Name: Scntfc - Oxenfree - 20 Days Past by xxground5150xx in Favorites
Duration: 5 min 28 s
Description: I DON'T own ANY of these tracks all rights go to Scntfc and the devs Night School Studios.

Favorites

Boris Rogowski – The Darkness of Future Past
(out on piano and coffee records on November 7, 2025)

Jonas Burgwinkel—drums
Viktorija Kukule—vocals
Roland Muenchow—flute
Boris Rogowski—keyboards, (bass) guitar, percussion, programming, vocals
David Schuette—cello
Isabelle Seemann—vocals

Press info:
Somehow, Boris Rogowski’s The Darkness of Future Past manages to go from Renaissance and Baroque influences and minimalist piano pieces via Ambient all the way to arena-sized pop music. It has no right to work, but it works perfectly. I don’t know how.
If I had only one word to describe its general mood, I would call it haunting. And the album itself is haunted, too, by the ghosts of the past, of classical composers (Orlando DiLasso, Eric Satie and Alfred Schnittke explicitly, many others lurk in the shadows) and more recent musical specters. It’s called The Darkness of Future Past, and yes, that’s a Twin Peaks reference… but let’s not make too much of it, there are no real connections (I think!) except for a general love of mystery, darkness and beauty.

In contrast to Rogowski’s 2023 album The Waste Land that was largely defined by a good amount of classical rigor, consistent chamber instrumentation and a complete lack of vocals, The Darkness of Future Past is almost loose: We have long, winding instrumental pieces that straddle Ambient (The Past, Like a Strange Bird), Minimalism (The Bloom and the Flutter) and Jazz noir (the title piece). They are humming with sounds and melodies that always seem in a state of either synthesis or decay, giving way to one another or sticking around in the form of eerie echo loops that build up a dreamlike musical structure always on the verge
of collapsing into itself.
Those long-form soundscapes, some of which feature ominous spoken Journal Entries, alternate with solo piano pieces that sound like at least three different instruments—but were, in fact, all recorded with an old upright built in 1906 by some regal German manufacture. The audaciously titled Gymnopedie No. 4 wears its influence on its sleeve—and delivers on its promise: Rogowski’s love, respect and understanding of the original works of Eric Satie shine through in every note. Similarly, the other piano pieces, from the tiptoeing Sleeping Dogs to the dreamy, improvisational One Lonely Autoresponder Message, feel a bit like memory palaces—reminiscent of music that has always been around, but at the same time very much their own beasts.
And then, of course, we have the songs: Nothing Wrong is strikingly beautiful, its sparse musical arrangement serving as the perfect bed for Rogowski’s falsetto and the ghostly choir backing it. breatheINbreatheOUT is downright scary, like a field recording of some strange initiation rite: The words ‘breathe in, breathe out, it’s all right/mankind is no longer your kind’ are delivered in a moody croon that seems to channel the later Scott Walker.
And then, just when you think you have finally figured out how this album works, it leaves you with Them!, a monolithic sound colossus that begins as a shoegaze-y electro pop song and develops over 6 minutes into an arena-sized hymn with an otherworldly female voice lamenting ‘What a lonely world’ over and over. Rogowski did much of the work on The Darkness of Future Past in a desert cabin near Joshua Tree—maybe he passed Coachella on his way back; that, at least, would be a good explanation of the sound of Them!

There is a very clear and distinct consciousness of the past, and there are projections into the future that are as nebulous as they are frightening. The Darkness of Future Past has the power to conjure up mysteries, to shed just the right amount of light on them and keep us intrigued—without ever giving them up or serving us easy explanations. The beauty of the music itself remains a secret, one that Boris Rogowski as its composer seems hell-bent on protecting. After all, no-one needs to know who killed Laura Palmer.

A Pane of Glass

589coffee4ears

Original short film soundtrack by Ruslan Perezhilo. Klara's Dance (Klarin ples) is a short film produced in Slovenia by Elephant Art Film Production, directed by Jan Fabris, featuring actors Lara Fortuna (on the cover), Miha Rodman (on the cover) and Blaž Setnikar.

Klara's Bracelet

I DON'T own ANY of these tracks all rights go to Scntfc and the devs Night School Studios.

Scntfc - Oxenfree - 20 Days Past

Scntfc - Oxenfree - 17 The Gate

Scntfc - Oxenfree - 15 Catchpole Station

Scntfc - Oxenfree - 04 Against The Rocks

From the soundtrack to Giant Squid's debut game ABZU, available here:

austinwintory.bandcamp.com/album/abz


ABZU

ABZU: Delphinus delphis

Full original soundtrack from TES IV - Oblivion.

Bethesda, it's me again, same case as with Morrowind OST, please don't sue me, this music is too damn good, I don't mean any harm.

The Elder Scrolls IV: Oblivion

Dusk at the Market

Glitchtale - Bete Noire

Pre-order 'Oneknowing' - out March 29: 
https://lenaraine.lnk.to/oneknowing

Oneknowing is the debut artist album by acclaimed composer and producer Lena Raine, most recently known for her multiple award-winning soundtrack for the video game Celeste. 

Based in Seattle, Raine has been composing soundtracks for games and media for 12 years, her breakout moment coming with her work on the classic PC game Guild Wars 2. Her most celebrated work, however, has come in the form of 2018’s Celeste soundtrack. A game based around themes of anxiety, self-examination and more, Celeste is considered by many to be the key indie game of 2018, and has won multiple awards for both game and soundtrack - something which Raine painstakingly developed in tandem with the game’s design since its first steps. 

A flagship year for Raine was capped off in December, when she performed live with soundtrack legend Hans Zimmer at The Game Awards, the video game industry’s flagship annual award show (Celeste was nominated for four awards, and won two). Although she’s released several non-soundtrack releases, both under her real name and her Kuraine alias, Raine considers Oneknowing her debut artist album - a 10 track set that ranges from distorted paranoia to ambient pop, brought together by the shimmering melodies that make her soundtracks so memorable. 

An album that draws from “personal experiences, important places, dreams and the lack of dreams”, Oneknowing’s tracks are also threaded together by Raine’s own vocals, sung in a language unique to the album and manipulated by the software Vocaloid. In Raine’s words, “I have nostalgia for my voice as it sounded when I was younger. I can't de-age my voice, but I was able to use software and tweak its settings to a point that it has a similar quality to my voice from back then”. At times (‘Tsukuyomi’, ‘Light Rail’) her vocals lean towards traditional pop structures, while on tracks such as ‘Wake Up’, they’re repeated, chant-like, to create a hypnotic effect. As well as vocals and software, Raine plays rhodes piano, zither and various hardware synthesizers on Oneknowing, while Michaela Nachtigall contributes violin and viola to various tracks. 

A succinct but expansive record full of detail, Oneknowing represents Raine’s most personal and realised original material yet, while showing a different side to one of the most unique and accomplished composers of the modern era. 

Tracklist:
01. Nightmare (Intro)
02. Tsukuyomi 
03. A Chance to Rest
04. Light Rail
05. Breath
06. Insomnia
07. Trance State
08. Momodani
09. Wake Up 
10. Aurora

Scntfc - Oxenfree - 20 Days Past

xxground5150xx

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