Adam & Chris discuss (and ramble on) about Gamera! Another in our on-going 1965 series! Chris is all over the place bringing up not only the 1965 start of the Showa era series, but also the 90's Heisi era as well! 

Episode 170-Gamera 1965

Enjoy!

https://deepmedi.com
https://deepmedimusik.bandcamp.com/music
https://soundcloud.com/deep-medi-musik

Thx for listening :)

[0:00:00]  KAHN - Over Deh So  [MEDI083, 2015]
[0:02:19]  MALA - Changes (Distance Remix)  [MEDI077, 2014]
[0:05:47]  COMMODO - Surveillance  [MEDI056, 2012]
[0:09:27]  TRUTH - The Sound Killah  [MEDI092, 2016]
[0:13:06]  COMPA - Hallucinogen [MEDI102, 2018]
[0:17:13]  A/T/O/S - Wake Up  [MEDILP013, 2017]
[0:17:13]  KAIJU - Wrath  [MEDILP012, 2016]
[0:19:58]  GOTH-TRAD - Anti Grid  [MEDILP007, 2011]
[0:23:37]  SIR SPYRO - Topper Top (feat. Teddy Bruckshot, Lady Chann & Killa P)  [MEDI095, 2016]
[0:25:00]  CYRUS - Visions  [MEDI045, 2011]
[0:28:12]  BUKEZ FINEZT - The Idea Of The Devil  [MEDI110, 2020]
[0:31:51]  V.I.V.E.K - Grandfather Clock  [MEDI029, 2010]
[0:35:30]  JACK SPARROW - Where Am I  [MEDI087, 2015]
[0:39:10]  SKREAM - Phatty Drummer  [MEDI047, 2011]
[0:41:27]  TRUTH - Ruffneck  [MEDI098, 2017]
[0:44:12]  TMSV - The Glow  [MEDI122, 2021]
[0:46:56]  KAIJU - Troll  [MEDI121, 2021]
[0:49:41]  A/T/O/S - Cosmos  [MEDILP09, 2014]
[0:51:58]  SOMAH - How We Move  [MEDI108, 2020]
[0:54:15]  KAHN - Dread  [MEDI064, 2012]
[0:56:18]  MALA - Miracles  [MEDI010, 2008]
[0:59:03]  CALIBRE - Discreet Dub  [MEDI027, 2010]
[1:01:48]  V.I.V.E.K - Out Of Reach  [MEDI057, 2012]
[1:05:00]  TRUTH - Dreams Never Come True  [MEDI039, 2011]
[1:07:17]  GOTH-TRAD - Sunbeam  [MEDI033, 2010]
[1:11:24]  QUASAR - Inutile  [MEDI118, 2020]
[1:13:41]  COMMODO - Saracen  [MEDI044, 2011]
[1:16:53]  KAIJU - Gluttony (feat. Gantz)  [MEDILP012, 2016]
[1:20:05]  CHAD DUBZ - Night Ride  [MEDI128, 2023]
[1:21:54]  TRUTH - Temple Of Eyes  [MEDI125, 2023]

Mixed @ Mission Control II // Feb 2025


Bass 25.12 - Deep Medi Musik

My very first Schranz Song. I looooove the anime Kaiju No. 8 and everytime the intro plays i'm getting goosebumps. That's exactly why i had to make my own version of the song You Can't Run From Yourself by AURORA. This time it's a Schranz Remix. I hope you like it :) 

Follow & share to support me <3

www.instagram.com/chaoschor_techno

Artists, Mix & Mastering & Artwork Design: @chaoschor

Free DL

AURORA - You Can't Run From Yourself - from Kaiju No. 8 (ChaosChor Schranz Remix) Free DL

moment i heard this song i immediately wanted to add my own spin on it   ^_^

DAN DA DAN (REMIX)

サカナクション sakanaction — 怪獣 (Kaiju) [WWt RUS cover]

Orb: On the Movements of the Earth is a historical drama anime set in 15th-century Europe, focusing on the dangerous, forbidden pursuit of the heliocentric theory (Earth orbits the Sun) against the backdrop of the Inquisition, following multiple characters across generations who risk their lives for knowledge, truth, and intellectual freedom, exploring themes of faith, power, curiosity, and the struggle to challenge established dogma.

