Everyone may have encountered suspenseful events, which are scary. But in fact, a large part of them can be explained by science. Let us listen to the scary and funny things happening around us, and let us find the truth together!

finding the truth

Suspiria

Beautiful Storm

I'm So Hypnotized

Stick To The Code

Tell Me You Luv Anyways

Based on a True Story

Fallin' Fa' Ya'

I'm So High

Me speaking reversed, and mirrored also regular, only de-esser, de-reverb, and other "clean-up" effects. minimal fx on a seperate voice track just to add some depth but the words are there no effects. i did combonation of just one track reversed, than layered that on top of me normal no reversed, than one that is mirrored, (reversing but like per word instead of the whole clip i guess best way to describe it... more like per 1/8 note is what i had plugin set too.) than the mirrored layered with normal and so on... crazy the clarity tho of lucifers response. you cant deny this shits creepy and oh so fukin real.

DEAL WITH THE DEVIL. TERMS AND CONDITIONS

REVERSAL OUT NOW

- https://linktr.ee/DataKidd

- https://music.apple.com/us/album/1826402628?i=1826402629
- https://www.youtube.com/watch?v=FdNK6xCfMcw
- https://datakidd.bandcamp.com/track/reversal

Reversal

02 06 2025 Pastor Paul Interview - Michael - End Times Global Update - A. I.  Grok

Reversal is a raw, philosophical reflection on the unavoidable cycle of creation and destruction, a track that forces the listener to accept that everything in existence is temporary. This song takes the laws of nature, physics, and time itself and lays them bare—what goes up must come down, what is built will eventually decay, what breathes today will fade into silence tomorrow.

The song opens with frustration, a moment of realization that time is not something we truly comprehend, despite how much we try. The comparison to the depths of the ocean sets the tone—time is vast, ungraspable, and indifferent to human understanding. We think we control it, we think we can shape it, but in the end, time only does one thing—it moves.

The first verse presents the fundamental law of reversal—mountains crumble, rivers dry, and even the tallest trees return to dust. No matter how much we build or how much we cherish, time does not adjust for anyone. It continues its course, undoing everything in its path. The chorus echoes this inevitability, hauntingly reminding the listener that time moves both forward and backward, consuming everything in its wake.

The second verse focuses on the human experience—how time affects life itself. A child is born, an old man fades, food rots, skin wrinkles. We believe we are growing, moving ahead, but the truth is we are always heading toward an ending. The lyrics suggest that even memory, the one thing that seems to defy time, eventually becomes nothing more than an echo.

The full Japanese verse takes the theme even deeper, almost like a chant, blending existential truth with poetic finality. It speaks of time never stopping, yet allowing things to return in different forms. Stars shine, then fall. Love burns, then fades. Yesterday is gone, but memories remain. The final realization? Time is eternal—life is not.

The last chorus is the breaking point—a full acceptance that time does not break, does not bend, does not bow to anything we create. The more we try to move forward, the more time erases and rewinds.

Reversal ends with a whispered conclusion, a chilling thought that lingers long after the song fades out—What we build, we destroy. What we love, we lose. What we breathe, we break. Time does not move in circles… it just moves.

This track is one of the most powerful statements on Timeless, exposing the brutal reality of time as both a creator and a destroyer.

This recording is the very closest representation that I could elicit of what dawn in pre-colonial Tarndanyangga might have sounded like... The brutal and painfully obvious fact is that if you recorded dawn in 'Victoria Square', today, what you would end up with would be something from an entirely different world and universe than a dawn in pre-colonial Tarndanyangga. But what I yearned for was a recording of a dawn soundscape as near as possible -  geographically, environmentally, and ecologically - to the pre-colonial ecosystem and environment of Tarndanyangga. I knew that this task would be, in essence, impossible; and this impossibility is the real root of the pain and grief that these recordings fundamentally document and, taken together, express.

I scoured all of my recordings made within reasonable distance of Tarndanyangga over the past few years, and the nearest approximation that I could find was this present recording: it was made at a distance of 8.56 km (as the bird flies) from the centre of Victoria Square/Tarndanyangga, from the nearby eastern foothills, at dawn, on the 23rd July 2021, during a 'Covid-19 Delta' lockdown. (The original (unedited) full recording can be heard at https://soundcloud.com/hearingbeings/20210723-a-covid-19-delta-lockdown-dawn-winter.)

