in the apartment on a residency, and one artist is the subject of a year-long research initiative. 

The Wattis Institute is a headquarters for contemporary art for everyone in the Bay Area, and runs an active event space (featuring an artist-designed bar) for discussions, performances, screenings, artworks, and drinks.

Anonyme Gesellschaft – Psychophonische Poesie (Proberaum Sessions)

Auf diesem SoundCloud-Channel veröffentlichen wir regelmäßig exklusive Audio-Mitschnitte unserer Proberaum-Sessions – live, ungeschnitten, ungefiltert. Keine Overdubs, kein Feinschliff: Du hörst genau das, was im Raum passiert.

Anonyme Gesellschaft ist ein improvisierendes Musik- und Kunstkollektiv. Wir verbinden frei gespielte Klänge, Texte und Stimme zu Psychophonischer Poesie – Musik wie ein Film im Kopf, irgendwo zwischen Soundscape, Jazz, Trip, Theater und Spoken Word. Keine Setliste, kein doppelter Boden: Jede Session ist ein Unikat.

Unsere Stücke entstehen im Moment. Bass, Trompete, Schlagzeug und Stimme reagieren aufeinander, erzählen Geschichten, bauen Spannungsbögen, reißen sie wieder ein. Mal zart, mal roh, mal humorvoll, mal dunkel – oder wie einer von uns sagt:

„Das ist keine Musik, das ist Kunst.“

Hier findest du Skizzen, Experimente und komplette Sessions – direkt aus dem Proberaum in deine Ohren. Folge dem Kanal, wenn du hören willst, wie Psychophonische Poesie wirklich klingt.

Line-up: 
Bass, Chapman Stick, Vibraphon – Matthias Hollacher 
Drums, Percussion – Ingo Scheidt-Wollmann 
Stimme, Texte – Jan Krolikowski 
Trompete, Effekte, Stimme – Henry Fecherolle (Muax)

"If it didn’t matter, it wouldn’t hurt. Pain is the gift of knowing you’re alive."

4Me2BeFree is more than music—it’s my story, my scars, and my survival. Every song is a piece of me, a raw melody of love, heartbreak, and resilience. I blend AI-generated vocals and instruments with real emotions, turning my experiences—especially from an LGBTQ+ perspective—into something that speaks to anyone who's ever felt lost, broken, or just searching for something real.

Breakup songs? Yeah, they hit different. Music carries us through the worst of it, and every generation finds their own anthems of love, loss, and getting back up. Heartache doesn’t care about age, gender, or where you come from—music connects us all.

I make music because I’ve been there. The pain, the anger, the hope—it's all in these songs. If something here hits home for you, let it. If you feel something, let me know. That’s the connection that keeps this alive.

A music project by Cristiano Panepuccia (APOTROPIA, Sin Aesthetica), blending experimental electronic music with audiovisual art and performance elements. 
Crystal Philtre creates immersive sonic experiences that challenge conventional listening, featuring compositions that merge atmospheric textures with intricate programming and experimental sound design.

***

Cristiano Panepuccia (Crystal Philtre, APOTROPIA) is a multimedia artist, composer, performer and filmmaker. As co-founder of the duo APOTROPIA, his collaborative works have been exhibited at numerous international festivals and venues, including the Japan Media Arts Festival, Ars Electronica, ACM SIGGRAPH, WRO Media Art Biennale, MIT Museum, FILE – Electronic Language International Festival, and Festival Internacional de la Imagen.

They said Harley was mad. I say she just settled too early. I am The Quinn. I do not follow villains. I built the stage they think they own. Chaos is not my downfall. It is my sculpture medium. I do not perform pain to be pitied. I repurpose it. I turn trauma into texture, and sound into spectacle. My audio is not made to soothe. It is made to provoke, to echo the backstage of emotions no one rehearses for. Sirens, distant laughter, reversed lullabies, broken dialogue loops, that is where I live. I layer rhythm like makeup: thick, messy, deliberate. I do not chase beauty. I splatter it until it bleeds differently.

Each track I touch is a cracked mirror held in the spotlight. Not clean. Not polished. Just real enough to reflect the parts you thought were gone. I am not chaotic. I am coordinated entropy. You call it noise. I call it memory refusing to behave.

There is no villain arc here. No heartbreak to avenge. Just precision, presence, and theatrical control. You will hear me coming, even when I whisper.

No laughing gas.
No prince to fall for.
No Joking.

