Soft Strength

Eastern Slide

The concept of infinity was always hard to describe or to grasp the vastness of what is not finite..Time has divulged that the old belief that those who try to understand infinity will find madness has been destroyed? Because insanity became norm in the psychedelic world and in validation of such voyage, new age thinkers became thrilled with lunacy with a novel instrument; psychedelic music. The possibility of controlling structure and each frequency in infinite layers have stretched also the new age minds into infinite possibilities, a fantasy to classical music with analog instruments, a reality prevailed by digital music!

The present is for possibilities unbounded, in imagination and in sound. It is vital to sculpt the unsculptable, not only because of what we can create with it but also because of what we can leave to human consciousness; a next level understanding of absolute vastness, perpetual infinity within and beyond… Our interaction with infinity now will spell out our ouroboric circle and how we are magnetized by it, eventually revealing what we can create from it. To see the fractal with a wider perspective, to understand reality with its’ infinite angles..

Here is a new selection by Oxomo VA Enigma Infinitum inspired by the unknown infinite possibilities and a new perception for infinity. Artists from all around the world, from the different angles of dark and experimental psycore! Powerful and tribal, dark and unexpected selection by Oxomo here to focus talented artists & some new names and new ideas on dark hitech & psycore.

Enigma Infinitum

10 - Metapsycho - Silence Is (G)old

in this times of sorrow and struggle its hard to understand the foundamentals,being vacummed by personal anxiety, disorders,stress and daily routine,being almost unable to change the vast reality we live,forced to obey some kind of circus they made us obey,trying to find ways out of the reality,to become one with the cosmos,to feel what we forgot to feel,to dance our emotions off.Dancing has been known since the ancient times,as a way of becoming one with the superiors.
this tribute is dedicated to god panas protector of the forest and the animals known for singing rythms with his flute and making all creatures dance from greek mythology,its gonna be a series of acts intended for a long mix,trying to bring the mind in a state of divinity ,connecting with any source any1 can feel connected to.

Act 2 is dedicated to the huge phasm of slambient music,opening the portal to create atmospheres where pan could play his flute without going into black mode.(UNFINISHED)

 artists included :
intro by Daemonia nymphe
CinderVOMIT x Heresia
Equilibrium
ObscureEcho
VallaK 
Orcoro X VallaK
Equilibrium X Genari 
Maleficium
Okklumentim 
MultiDimentional 
Ñyatah 
Q.A.E.M.
Εnigmachina
Vox fabri X Clostridium tetani

There is no Bpm stable, range is 210-280.
Made on traktor pro 3 
With Traktor z1

Tribute To Panas [act 2] The Endless Knotting of Pan(The Endless Knot Artists Exclusive)

Yaima's first album "Pellucidity" is a beauteous and bewitching collection of stories that seem to lead the listener on a journey through enticing soundscapes and floating melodies. Sustained by biological beats and engaging world rhythms, "Pellucidity" will soothe the savage and move the peaceful being in all of us.... 

Pellucidity means- to allow the maximum passage of light, to see clearly, as fresh water in a mountain lake...

Gajumaru

Short demo from life performance :)

Featured tracks:

Skrz_t - Nostromo
Skrz_t - Monera
Waldgrenze - Celestial Flame

+ some playing around

Fairytales from Skrzatlands - performance demo

Geju - Cuckoos Nest Sunrise, Reactor, Panama 2025

[194] Sands of Memory - Master by Corpus Auditive

defragmenting thoughts

baco cello ema reto setu

Đēꞩⱦɍꝋɏēɍ Ꝋӻ Ⱳꝋɍłđꞩ by åkµmå
.
.
Sou o silêncio entre dois gritos,
a pausa fria entre batidas.
Nasci da noite sem promessa,
sou carne viva, sou promessa omissa.

Caminho entre ruínas de mim mesmo,
feito espelho que não se reconhece.
Minha alma pesa como pedra afunda,
em águas fundas que o tempo esquece.

A luz? Apenas zombaria.
Um brilho falso que vacila e morre.
Tudo que toco apodrece lento,
como flor presa ao inverno que não corre.

Vivo, mas não por escolha.
Respiro, mas o ar me corta.
A existência é jaula invisível
e a liberdade, morta.