Orb: On the Movements of the Earth - Opening Theme (Slowed + Reverb)

Kaiju. VIP

RUBIZILLA: El Juicio de Cindralith (Choir Version) es un tema kaiju de orquesta gótica: coros de iglesia, percusión aplastante y metales graves sostienen una marcha de destrucción solemne.

No es furia sin control.

Es juicio.

Pequeña en forma, inmensa en consecuencia.

RUBIZILLA El Juicio de Cindralith (Choir Version)

Script:

Again and again
Again and again I’ve yelled 
Even if I become a monster this dark night
I want to leave here
This secret

Little by little, it eats
Red and blue celestial bodies
From the future to the past

Devouring them one by one
Over and over, chewing and crushing
And If they melt, I’ll swallow

Indifferently, I’ve come to learn 
as I do, it overflows and spills
The truth until yesterday

One by one, I learn 
Dozens of spiraling riddles
Until they unravel, I’ll continue

The loneliness I feel from looking at the stars atop the hill,
By the time these hands are stained by the breaking dawn, I’ve already forgotten

This world is conveniently incomplete
So I want to know

But like a monster, even if I yell far, far away
It fades yet again

That’s why surely
No matter how many times I gaze

This dark night’s sky,
I want to tell you,
over and over,
about this knowledge

Without resistance, it scatters
As it scatters, the next fruit will form
The fallen petals belong to the past

To live simply
The softened earth and trees
Let’s bloom quietly

The solitude that follows along the extension of points and lines,
By the time my eyes get used to the darkness, I’ve already forgotten

This world is conveniently incomplete
I want to know about it

That’s why like a Monster, even if I yell far, far away
It just keeps fading

but

This future is conveniently bright
That’s why we go forward

Now light-years away, even if I yell far, far, far away
I’ll become a monster again

Kaiju - Sakanaction (Slowed + Reverb)

Performed live in LA @ Dreamland 4.20.24, De-Lite Sunday Day Party 6.23.24, Jump Zone 6.28.24, RAW 6.28.24, Heartstyle 8.17.24, Nightmareland 10.25.24, Partypasta 11.2.24, Outdoor Free Party 11.2.24, Toxic Haus 11.30.24, Hairball 12.5.25, Dem Passwords 12.13.25, in Pomona @ DarkRoom 10.31.24 & 12.12.24, Crypt Frequencies 11.23.24, and in Lytle Creek @ Bonfire Bass 11.29.25

In 2007, mainstream radio saw several high charting releases of melody-driven Jumpstyle. This lighthearted, commercialized sound skyrocketed in popularity, not only through success of Belgian and Dutch acts such as Jeckyll & Hyde, The Highstreet Allstars, DJ Porny, Patrick Jumpen, Scooter, etc., but alongside the ever-growing viral dance craze within the European youth. What began as a homemade YouTube video became a marketing tactic for the music industry, who began promoting compilation albums, TV spots, and music videos prominently featuring jumpers.

Whatever remained of the underground began shifting to the minimalist, percussion-centric approach set forth by the Frenchtek sound. Producers would often experiment with triplet / swing rhythms, bitcrusher, and stuttering glitchy samples. It's under this foundation where jumping, as a dance form, evolved within the "hardjump," "starstyle," and "tekstyle" formats, each with their own unique leg placement and step counts. Even duojump saw a new technique emerge under the "aantikken," which involves tapping the feet from one partner to the other in a synchronized routine.

FULL SETLIST (ALL TRACK ID'S) IN COMMENT SECTION

STARSTYLE 2007 (J.I.N.A.C. Tuning Session)

HEAVY KAIJU ENERGY. GOJIRA KING KAIJU. CINEMATICORE.

