This track was a (rejected) submission for a pony compilation album, but having not touched it for years, I wanted to release it as-is to serve as a reference point for my skills and technique today and to demonstrate that I haven't completely gone inactive since last I uploaded. At the time of writing, there are several other private tracks in my collection, yet to be released—some are recent album submissions, others are part of a larger self-release.

Iterating on the alternation of dubstep/bass and hardstyle that I'd developed since the Defpon.1 anthems, I designed a massive (no pun intended) number of basses to be used for both drops, with both the classic UK FM dubstep and the melody-centered liquid dubstep inspiring the sections. 5 of those basses are meant to emulate vocoded speech, taking the formant effect of some basses to their extreme, forming the full phrase the track title is part of:

"Yeah I Die Today"

Originally this was just a (joking) catchphrase of a friend, but as the track developed and the darker tones of the basses fleshed themselves out, the catchphrase took on a more ominous connotation, with intonations of depression and nihilism echoing through those words. Combining the theme for the compilation, which centered around Discord, a story was imbued within the phrase, specifically regarding the mental state of Discord in the G5 timeline before he was found by the mane cast. Initially, the feelings around this phrase are taken less seriously in the former sections of the track, but later on, a spark of realization breaks through...

After some challenges incorporating polyphonic melodies to hard dance in previous tracks, I tried to exploit the stereo image to place the lead voices distant from one another, allowing the counterpoint melodies to swing from one side to another. A drawback of this was that the somewhat differing melodic ranges of both voices led to a perceived imbalance that was difficult to allay, but it was an interesting experiment nonetheless.

BPM: 150
Key: F min
Genre: Hardstyle/Dubstep

Kicks made in Vital with heavy processing.
Synth instruments made in Serum, Vital, Helm, NoiseMaker, Dexed, Podolski, MiniSynth, and Sytrus.
Additional synth vocals made using VSTSpeek.
Percussion from Cymatics, Echo Sound Works, Abletunes, The Dugg Funnie Private, Sticks, Sinister Souls artist pack, Synthion artist pack, and FL and Renoise stock.

Mixed and mastered in FL Studio.

Dtr. Guo - Die Today (2023)

Composition, arrangements, production - Benjamin Gibert
Mixing and mastering engineer, additional production - Guillaume Saint Etienne

Taste of Sap is an immersive vocal experiment, born from a long improvisation session with a harmonizer. The title is sensual — it means “the taste of sap.” The track gradually thickens, like sap itself: fluid, viscous, enveloping. Conceived as an end-of-night chant around a fire, it searches, finds form, and eventually becomes a ceremonial anthem at dawn.

No language is used: only raw vocal material, spontaneous, organic phonemes that emerge viscerally. The voice is the main musical instrument.

A small vintage, portable Casio synthesizer punctuates the whole piece in playful dialogue with the vocal improvisations. Taste of Sap evokes a primal, ancestral imaginary and prepares the arrival of the sun at daybreak.

Taste of sap

Live recording of ой там на морі (Oh there on the sea) from the July date of my Tranzac residency called songSCAPIN' - genre bending re-imaginings of folk polyphony.
The song is a traditional / ritual spring song from Ukraine. It features these octave leaps, which usually are sung in an intense piercing style, in order to reach the celestial sphere and call spring back.
Guest musician this month was Marta Solek on lyra.
The usual gang are: Tania Gill on piano; Doug Tielli on trombone; BLake Howard on drums; Chris Kettlewell on bass; me (Andrea Kuzmich) on voice, guitar and arrangements

ой там на морі | Oj Tam Na Mori - folk song from Ukraine - LIVE from the Tranzac

SOUTHBOUND 101 is my coming out as an artist — a debut mix that sets the tone for WTF WASSILLY: polyphonic, playful, and global.

Recorded in one rush after a festival bender in August 2025, this 15-track set zigzags from Koreless to Sudan Archives, from Love Parade anthems to absurdist Bierbabes slogans, into a global southbound rave road trip. It’s music without passports: a polyphonic carnival where chaos and WTF moments headline the ride.

It’s a wild 101 journey across genres, continents, and languages — electronic, house, techno, pop, experimental — all bound by my values: music as raw play, energy as fuel, groove as method. And above all, the principle that music knows no limits, no borders, no hierarchies.

The compass is sensation: WTF moments, emotions, grins, carnival excess, tenderness, energy. Infinite LOLZ. Polyphony as method, Abfahrt as spirit.