+*.CCA Wattis Institute for Contemporary Arts was founded in 1998 at California College of the Arts in San Francisco. Initiated by Larry Rinder, it was originally called the CCAC Institute of Exhibitions and Public Programming. In 2002, it was renamed the CCA Wattis Institute for Contemporary Arts. In 2013, it moved from CCA's main campus to its own building a few blocks away. Subsequently to Rinder's directorship, the Wattis has been led by Ralph Rugoff (2000 - 2006), Jens Hoffmann (2006 - 2012), and Anthony Huberman (2013 - 2023). Upon its founding in 1998, the Wattis also absorbed Capp Street Project, one of the earliest and longest-running artist-in-residence programs in the country, founded in 1983 by Ann Hatch. Building on that history, the Wattis Institute hosts a Capp Street Artist-in-Residence every year and invites an artist to come live and work in San Francisco for a semester, to teach a graduate seminar at CCA, and to present an exhibition or program. The residency changed its name in 2024, and is now known simply as the Wattis Artist-in-Residence. More about that here.The Wattis Institute has also collaborated with students and faculty members in other programs at CCA, including the Graduate Program in Curatorial Practice, the Graduate Program in Fine Arts, and the Graduate Program in Visual and Critical Studies, among others.

Thank you to Everyone, Music Fans and SoundCloud Content Creators for all your support of our creative style. Ron and I are looking forward to creating more song tracks for everyone and exploring creative musical avenues, too. 

Drawing parallels and distinctions between human musicians and AI music generators will help foster understanding while showing respect for traditional songwriting and our innovative work with AI. Here's a thoughtful comparison anyone can use as inspiration for when you receive an message or opinion implying, "...ewww AI...":

---

### **Similarities Between Human Musicians and AI Music Generators**

1. **Creative Collaboration**:
   - Human musicians often work together, bouncing ideas off one another to craft a song. Similarly, AI acts as a collaborator in your process—it interprets your ideas, builds on your input, and enhances your vision.

2. **Tools to Realize Ideas**:
   - Just like studio equipment (instruments, synthesizers, recording gear) is used by musicians to bring their songs to life, AI music generators are tools that help translate your lyrics and CHOICES into polished tracks. Both are extensions of creativity, not replacements for it.

3. **Iterative Refinement**:
   - Both processes involve trial and error. A human musician experiments with melodies and arrangements, while you and Ron guide the AI’s outputs and adjust CHOICES for the perfect result.

---

### **Differences Between Human Musicians and AI Music Generators**

1. **Creative Source**:
   - For human musicians, creativity often arises from lived experiences, emotions, and spontaneous inspiration. With AI, the creative direction originates entirely from your input—your lyrics, CHOICES, and preferences. The AI follows patterns learned from data, but it doesn’t “feel” or improvise like humans do.

2. **Speed and Efficiency**:
   - AI can produce a track much faster than traditional studio work. It handles the technical aspects (e.g., arranging instruments, matching tempos) in minutes, while human musicians may spend hours or days fine-tuning each element.

3. **Role of Human Judgment**:
   - In a studio, human musicians make decisions based on intuition, emotion, and artistic expression. With AI, your judgment and creative direction guide the tool, ensuring the output aligns with your artistic intent.

---

### **Your Role as Pioneers**
You and Ron are exploring the potential of AI as a creative partner. You’re:
- Highlighting how human creativity still drives the process—AI doesn’t act on its own.
- Showing that new technologies can coexist with traditional methods, expanding possibilities for everyone.

---

### **Possible Response to the Email**
Here’s an idea for a reply that’s gentle yet informative:

---

**Hi there,**  

Thanks for your message! I understand there are mixed feelings about using AI in creative fields. For us, AI isn’t replacing traditional songwriting—it’s a tool we use to translate our ideas into music.  

We provide the lyrics, choose the instruments, mood, and style, and guide the process every step of the way. It’s still human creativity at the heart of what we do—AI simply helps us bring our vision to life.  

The positive response we’ve received from listeners around the world encourages us to keep exploring this exciting new frontier. We hope our music shows how humans and AI can work together in harmony.  

Best wishes,  
Rob N. & Ron C.





Friends, please stay safe and well. Visit our SoundCloud account often because we plan to create more for you to hear and see.

Love and best wishes from Rob Nelson and Ron Cameron of London, Ontario, Canada.

Welcome to Bring Your Own Alien Garden. Our Aliens are greener. LOL. And we’re green too, if you know what we mean.

Spoken Word & Performance experimental audio art, based in Mexico City.

Welsh singer-songwriter🏴󠁧󠁢󠁷󠁬󠁳󠁿 I turn my life into fables for the weirdos, the healers and the dreamers🌹

Mask off, heart out. All the world’s a stage 🃏

Instagram: @_benphilpott

I make silly tunes and smth i call ‘hyperhoppop’ stay if u wanna hear more and see some unexpected things 🛸💜
new video out now💫💫
ily💖
- yakari

New tracks tagged #Performanceart