For this present re-presentation, in order to approximate a pre-colonial-industrial soundscape as much as possible, I have excised the one jet departing Adelaide Airport that appears in the original recording, and I have also tried to mitigate the noise of various instances of noisy vehicles (most of which were certainly not examples of 'essential services' vehicles). I suspect that there may be one other anachronistic ecological discrepancy in this recording: the possible presence of a variant call of Turdus merula (Common Blackbird) in the recording, a bird that is of course not indigenous, but which was introduced by homesick colonial settlers into this region, along with (according to local legend) the Common Garden Snail; supposedly because the homesick colonial settlers were worried that their beloved Blackbirds might not find sufficient or suitable indigenous food to keep them alive and singing.

This painting, by English artist H. J. Johnstone, entitled 'Evening Shadows, Backwater of the Murray [River], South Australia' (1880, oil on canvas (modified)), permanently on display at the Art Gallery of South Australia, is not a painting of Karrawirra Pari (Red Gum Forest River, aka River Torrens), which flows very near to Tarndanygangga: rather, it shows a scene from a 'backwater' of the Murray River (Ngarrindjeri: Millewa; Yorta Yorta: Dhungala (Tongala)) in South Australia. Even so, the scene that Johnstone depicts is arguably far more representative of the lived reality of the Kaurna people living near to and alongside Karrawirra Pari (Red Gum Forest River) than the one that I originally provided for this track: John Michael Skipper (1838), 'Adelaide from the Hills', watercolour on paper (https://www.agsa.sa.gov.au/collection-publications/collection/works/adelaide-from-the-hills/24228/). [For the very sad real post-colonial history of Karrawirra Pari, please see https://en.wikipedia.org/wiki/River_Torrens.]

Although Skipper's watercolour is geographically more relevant than Johnstone's oil painting, it is not chronologically, factually and existentially as relevant, because it is an image produced at a time after colonisation was well underway: in Skipper's image, one can see large tracts of land already cleared and bare, and even the distant smoke of fires indicating felled trees being burned. Skipper's paintings are truly a rare and extremely precious documentary resource, given that European paintings and drawings representing Tarndanyangga and its environs, including the vital Karrawirra Pari (Red Gum Forest River, aka River Torrens), either before or soon after colonial invasion/settlement, are either extremely scarce or simply non-existent.

Tarndanyangga

This lecture discusses key ideas from the 20th century philosophical short story writer, essayist, and poet Jorge Luis Borges's story "The Theologians" which can be found in Collected Fictions. 

It centers on a (perhaps one-way) rivalry between two Christian theologians, Aurelian and John of Pannonia, in a time when the Christian church is struggling with a number of heresies, some opposed to each other. John and Aurelian both produce refutations of one heresy, and then when Aurelian uses a passage from John's earlier refutation in a new refutation of a different heresy, John is condemned as a heretic.  In the end, Borges suggests, there might not be any real difference between the two men

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Jorge Luis Borges - The Theologians - Sadler's Lectures

LOVE ALL THESE PEOPLE, GOD LOVES YOU 💗💗

reversal - KLIAA, DJ THUNDER 06, MOONMAN, DEIPVWTT, KXLLAMANE, P4NDAMXNE [archived]

just a fan page
all credit goes to kliaa and the rest of the artists
follow my main @vxndxtta_41 for more archives

Expressing Myself through, Lyrics and Music is my way of cooping in this world <3

INCEPTION: WARP GATE
OUT NOW

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𝔈𝔵𝔭𝔩𝔬𝔯𝔦𝔫𝔤 ℌ𝔢𝔞𝔯𝔦𝔫𝔤, 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔞𝔟𝔩𝔢, 𝔞𝔫𝔡 𝔱𝔥𝔢 ℌ𝔢𝔞𝔯𝔢𝔯, 𝔞𝔰 𝔞𝔫 𝔈𝔳𝔢𝔫𝔱, 𝔞 𝔐𝔬𝔡𝔢, 𝔞𝔫𝔡 𝔞 𝔇𝔦𝔪𝔢𝔫𝔰𝔦𝔬𝔫 𝔬𝔣 𝔅𝔢𝔦𝔫𝔤.

New tracks tagged #reversal