This is not just a mix — it’s a departure, a transformation. WTF WASSILLY creates WTF moments: where you laugh, smile, move, and suddenly remember why music matters. This isn’t about belonging to one scene. It’s about loving this world as your playground.

SOUTHBOUND 101

Tired of the same old love songs? Savannah Toor's new track "(I'm So So Tired Of Hearing) Songs About Love" is the antidote. Featuring soaring female trio vocals over a heavy bassline and up-beat dance house rhythm. This progressive pop hit blends neo-psychedelia textures with flanger effects for a saturated, polyphonic sound. Stream the studio masterpiece now!

Songs About Love ( Heretic Mix )

May her spit drown every poet
May her hand strangle every root
May her flame burn every canvas, every drop of paint
May destruction liberate us
May the ash cleanse our sight
May her every step crack the earth beneath them

NO ROSE / NOTHING REMAINS

Vocal Arrangement of Harry Revel's "There's a lull in my life"

There's a lull in my life (Vocal Arrangement)

This track was recorded live at the interactive sound installation “Ritual Device for Fungal Humus” (Santiago Morilla, 2025), exhibited at the thematic exhibition “PANIC: Complex. Absurd. Ominous” at the Ars Electronica Festival 2025 in Linz (Austria)

Music, Field Recordings and Soundscape Design: Santiago Morilla and Joaku de Sotavento (with the special vocal collaboration of Coco Moya)

MORE INFO: https://santiagomorilla.com/

Ritual Device for Fungal Humus (Soundscape #1)

CODE Luxe Wave-Folding made that piano possible, folks (1:53)—brilliant touch, ONEPOLYMER!

ONEPOLYMER - CODE LUXE CAN DO PIANO

Castagne è Bracce

https://suno.com/song/c27eca1c-4872-4a07-9f44-1913fa0d3680
sounds cool so i shared that :3

nop porosity

https://suno.com/song/157791ff-265e-48cd-8603-4b560a63bf33
Talks about neutral route (also known as hikikomori) from game "OMORI" by OMOCAT.

The game "OMORI" (with is this song related) designed, written, illustrated, programmed, and produced by OMOCAT.

Art taken from video "omori_saves_player.webm" and edited by LatterRarity70 in Krita.

Made in Suno AI, lyrics by LatterRarity70.

[Куплет]
топ на улице погодка, но дома лучше
не видать вам меня в школе
утонул в этой луже
омОри держать правду поможет в этой шкуре
и это не самое дно
дно пробито давно
мысли прочь пока не разбита
чёрная нависает, становится лучше
цветочный мальчик не хотел как лучше

[Припев]
вина! вина!
испить сполна!
давай помогУ
я не гнетУ

сотри с полотнА
до самого днА
- ох хватит ли тебя?
- я не против, знаешь, давай ползи ко мне!

[Куплет 2]
ой! тебе плохо? о базилике думаешь?
ну да конечно, хах, иное как то вяжется
давай иди ко мне, объятье тьму развяжет
не бойся, я разберусь со всем!
я помогу тебе забыть обо всём!
король снов я, и в реальность есть проём!

[Мост]
знаешь же что выход есть
нож возьми не для того чтобы поесть
лишь взмах ножа как я тебя отпускаю
ты же сам отпустишь себя и всех!

[Припев]
вина! вина!
по горло была мила!
пусть и не вышло 
но он что создало

заляпано немножечка
хватило для себя
что то за моей спиной
мам, поехали домой!

хика (omori route fan song)

No longer mourn for me when I am dead
Than you shall hear the surly sullen bell
Give warning to the world that I am fled
From this vile world with vilest worms to dwell; 
Nay, if you read this line, remember not
The hand that writ it; for I love you so, 
That I in your sweet thoughts would be forgot, 
If thinking on me then should make you woe.
O, if (I say) you look upon this verse, 
When I (perhaps) compounded am with clay,
Do not so much as my poor name rehearse,
But let your love even with my life decay,
Lest the wise world should look into your moan, 
And mock you with me after I am gone.

- William Shakespeare

https://youtu.be/CDp92r5akTg

Sonnet 71

Instrumental rock with an irresistible melody and pulse-pounding energy. If you love guitars that speak without words, 'Give Me Five' will be your next favorite track. 

Give me five (radio edit)

Think About Yourself '25

CODE Luxe knows bass.

And polyphonic sitar, mellotron, brass connections, wurlis, marimbas, mysterious crash pads (@ :47), wave-folded fake-outs 'n' feedback, and pulse-width presence a-plenty.