GOJIRA KING KAIJU

-Teaser de ''Kaiju''. El primer single  del ''Proyecto Zergëist''.-

-Teaser for “Kaiju”. The first single from the “Zergëist Project.”-

Teaser - Kaiju

Imagine, if you will, the silence of the abyss suddenly shattered by a rhythmic pressure—a throb so deep it vibrates the very hull of our vessel. I am Jacques Cousteau, and I have discovered a new kind of trench, not of water, but of pure, distorted electricity.

"Mon Dieu," I whisper into the radio. Beneath the waves of the Nitetime.net frequency, we find a creature of myth. It is the Kaiju-Bass, a prehistoric resonance that does not swim—it stomps. The melody is a jagged, rusted anchor dragging across the seafloor, mimicking the ancient cry of a Godzilla, yet it is married to a primitive, syncopated pulse—a 'twerk'—that compels the very plankton to oscillate with a violent grace.

As we observe through the porthole, the screen glitches; the Architect has breached the mainframe of the deep. It is a 'system override' of the natural world. The "booty bounce" is not merely a dance here; it is a seismic event, a displaced current of 808s that hits like a physical wall of water.

We see the 'Ratchet Queen' of the reef, moving with a 'volcanic energy' that defies our charts. There are no words in the dark heart of this song—only the raw, mechanical breathing of the machines and the heavy, rhythmic thud of a monster claiming the disco-floor of the Atlantic. It is beautiful... it is dangerous... it is a total system crash of the senses.

KAIJU BOUNCE (NITETIME.NET EXCLUSIVE)

alking Toku is hitting the ground running! What better way to continue into the next 100 episodes of the show than reviewing the newest and FINAL season of Jurassic World: Chaos Theory? The show that brought the boys together and revitalized their love for the Jurassic franchise has finally come to a close. Does Netflix stick the landing? Do they ever? The self-proclaimed biggest Camp Cretaceous/Chaos Theory fans have all these answers and more! 

00:00:00 Intro/Banter
00:07:39 Spinosaurus mirabilis Discovered
00:15:44 The Horror of Godzilla Kai-Sei Comic
00:19:03 Godzilla vs. Texas 
00:22:28 Sonic the Hedgehog × Godzilla Crossover Confirmed
00:26:08 New Neon Genesis Evangelion Anime Series Announced
00:32:57 Sam Reviews Godzilla (1954)
00:38:08 Chaos Theory Season 4
01:14:53 WNCKTAYCORN
01:25:12 Outro/Banter

Talking Toku : Jurassic World: Chaos Theory S4 REVIEW

GTFU

https://infamousalchemist.bandcamp.com/album/intrastash
HELLO iNTERNET
https://ply.wont.fail/
iNTRASTASH MiX? 
?EXTRASTASH LEAK??? X MONSTA 
KAiJU RiPPiN THRU VOiDZ

iNTRASTASH

With the release of Resident Evil: Requiem, Brian and David are too Resident Evil-pilled to think about anything else. As such, to finally defend their claim on whether or not the franchise could be considered kaiju media, the boys go through every mainline game in the series and then some, to determine which would most be considered a kaiju game. 

00:00:00 Intro/Banter
00:03:18 Ultraman: Towards the Future/Ultraman: The Ultimate Hero Blu-ray Set Announced
00:10:05 New GigaBash DLC Teased
00:12:43 Godzilla Mad Libs - Godzilla's Powers
00:26:32 Resident Evil
00:32:34 Resident Evil 2
00:38:22 Resident Evil 3: Nemesis
00:40:40 Resident Evil – Code: Veronica
00:45:35 Resident Evil 0
00:47:51 Resident Evil 4
00:53:13 Resident Evil 5
00:56:59 Resident Evil: Revelations
01:02:07 Resident Evil 6
01:09:32 Resident Evil: Revelations 2
01:11:32 Resident Evil 7: Biohazard
01:15:17 Resident Evil Village
01:25:18 Resident Evil Requiem
01:38:46 WNCKTAYCORN
02:00:44 Sam Watches a Godzilla Movie
02:05:42 Outro/Banter

Talking Toku: Is Resident Evil a Kaiju Franchise?

"GLIDE ON THAT" out now on Unity Records. 