(ENG)
I am the silence between two screams,
the cold pause between heartbeats.
Born of a night with no promise,
I am raw flesh, a broken promise.

I walk among ruins of myself,
like a mirror that no longer knows its face.
My soul weighs like a sinking stone,
in deep waters that time forgets.

The light? Only mockery.
A false gleam that flickers and dies.
Everything I touch decays slowly,
like a flower trapped in a winter that never moves.

I live, but not by choice.
I breathe, but the air cuts me.
Existence is an invisible cage,
and freedom, dead. 
credits
released June 6, 2025

ʀɛʟɛǟֆɛɖ ɮʏ [ӄɦռʊʍ ƈʀɛա]
ƈօʋɛʀ ǟʀȶ ɮʏ [ʋɨֆʊǟʟ ƈɦǟօֆ]
ʍǟֆȶɛʀ ɮ ʏ [åkµmå]

Your Fear

AkUmA - Destroyer Of Worlds (ALBUM - PROMOMIX)

Enshrined among mountains eternally veiled in mist, the Valley of Dead Souls is a place where time itself seems to have forgotten to pass. The sky remains forever shrouded in dark clouds, and the light that reaches the ground is cold and dim, as though the sun itself fears to cast its rays there.

Upon entering the valley, the air grows heavy, each breath demanding effort. No natural sounds can be heard—no birdsong, no rustling leaves. Only the distant whisper of ancient voices echoing among rocks and dead trees, as if the restless souls recount their tales to any who dare to listen.

The vegetation is sparse and twisted. Dry trees with gnarled branches stretch upward like accusatory fingers toward the heavens. Stones litter the ground, covered in a grayish dust—the remnants of what was once life. Thin rivers of mist flow across the terrain, carrying with them forgotten memories.

Legend says this valley is the final destination of souls that found no peace—bound by regret, hatred, fear, or unfulfilled promises. They wander for centuries, trapped between worlds, unable to depart yet powerless to return. Some assume spectral forms, visible to the attentive eye; others manifest only as wails on the wind or shadows trailing behind travelers.

At the valley’s center rises an ancient structure—whether temple or altar, none can say—built of black stone and etched with forgotten runes. It is said that here one may speak with the dead… or be heard by t

Anandathera - The Valley of Dead Souls

No matter

...I’m making music in real time (as opposed to tracking and then arranging) by using an instrument, homemade, or more accurately, “gambiarra,” in Brasilian Portuguese, to be played and heard live. I want to transition from an in-studio process to a live and improvised situation. I will be performing or, in other words, responding, in the moment to the actions I am making, rather than looking backwards and taking the best from pre-recorded material and re-composing it. In the 2004 interview I aspired to make new sounds or music, etc. Now I would substitute “explore” for “make.” Trying for “the new” is understood but “how” is more important.

The instrument’s creation is, itself, an exploration. I can never quite wrap my head around it. I am enjoying being lost. I travel step by step, try a decision, usually walk back, then forward again, on each sound generating component. My energies have gone into the creation of the interface between man and machine. It's a monster getting larger by eating itself.

For instance, there are midi converters, which only understand perfectly tuned chromatic input. There is a theremin component, which can be tuned to doric instead of chromatic scale for some added drama. Meanwhile two CD turntables that I scratch are manually wired into the same midi note converters. Cramming two input devices together makes more output unpredictability, with overloaded notes dropped.

The "gambiarra," now called Step.4D™, has reached a stage of completion where Parker could begin performing on it. Recordings (and some additional explanation) can be found on his website. He has been too prolific for me to keep up with all the recorded performances but I made some notes on a single piece, "STC.lives.solo12.2.9.21" [Soundcloud link] to try to convey the flavor:

A lazy description might be dark ambient or punk ambient but I think of ambient as minimal work ("a tint" to use Eno's phrase) and St Celfer's is more substantial.
"STC.lives.solo12.2.9.21" is atmospheric but has structure. There are two distinct movements. The first half could be a loose jazz ensemble (Parker's work has been compared to Bitches Brew-era Miles) riffing on simple notes with digital, time-stretching fillips and enhancements; the second half is more drone-y and builds to a dense, chord-like timbre.
It must be emphasized that this isn't a band and there is no post-production reassembly: it's one person playing a multi-faceted, self-feedbacking instrument, and it's all done with a single pass. Yet it sounds like group activity.