Bernie Pershey on the drums (the real gated variety): https://www.berniepershey.com/

@GreccoBuratto on the smashing repurposed rock riffs, twangys, and tremelonics.

REFRESH!

Enjoy,
MSR 11-20-25

Think About Yourself '25

This track was recorded live at the interactive sound installation “Ritual Device for Fungal Humus” (Santiago Morilla, 2025), exhibited at the thematic exhibition “PANIC: Complex. Absurd. Ominous” at the Ars Electronica Festival 2025 in Linz (Austria)
Music, Field Recordings and Soundscape Design: Santiago Morilla and Joaku de Sotavento (with the special vocal collaboration of COCO MOYA)
MORE INFO: santiagomorilla.com/ + 

Ritual Device for Fungal Humus (Live Set #1)

The song was conjured from the quiet lives of objects, and drawers, keys, and letters were allowed to speak without voices. Gestures were folded into shadows, and almost-moments were carried like whispers that had been breathed into the air. Cups trembled, faucets hummed, and sunlight was invited to linger where it had not been asked, all of it shaping the inheritance that had been hidden in plain sight.

Absence was listened to, and memory was exhaled until it became visible in the tremor of a hand or the echo of a step. Chaos was folded into care, care into learning, and learning into the hum of what had been forgotten. Each micro-moment was allowed to live, contradict, and guide, leaving traces that could be followed without being grasped.

Rising was witnessed quietly, and resilience was folded, lifted, and carried in secret. Inheritance was recognized in the unseen, in almost-actions, and in the hum of things that had been present all along. In that invisible carrying, it was hoped that you were carried too—and that, finally, you rose anyway.

INHERITANCE (CARRY IT ANYWAY!)

🎵NYC Composer, Orchestrator, Producer, Vocalist, and Qanun player🎵

✨blending classical, jazz & Greek tradition✨

• Berklee alumna 
• Cross-cultural storytelling

This is my attempt at documenting my musical journey and sharing my voice with the world!

Cheektowaga Music & Moving Pictures: Independent Film Production and Full-Service Record Label

Since our founding in the early 1980s by Herbert V Reid Jr., Cheektowaga Music & Moving Pictures has been a champion for authentic artists. We were born from a mission to dismantle the "closed shop" inequities of the traditional music industry, creating a platform for creators who operate outside the mainstream gatekeepers. While our roots are in music, our vision expanded with the visual revolution of MTV, leading us naturally into the world of independent film production.

Today, we are a multifaceted entertainment company and a full-service record production entity. Our "Moving Pictures" ethos represents our commitment to powerful storytelling, whether through a song's narrative or a film's compelling visuals. We are actively developing impactful projects, including our upcoming feature film, My Name Is Brad. This socially conscious film tackles the complex issues of homelessness and addiction, seeking to offer profound insights into the human condition and the circumstances that lead individuals to despair.

Expanding Our Legacy in the Modern Entertainment Landscape

Building on this foundation, Cheektowaga is committed to being a comprehensive creative partner in today's digital age. Our expertise now encompasses entertainment marketing and strategic audience engagement, ensuring that powerful stories don't just get made—they get seen and heard. From music video production and artist development to feature film financing and distribution strategy, we provide an integrated suite of services. Explore our evolving projects and learn how we can bring your creative vision to life through our official portal at
Cheektowaga-OMNI.com 
We continue to empower artists, challenge conventions, and produce content that resonates and matters.
About the founder :

Music was my first language, a passion that took root before I could properly form words. I spent 16 years studying piano, including two at the university level, though I didn't graduate. By fourteen, I was already sealing envelopes, sending my demos out into the world with a teenager’s hopeful desperation. I spent years trekking to office buildings, dropping off those tapes, until I landed a meeting with the late, great Morris Levy. He was the first to call me out on what he saw: I was all over the map. Opera, Bluegrass, and everything in between—I had no distinct genre, just a deep, abiding love for sound.

That eclectic ear was forged in the Southern Baptist church, where I was taught piano for one reason: to ensure the choir always had a musician. I played that role faithfully until a single, accidental experience, shook my faith in the institution, though never in God. It was a turning point among many too numerous to mention.

Morris saw my chaos not as a weakness, but as a strength. He suggested I stop trying to fit into a box and instead build my own. He was right on point. So, being who I am, I turned away from hip-hop and rap and dove headfirst into the rock market. That leap of faith became Cheektowaga Records.

