The Boy In The Diving Bell: A Sonic Exploration of Fragmented Consciousness

Flakebelly's The Boy In The Diving Bell is a profoundly introspective and boldly experimental opus, an ambitious project - conceived as the first part of a sequence of three interconnected albums - that interrogates the essence of memory, perception, and identity. At its core, the album is a collision of acoustic alt-folk and fractured psychedelia, with each element twisted and torn apart, as though pulled through a sonic wormhole.
 
Time itself becomes elastic here - warped, twisted, and shattered through live manipulations of a 1960's reel to reel tape machine, which is treated not merely as a recording device but as an instrument in its own right. Squelches, blurples & the occasional soul-rending screech, are coaxed from its mechanics by playing with the physical tape and manipulating the play, stop, rewind, and fast-forward dials in real-time. These live performances, recorded directly to the track, create ghostly echoes, cascading loops and unpredictable textures.

The album’s tracks weave between surreal brevity and expansive, hypnotic soundscapes. Ambient interludes of manipulated field recordings - wind through trees, mountain burns - are bent and layered into uncanny textures, creating what feel like "postcards from the inside out." These moments are punctuated by flourishes of finger-picked, lifelorn laments, their plaintive tones stretched into kaleidoscopic abstractions.

As a tapestry of alt-folk, lo-fi grunge, and experimental psychedelic sound design, The Boy In The Diving Bell is a singularity where time and sound collapse into pure expression. It resonates as a deeply immersive experience, a journey through the upside down, where acoustic sincerity is continually deconstructed and reassembled into something new.

This is not just music through the eye of a needle, it is a meditation on perception, a voyage through warped temporalities, and a bold reimagining of what music can become when pushed to the outermost limits. Flakebelly invites the listener to lose themselves in this fragmented, dreamlike world, where every note is both a memory and a revelation.

The Boy In The Diving Bell

You Me Holiday

Buy on Bandcamp

Loophole

What In The World You Gonna Do Now?

It's Your Birthday

Water

clemente

ремикс на трек платины и white punk в стиле sadcore code10 code80 
мой тг: @watermelonboy
тг с битами: @watermelonbeats
inst: @watermelon_bboy_
tiktok: @watermelonboyboy

платина white punk - навсегда (sad core remix by watermelon boy)

A dark lo-fi indie rock ballad about love collapsing into despair.
Raw guitars, husky vocals, and a haunting hook — “죽었으면 좋겠어 / wish our love was dead.”
It fades out with the whisper “무엇이었을까,” leaving nothing but silence and sorrow.

〈죽었으면 좋겠어 (The Last Call)〉는 피폐한 사랑의 끝을 그린 lo-fi indie rock ballad입니다.
느리게 울리는 마이너 코드와 거칠고 날것의 밴드 사운드, 허스키하고 절제된 보컬이 뒤엉켜 절망과 체념을 담아냅니다.
단순하고 중독적인 훅 “죽었으면 좋겠어”가 반복되며, 속삭이듯 겹쳐지는 “wish our love was dead”가 비극적인 여운을 더합니다.
브릿지에서는 전화선을 타고 들려오는 듯한 목소리가 리얼하고 먹먹한 순간을 만들어냅니다.

마지막은 “무엇이었을까”라는 속삭임으로 잦아들며, 사랑의 잔해 속 허무와 고통을 깊은 여운으로 남깁니다.

죽었으면 좋겠어 (The Last Call) Grunge ver.

Slow nostalgic music for different mood.
If you want to use this as a beat for your track write me in DM

Starhood

inyourarms_100bpm_G#!

bella bella! bellabellóssom!
https://linktr.ee/guiltybello

brooklyn. i like punk, skateboarding, almendrados, adidas and The Nets.

moozi(無知)
IG: @moozi_muzic
Youtube: @moozi_muzic

moozi comes from “무지 (無知),” a Korean word for “not knowing.”
But to me, it’s more about the feelings we can’t hide—loving too much, missing too much, living with too much heart.
These songs are little snapshots of city life, soft voices for quiet nights, and comfort for anyone who needs it.

‘모른다’는 뜻. 
저에겐 무지가 곧 숨길 수 없는 감정—
무지하게 사랑하고, 보고 싶고, 살아가고 싶은 마음입니다.
제 음악이 누군가의 삶에 작은 위로가 된다면 그것만으로 충분합니다.

Indie, Acoustic & Psychedelic music from The Western Isles of Scotland.

Hidden away in the windswept landscapes of the Outer Hebrides, flakebelly shapes songs that wander between psychedelic indie rock, folk-jazz, and the quiet strangeness of the everyday. Acoustic warmth, blues-stained guitars, jazz-streaked piano, and dreamlike textures fold into each other, creating music that drifts between clarity and haze.

His track In Parks Of Tall Trees found its way to Tom Robinson’s BBC 6 Music Introducing Mixtape, a small ripple in what has become a steady tide of restless ideas. From first picking up a guitar in the late 90s and stumbling through those formative songs in the early 2000s - many of which later resurfaced on Apprentice Green - flakebelly’s path has been one of constant diversion and reinvention. The early singles collections - The Orkney Tapes (2022) and The Christmas Morning Outcome (2023) - were restless, experimental documents of sound-searching, sketchbooks where ideas were tested, broken apart, and pieced together again in the pursuit of a voice. Those experiments fed directly into the indie-folk EP Behaviours (2022), the rough-edged Lo Fidelity (2024), and the kaleidoscopic album Apprentice Green (2024), described by SNACK Magazine as “like being Alice in Wonderland, transported through a maze of moments in flakebelly’s imagination.”

Now comes The Boy In The Diving Bell - out now - a 17-track reckoning with past ghosts, unfinished business, and the fragments of memory that refuse to settle. It is a psych alt-folk soup of acoustic laments, fractured tape loops, and warped dreamscapes. Much of the sound was dragged through the teeth of a battered 1960s reel-to-reel, used not as a recorder but as an instrument - reels halted, jolted, rewound, coaxed into blurples, screeches, and ghostly echoes. Mistakes are left in, first takes are preferred, imperfections celebrated. The result is an antidote to the sterilised sheen of digital perfection and the creeping spread of AI-reproduced music: deliberately irregular, defiantly human.

The Boy In The Diving Bell is only the beginning - the first of three interconnected albums, the demos for which are already written. Yet even as that arc unfolds, flakebelly has begun detouring into a very different landscape: a new project built from vinyl samples, drum loops, and dirty guitars driven through vintage outboard gear, cassette recorders, and battered mixers. It is dark, abrasive, and deliberately uncomfortable - sound pushed to the point of collapse, distorted tape glued together with transformer saturation, live mixes through old delay units, dials twisted until frequencies scream. If The Diving Bell trilogy is haunted by memory, this parallel work dives into raw sound destruction and the strange beauty of degradation.

True to his solitary instincts, flakebelly writes, records, and produces everything from his home studio. The result is music that feels lived-in and handmade - always shifting, never fixed, and forever searching for new shapes in the sound.

All socials: @flakebelly //

"Extensive and wildly eclectic sonic adventures" - Tom Robinson, BBC 6 Music

"flakebelly is ultimately the sort of the artist we need more of – a genuine weirdo-auteur carving his own path purely for the love of the game." - Lewis Wade, Is This Music?

"Refreshingly individual and very likeable" - Neil March, Trust The Doc Media

New tracks tagged #sad core