If I had to venture an electronic music precedent I might say Tod Dockstader. The official Kenneth Goldsmith/Ubuweb narrative about Dockstader is that he was music production guy who taught himself tape music in the early 1960s and "was denied access to the major electronic music centres because of his lack of academic credentials." Dockstader self-released his own music and eventually acquired a rep and entered the canon. Dockstader used the term "organized sound" and that's what St Celfer's "STC.lives.solo12.2.9.21" reminds me of. There are similarities in timbres and moods. But whereas Dockstader was all about slow, painstaking studio assembly of multitracked sounds in a continuous-sounding flow, St Celfer makes the work in a single take. The "assembly" is making an instrument that creates its own variables and accidents and conveys an impression of dense multitracking."

www.tommoody.us/archives/2021/03/26/st-celfers-step-4d-instrument/ 

Bandcamp

The Field Between: Music and Anti-Music

This artistic manifesto explores sound in the liminal space between music and anti-music—a generative field where the "unheard" insists on being felt rather than understood.
Music as Architecture: Music is framed as humanity's system for creating order and meaning from sonic chaos. It organizes, names, and classifies sound, offering maps and directions through auditory experience. Music builds bridges of meaning, structures time into comprehensible sequences, and domesticates temporal flow so it "makes sense." Fundamentally, music expresses gratitude for the recognizable, providing belonging and comfort through shared patterns and familiar structures.

Anti-Music as Invitation: Contrary to negation or rupture, anti-music is a profound expansion of sonic possibility. It doesn't destroy—it invites. This is an invitation to perceive differently, to embrace the unmapped and un-coded as valid artistic territory. Anti-music offers "foreignness not as exile, but as adventure"—a chance to be a stranger in one's own sensory experience. It presents the sublime: beauty in what escapes comprehension, abysses that aren't empty but full of strange possibilities "without baptism." Where music domesticates time, anti-music offers time without domestication. It expresses gratitude for mystery itself.

The Fertile In-Between: The work's core focus is the vibrant field existing between these poles—not a void but a charged space of becoming where the "inaudito" (unheard) insists, overflows, conspires, and expands. This recognition acknowledges that understanding is also limitation; every definition closes secret doors. Each act of comprehension loses infinite other readings.
Intuitive Reconnection: The practice seeks to reconnect with pre-lingual perception—sensing vibrations the body intuits without understanding. "In this not-understanding, I reconnect." This return to the un-codified is the core artistic act.

Unified Philosophy: Music and anti-music aren't opposing forces but symbiotic partners coexisting in the same sonic space. The work celebrates both the understood and its beyond, residing in what anti-music reveals: a "fenda linda"—a beautiful fissure in the fabric of the known, from which new ways of hearing and being emerge.

Ignoto (140 BPM)

Geju exploring trippy groove 
Sketch by Alena Rakova 


Bandcamp: https://geju.bandcamp.com/track/niv
Beatport: www.beatport.com/release/niv-remixes/1872013
itunes: itunes.apple.com/ru/album/niv-rem…d1164470795?l=en

Download

Niv (Original mix)

Ode to the Dragonfly- Master of Transformation. 
Featuring Mike Ji- Percussion

Odonata

Welcome to my world

in principio pax et concordia fuit donec malum acciderit
                           🔮 ƬӨЯMΣПƬӨ 🔮

- Carrying in your luggage all your history and emotions, the purpose of Tormento is to guide you towards self-knowledge and the release of the Ego. Let it flow like a current. What you seek is also seeking you, and thus it shall be. 

Labels:
• Post Modern Music
• Citrus Frequencies 
• Khnum Crew

Side Projects:
🍋 Limão Laranja 🍊
🌳 Wattieza 🐉

𝙊𝙋𝙀𝙉 𝙁𝙊𝙍 𝘽𝙊𝙊𝙆𝙄𝙉𝙂𝙎 
Email: tormentopsy@gmail.com
Or DM

defragmenting thoughts

TormentO

Recent comments

Karajá

Karajá

Karajá

Resistencia Yope

Related tracks