My process is my own. I work in Cubase or Magix, and I don't rely on A.I. for composition—my tools are synthesizers, samples, and a network of incredible session singers and musicians I hire from across the web. While I might use an A.I. studio to sketch a demo, the final product is always human.

To many in the industry, I’m a villain; to others, a savior of sorts. And unlike most executives, I write the majority of my own releases. But don’t mistake me for another Frank Farian; my operation is built on a different kind of alchemy.

The work you hear started as unpolished demos. It has taken a lifetime to hone them, and the polishing is a process I’m still deeply immersed in. A more detailed story is coming in a book.



(And Ryan… when you pass on, I’m throwing the biggest party you’ve ever seen. That’s an inside diss, y’all.)

I’m Anbid Zaman — an artist and activist shaped by displacement, resistance, and the stubborn decision to live fully even when the world tries to make that impossible. I was born in Bangladesh and grew into my voice through grassroots queer organizing, where I learned early that courage isn’t something you perform. It’s a daily discipline.

My journey from danger to refuge changed me without erasing where I come from. I now live in Germany, working at the intersections of identity, migration, and liberation — supporting queer people facing violence while navigating the fragile, necessary work of chosen family, safety, and belonging. What guides me is simple and unnegotiable: justice without compromise, solidarity across borders, and the belief that marginalised voices deserve respect, not pity.

My music carries all of this. The sound is built from testimonial storytelling, emotional minimalism, and atmosphere shaped by memory — the quiet of hiding, the noise of protest, the ache of leaving, the strange brightness of surviving. Every track holds both the weight of lived experience and a hope that refuses to disappear.

I build slowly and deliberately.
I KNOW, SLOW GROWS GLOW.

This is not just expression for me.
It’s continuation.
It’s resistance.
It’s a reminder that our stories carry power long before the world learns how to listen.

A dimension traveller roaming across the cosmos, spreading the world of hard to their inhabitants as I go. 

Vive la Frenchcore, Frenchcore worldwide!

PM me for my email if you'd like to contact me formally.

Infinite Lolz: Berlin-based, polyphonic, playful: global grooves, rave chaos, carnival excess, and tender smiles.

soundscapes, ambient, experimental music, polyphonic music, plant-based generative sound, generative sound based on mushrooms, experimental music, sound art, non-human sounds, postlocative sounds

Benjamin Gibert ventures into mountains, forests and megacities in search of secret sounds and stray signals. He collects raw sonic material — using a microphone and a notebook — then plays with nesting, soldering, fragmenting and merging sounds. His sonic objects often flirt with acoustic or electronic instruments, forming abstract narratives and opening doors to invisible worlds. His work seeks to create immersive forms where reality and imagination, landscapes and fiction coexist.

Coming from a background in contemporary dance, he develops a physical and spatial approach to sound — conceived for deep listening and movement. Field recording is his main tool, which he combines with electronic textures, evolving rhythmic structures, and a singular use of the voice: without words or language, treated simply as raw, organic, vibrant material.

He has completed numerous residencies in France, New Zealand and Chile, and has performed in France, Spain and Japan.

He released Gemmes (2018), an EP composed for the Royal Abbey of Fontevraud; followed by Taihua (2019), an album created and produced in New Zealand. His upcoming EP, Nightingales, will be released in summer 2025. It is a musical fiction at the crossroads of IDM, organic house and ambient, imagining what a secret forest rave might sound like.

Benjamin Gibert’s work stands out for its way of connecting places, natural sounds and electronic textures. He is drawn to liminal spaces — between wakefulness and sleep, human and non-human, natural and synthetic. His sonic universe is shaped by influences ranging from Oneohtrix Point Never to A.G. Cook, as well as Steve Reich, Björk and D’Eon.

Singinkuz's general MO is to jazz up folk songs and folk up jazz tunes with the desire to tickle the listeners' senses and possibly getting them singing along.  

On a more formal note, Andrea Kuzmich (singinkuz) is an award winning singer, a teacher, an ethnomusicologist, and composer/arranger. She has performed in and/or recorded with numerous artists, ensembles and choirs: from Whitney Smith’s Big Steam Band to the conventional SATB Choir of Toronto’s Trinity-St. Paul's United Church or the exquisite chamber style of the Aradia Ensemble; from the contemporary improvised new music provided for the soundtracks of The Witch and The Tall Grass or the backing vocals to Tanya Tagaq, to the ultra traditional Georgian and Ukrainian folk musics of Darbazi, ZARI, Ori Shalva, the Kosa Choir, Kalendar or Sing With Ukraine.

New tracks tagged #polyphonic