Great reverb. Sounds like it was recorded in a cave.

This is so good! Great track and nice work!

Such depth, such timing, such blend... wow! /Linnéa

Nice ambience. Somewhere between a clock and dripping water.  :)

Great depth and detail in that percussion. :)

Nice unfolding story. This is quite an evocative soundscape you've created here, my friend. :)

_electronic_experimental_ambient_undefinable (part II)

Trajectory

quince

New track inspired by the Devachen beach on the Montenegrin coast, where I spent hours during sunset this summer. Several photos here:

https://zuunzug.com/2025/11/11/montagne-noire

Nouveau morceau inspiré par la plage Devachen sur la côte monténégrine où j’ai passé des heures au coucher du soleil cet été. Suivre le lien pour des photos.   

Music: Manu - Artwork: Malka

Devachen

GROSS DOING

why was 6 afraid of seven and why was seven afraid of 6
cause 67 is over rated
-Tidus

Will it be weird? Or even too weird? Yes.
But just trust us on this one, not only will you begin to take root in this sound soil but you will grow such a fantastic idea. It may be something so fantastically wonderful! This sound soil is packed with dirty nutrients for growing minds! That's what the headache means.

Stylophone Beats, most Stylophone Gen X-2 and post recording piano : Mitchell 

Bowie stylophone, most in recording piano and sneezing: Tidus

Tidus and Mitchell: In recording Piano and Stylophone Gen X-2 

Seven Do 8 eat 9 ( >_< )

Paul Amlehn - Concept, catalyst texts, titles, editing, spoken word performance, decision to remove spoken word, production
Robert Fripp - Soundscapes
Joan Jeanrenaud - Electric cello, mixing of cello and soundscapes
Gerhard Richter -  Painting

This composition is from the album Saudade.

The album was to have soundscapes by Robert Fripp (King Crimson), electric cello by Joan Jeanrenaud (Kronos Quartet), and spoken word by myself. In the end, I decided that the music said more without the spoken word, so I took my contributions off the album. However, Joan composed, in part, her cello to the poems I wrote, so the texts nonetheless remain in the compositions dissolved and woven in at a subliminal level.


Saudade

Marco Lucchi : piano and analog synthesizer

arpeggios are very selfish [new series] n*1

The Owl's Shadow (Remix)

Tokyo Lights

Fade in

Remix of Balatro's "Secundum" track on Audio Exit Records. I focused on creating a heavy soundscape atmosphere around the techno elements.

Free download

Balatro - Secundum (Bombardier Remix)

check out the video here 
https://youtu.be/qgioc8S_Fvw?si=-uEb5RonZEdGwjq4

proxima

Ant-Zen Records: https://ant-zen.bandcamp.com/album/how-to-play-dead
Video: https://www.youtube.com/watch?v=7fqsicSJz0M

Title track for the Space Where She Was full-length album on Ant-Zen Records (Germany)

How to Play Dead

How To Play Dead

New Oil

Super honored to have this album out on the excellent Janushoved label.

'Lad Intethedstræerne Blomstre' is the first release under my own name.

Janushoved no. 103
8€

To place an order please write order@janushoved.com.

Digital album and excerpt tracks available at
www.janushoved.bandcamp.com.

Paw Grabowski - Lad Intethedstræerne Blomstre - Untitled 1

EP- https://moodexhibit.bandcamp.com/album/mood-exhibit-belial-pelegrim-songs-from-etherea
cover painting- Zdzisław Beksiński
Joining forces with Belial Pelegrim is always a great honor for me. I am a huge fan of his cinematic/visual sound, and consider his work a great influence on ME. The last time we collaborated was when he produced 2 tracks we did together on my "Return of The Mongol Princess" EP last year. This time I asked if he would be interested in sending some material I can use in a more experimental spontaneous approach. This is the result. Headphones recommended-
@belial-pelegrim

proxima

technelligence

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