Support The Cause/ Compra <3

https://legwrk.bandcamp.com/album/now-thats-what-i-call-music-ratchet-edition-vol-2

https://legwrk.bandcamp.com/track/gimmehead-ft-anomaly-214

Tour Dates:
04/10 - El Paso, TX

"FREE99 MASHUP"
https://hypeddit.com/legwrk/trickyexpresslegwrkmashup

stream if ya want cabron -> 


Affiliated with -
- sixam
- unity 
- never b alone
- bcco

Chris O'Neil loves talking film! New episodes uploaded weekly. Also browse his "Scared For Reels" shows if you're a horror and cult cinema fan!

AKA https://soundcloud.com/infamousalchemist
JUST A FREESTYLiNG, LiVE PAiNTER WHO NEEDED MORE PSYBASS // PSYHOP // PSYTRAP // BASS-HOP
https://infamousalchemist.bandcamp.com/
OLD SLAPS ON BANDCAMP 


DONT GiVE AUX
i can press tha button,...
Au·di·o·phile
ˈôdēōˌfīl 
a Hi-Fi enthusiast // not a DJ // WAV JOCKY ////  
zee AudioJockey :: ZJ RiDE DA BEAT

✍️ Autor • Forjador & Worldbuilder
🌌 Crónicas de Caelyndor
Fantasía emocional

Podcasts are produced by volunteer members of MMTV. For details about how to create a podcast with MMTV, visit mmtv3.org or visit us at 360 Main Street Melrose.

https://linktr.ee/djbarryd  All Links.

Welcome to my Dubs Sketchbook.

For any tracks you want to download as is, just comment "FREE DL" on the track you want.

I use soundcloud for the dubs i make and while im working on them, basically somewhere for me to listen to the projects while on the move,
all pre-mastered music here and any tracks that get a good genuine feedback, i will clean em up and maybe release on my Label, Sectioned Records.  Thanks for joining in.  All links too facebook and other platforms are all on the profile. Love your real support. Thanks again.

please if you want me to follow back? please show genuine support 😉👍

Hard Techno / Schranz / Industrial - the mask represents me clowning on beats & the name ChaosChor means blending different genres into my techno music such as hiphop, pop, metal etc.

Hi, I'm FLUSH and here I'll upload some tracks, demos, mixes, sets, ids, etc.
Just listen and enjoy ;)

Nitetime.net (run by DJRC) is more than a collection of songs on SoundCloud; it’s a multimedia universe that blends music, narrative, digital culture and irreverent humour. The station spans genres from hip‑hop and EDM to ambient, rock and country. Each track is presented with its own story – sometimes a cinematic vignette, sometimes a manifesto on internet culture, sometimes a tongue‑in‑cheek academic analysis. By exploring these descriptions, we can chart recurring themes and aesthetic signatures that define the Nitetime.net sound.

Digital Anarchy and Hacking Themes

One of the most prominent threads in the catalogue is a fascination with the mechanics and mythology of the Internet itself. Several tracks present characters who treat network infrastructure like a battlefield:

“BEND THE NET” imagines a sysadmin who becomes the “final boss of IT.” The lyrics read like a cyber‑grimoire, dropping command‑line tools as spell components and flipping the idea of the Internet as a free space into a message about control. The production pairs industrial machinery noises with “wub” bass and glitch artifacts, creating the sound of a data centre in distress.

“Bending the Internet to My Will” is framed as a clinical case study of “digital megalomania.” The narrator reminisces about the <blink> tag and CRT monitors, revels in technical exploits like cookie stuffing and BGP poisoning, and seeks to replace his heartbeat with a clock‑speed. The track is portrayed as a primal scream from someone who wants to be “The Architect” rather than a mere user.

“Hostess with the Mostest (Nitetime.net)” turns bragging about servers, domains and bandwidth into a hyper‑confident rap. The “Hostess” owns the building while everyone else begs for followers; the childish “nanna‑nanna‑poo‑poo” hook is deployed as psychological warfare. The song champions building your own platform and not waiting for permission.

