There's a god in the cranberry bogs, you've found. Who else would turn the toads and frogs into a symphony?
-
Yes, the background vocals do have lyrics, but it was improvised muttering, so if you can tell what's being said, great... I can't.

Sleeping God [Instrumental]

a good song about bad compulsions. wrote this sucker in an hour and could not hold back to release it. think it works better in simplicity, anyway.

lyrics:

am i still good? am i good, am i good, am i good, am i good, am i good, am i good, am i still good, am i still good?

please, make me good.

thirty-six
handwashes per day,
the thought hit head and then the foam.
skin so slick,
paper mâché, you'd
think i scrubbed down to the bone.

i'm not like that anymore.
i don't think...
... sometimes i still find myself by that sink, begging,

"am i still good? am i good, am i good, am i good, am i good, am i good, am i good, am i still good, am i still good?
"please, make me good."

bedridden:
when he was mad,
i'd lock myself up in the attic,
all alone. crying,
"am i what he made of me? a body formed from selfish maladies?"

and he said he never meant it, he just needed me;
i shook his foul routine but i'm still turning in my sleep, praying,

"am i still good? am i good, am i good, am i good, am i good, am i good, am i good, am i still good, am i still good?"

and it is good, it is good, it is good, it is good, it is good, it is good, it is good, and it is good, and it is good.

Soap Prayers [August Demo]

just clearing out the archives...

LYRICS:
(blame the biteless bug, blame the biteless bug)

And he opened his hands,
those live-wire hands,
spits of bioluminescence peppering out.

Oh, did he cry, did he cry?
Or did he blame the husk of the firefly–
paper wings, a light so bright
too tempting for his human eyes?

And did he think that his spots
were glowing gifts from the gods? 
Or did he connect the dots?
His constellations scrape off…

Not like this, not like this,
jar me and let my light kiss
all that you cannot love,
darkness hugs, darkness hugs.

Oh, did he cry, did he cry?
Or did he blame the husk of the firefly–
paper wings, a light so bright
too tempting for his human eyes?

And did he open his mouth,
his bug-catcher mouth,
and claim the freckles on his skin were always his?
I bet he did,

Star-Freckled Hands [August Demo]

another quick piece, thrown out in basically one night before classes started back up. stubbornness and such. y'all love the more acoustic pieces so have fun

also FYI sang this entire song with a pill literally stuck and actively dissolving in my throat so bonus points for realism there (very painful would not recommend)

LYRICS:
Love: what a gentle drug
Tugs the body, cling to familiars,
Pull, no push.

Love: haunting like the moon
You strummed my guitar ‘till the strings fell out of tune
And every time I play it sounds like you

Every minute I’m away from you it gets
Easier, oh so easier,

Love: a worn-down torn-up glove
Hugs the fingers, at least where it can
Warm, not hot.

Hope: a pill stuck in my throat
Fear of the toke, my type of hope loves to be known
So stubborn I think I’ll choke

Every minute I’m away from you it gets
Easier, oh so easier,
And I mourn the mourning as it goes ‘cause
Momma raised no quitter
Let it be easier please just be easier

Love, Like a Sore Throat [January Demo]

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

Breathe IN Breathe OUT

Journal Entry #1—The Past, Like A Strange Bird

Journal Entry #2—The Bloom and the Flutter : DiLasso, Schnittke, Goats, Ghosts

A Pane of Glass

Tag You're It (Melanie Martinez) - Cover by Escritum

Howl's Moving Castle - Merry Go Round of Life (Distorted Piano Cover) FULL VERSION

a lil bit folk, a lil bit cosmic, a lil bit whatnot... 
songs for the winged, moss-clad being that climbs through my window every blue moon and demands MUSIC.

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