“Specificity King of the CSS Battle” uses slow, deliberate beats to mirror the precision required to win a CSS battle. Every sound feels calculated, reinforcing the idea that mastery of fundamental rules allows you to bend them without breaking them.

These tracks weave technical jargon, hacker mythology and web‑development metaphors into narratives about control. The tone oscillates between satire and earnest celebration of those who understand the systems underpinning our digital lives.

Science‑Fiction and Cosmic Spectacle

Nitetime.net repeatedly blurs the lines between music and pulp science fiction, conjuring UFOs, cosmic creatures and retro‑futuristic soundscapes:

“KAIJU BOUNCE (NITETIME.NET EXCLUSIVE)” is narrated in the voice of Jacques Cousteau discovering a prehistoric bass monster. The track layers jagged melodies with a stomping pulse and twerk‑like rhythms, describing a “seismic” booty‑bounce that feels like a system override of the natural world.

“Mothership 3” evokes a 1950s sci‑fi film. A gigantic silver UFO hovers over a terrified small town; the music is fast, chaotic and high‑energy. Earlier instalments like “Mothership 2” transform stealthy beats into the soundtrack for casing a city at night.

“Canvas in the Sky” blends Renaissance art with funk horns and UFO imagery. It starts like a cathedral curtain opening, then horns “that say ‘we are the mystery’” lead to a controlled detonation, as a UFO is revealed at the chorus.

“An Alien Fantasy Landing In the Grass” remixes a ‘70s funk‑rock chassis with psychedelic elements. A lead guitar described as a “12‑amp, variable‑speed, reciprocating noodler” and a heavy Hammond B3 organ drive a song that is simultaneously a love letter and a space invasion.

“Looking at the Stars” strips away vocals entirely. The description speaks haltingly about slow drums, a deep didgeridoo‑like rumble, old sci‑fi oscillators and specific frequencies (432 Hz and 528 Hz), producing a raw, cosmic, body‑pulsating piece.

These pieces link cosmic imagery with heavy bass and horns, drawing on retro‑futuristic aesthetics, UFO lore and the awe of looking into the night sky.

Raccoons, Humour and B‑Movie Culture

Nitetime.net often leans into camp and absurdity, populating its universe with raccoons, B‑movie references and tongue‑in‑cheek commentary:

“Brain Off, Booty on Repeat” recounts raccoons twerking in the studio and launching “data bombs” while the beat demands that listeners turn off their brains and move. The track mashes sci‑fi horror and twerk party aesthetics into a messy, filthy, bass‑heavy celebration.

“HACK THE MAINFRAME!” stages a narrative about raccoons who act as guardians of knowledge until a green sky and an alien craft plunge their world into chaos. The composition moves from calm nocturnal hums to violent Dubstep bursts and back, capturing the collision of order and unknown forces.

“Night Feeder / Nitetime Drift” reads like a Victorian séance described by a detective‑turned‑spiritualist. It blends rustling wings, hand drums, ghostly film clips and digital hums, creating a hypnotic nocturnal life where worldbeat rhythms and “Oyo… oyo…” chants cast a trance.

“The Raccoon Summoning” tells the story of raccoons gathered around a fire performing a ritual with film reels and broadcast relics. As a UFO hovers overhead, puppet strings descend and reveal that the raccoons are themselves being manipulated. The track becomes a slow country ballad about illusion and labor.

“Admin Privilege” features “The Architect” and “The Hostess” trading verses over a grime‑to‑hyper‑pop beat. The characters take shots at a daytime raccoon crew while staking out their digital territory with a bratty “nanna‑nanna‑poo‑poo” hook.

Humour runs throughout these stories: raccoons act as analogues for programmers and DJs, campy horror tropes are re‑imagined through glitchy EDM, and the absurdity of digital life is celebrated rather than hidden.

Cinema, History and Cultural Critique

Another thread in the catalogue draws on film history, underground culture and intellectual critique:

“ANGORA CONFESSIONAL (GLEN_OR_GLENDA)” uses hip‑hop and spoken word to reinterpret Ed Wood’s cult film Glen or Glenda. The description calls it a lo‑fi philosophical and emotional remix that merges film history, queer cinema and personal confession.

“Ed Wood – The Hardest Working Man in Hollywood” celebrates Wood’s relentless creativity, portraying him as a lone filmmaker driving a low‑budget dream and refusing to stop creating despite obstacles.

“Go Look It Up” turns hip hop into a research assignment. The lyrics reference ancient archaeological sites—Göbekli Tepe, Antikythera, Baalbek—and challenge listeners to verify claims rather than argue on social media.

“Meta‑Reactor” offers a fierce critique of the “psychological death of the modern individual.” The narrator condemns the abandonment of primary experiences for third‑order abstractions, describing mirror neurons stacked like amplifiers and glitch vocal chops as submission to technology. The track likens modern media consumption to a suicide note for the human spirit.

“Fast Art, All Heart – Make it Rain” rails against the myth that art requires long gestation. In the story, the artist makes a track in one sitting, complete with bass “alive” and glitches “whrrrrr,” and argues that respect comes from pure, frantic heart rather than months of labour.

Together these tracks reveal an artist equally comfortable paying homage to cult filmmakers, critiquing modern media, celebrating DIY creativity and encouraging intellectual curiosity.

Sexuality and Club Culture

Nitetime.net also embraces club culture and sexuality in an unapologetic, analytical way:

“Nitetime Bounce Bounce (Deep Bass Version)” is dissected like a scientific paper on sexualized movement. The description notes that deep 808 bass and rapid hi‑hats prompt involuntary hip oscillations, while explicit vocals encourage erotic fantasies. The call‑and‑response structure mirrors group sexualized environments, making the song an audio‑kinesthetic stimulant designed to scandalize polite society.

“Gravity Cannon Dropping Asses” positions spectacle as currency. The track is described as loud, excessive and unapologetic, combining neon branding, sci‑fi props and bold bass to build a memorable club empire. The narrative insists that boldness and consistency build a kingdom where tastefulness does not trend.

These songs celebrate dance music’s capacity to provoke bodily responses and challenge social norms, often with tongue‑in‑cheek commentary.

Revival and Identity of Nitetime.net

Several tracks explicitly address the identity and resurgence of the platform itself:

“1 Point OOOOh Snap!” marks Nitetime.net’s awakening from a digital slumber. The description portrays it as a “shuffling anthem” with a beat thumping like a tell‑tale heart and synths that feel like neon signs buzzing outside a diner. The heavy, side‑chained bass is compared to a 1998 dial‑up modem’s scream, celebrating Dot Com 1.0 pride.

“503 Service Unavailable: Universe Terminated.” uses pounding rhythms and mechanical sounds to narrate a world changed by mysterious lights. The song acknowledges fragility but emphasizes that even in frightening times, “we have each other”.

“Nitetime.net Is Back” functions as a curtain‑rising anthem. The track arrives “loud, confident and unashamedly big,” with brass and momentum symbolizing a return to the airwaves. It frames the station’s return as a signal that never truly went silent.

These pieces establish Nitetime.net as a character in its own right, with its own mythology of disappearance and triumphant return.


Conclusion

Nitetime.net’s catalogue is eclectic in sound but unified in vision. Across dozens of tracks, DJRC turns a SoundCloud page into a narrative universe where raccoons hack servers, UFOs descend into Renaissance paintings, cult directors become folk heroes and the Internet’s hidden pipes are both playground and battleground. The station oscillates between earnest critique of modern media, tongue‑in‑cheek B‑movie camp and unabashed celebration of club culture. Above all, it champions independence: owning the infrastructure, questioning received wisdom, creating art at your own pace and reclaiming the night as a space for imagination. Listeners are invited not just to dance, but to think, laugh and look up strange truths – often all at once – making Nitetime.net both a sonic experiment and a community for fellow travellers in the digital cosmos.

Conceptual music released under the name Zergëist.
Game Audio & Sound Design for interactive experiences.
Applied music for media.

New tracks tagged #kaiju