Inciound

Please enjoy the pure digital noise sound and digital effect sound.
My goal for the future is to build on this to manipulate tones more freely.

Thank you for listening!! :-)

Made by Max8 and FoxDot and MBP Mid2012

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Free download: wav - 24bit/96kHz

Remastered on 5th October 2023

Asile (Binaural)

fresh release of live recording from 2019. published 06.10.23 on Sturm label. free/nyp downloads. please share where you prefer
sturmmandat.bandcamp.com/album/sturmkonzert-iii
https://www.noisewiki.com/wiki/index.php?title=Antireality
!indulge loud

Sturmkonzert III

Live at Sturmkonzert III

Farrow_V2

Preset nº4 in Washing Machine

Here is a song "Serpo" from our new album "Prepared Bass C105" that we distributed at the Comic Market 105 event in Tokyo, Japan. Please enjoy.

Aoki Satoru - Serpo - (Prepared Bass C105)
Prepared bass: Aoki Satoru
January 1, 2025 (December 30, 2024) [ TOD 301 ] [ TODA 26 ]

[jp] コミックマーケット 105 で 先行頒布した 新しいアルバム『Prepared Bass C105』からの一曲『Serpo』です。どうぞよろしく。

Here is the link to stream the album.
https://tr.ee/gnu0f6wtqv

♪ Streaming Link

[C105] Serpo

song von linus

artist tno.szn 
photo from art work taken by tno.szn
mpcsmoke Recorded  : tno.szn
Mixed & art work done by clevamane 
Beat by w.ix_xy
Wixxy




#hyperpop  #2024 #new  #song #music #tnoszn #pop

Lose My Mind

TANKOBUSHI(Japanese Folk Song)（炭坑節）

This one—whoo boy. One of my oldest songs, made around 2014.
It’s one of those “cursed” tracks—but in a good way. The more I tried to perfect it years later, after learning all kinds of new tricks in Fruity Loops, the more it lost that certain magic I tapped into when I was younger. That raw energy is gone now, and while I can improve the song with better mixing, bass, synths, programming, and sound quality, every “improvement” risks erasing that special something—that je ne sais quoi, that zazz.

It’s like a reflection of me, frozen in time inside an MP3 file. The spirit of these early works is more important to preserve than to sacrifice in the name of perfection. Sure, it takes skill, dedication, and time to create a masterwork—but I also believe there’s genius in capturing a unique feeling with as little effort as possible. Kakaphoney is an album where I try to balance both philosophies, though most songs fall into the “finished, not perfect” category. My next album, after sharing Kakaphoney, will be an album I currently call "Tracks back from high school when I had no clue what I was doing", and it will feature all of the tracks I actually shared on Myspace, my edgy solo noise project "Spinal Menstruation", and yes I was a one man Myspace noise band. So, this album is a collection of my earliest works that embrace this "save the vibes fuck mastering" mindset and take it to another level - because i did not even know what mastering was back when I made those tracks ! 
Anyway, I did not listen to these primordial melodies (most of them made in High School) for many years, and once I did go over it finally relatively recently - I was stunned. Why did I just make so much music and then just forget about it ? And how the hell did I manage to stuff so much soul into every track with such little experience. I realized that the vibe these old tracks portray is unique and nowhere to be found in any of my newer, fancier tracks (Here’s one example from that project—a song that perfectly captures the weird energy that animated me when I was young : https://www.youtube.com/watch?v=N_R022SObfk
 
But yes - Nee-Cola was one of those tracks I dug out of those ancient folders, and when I found it and listened to it again after 10 000 years I remembered everything about it. It actually started out as something completely different—until I realized I’d accidentally programmed the main synth to sound like it was calling my name (Nikola). My original concept was to create a song that felt like a stage performance, with different synths and samples taking turns. But this main synth refused to just play a simple tune and stop—it fought to stay on stage and sing (the song was also named "It's my turn" back then). The other synths, including a deep bass, seemed to try to pull it back and silence it. As the track progresses, the main synth goes haywire, growing louder and more chaotic, eventually overshadowing everything else.

I was fascinated by what I’d made, but it felt a bit ridiculous to name a song after myself. Still, it fit perfectly with the Kakaphoney theme—synths that sound like voices, and non-voice synths manipulated until they seem to speak, as if they’ve gained a voice of their own. That’s the ultimate goal here, as it is in my “Suck On These Tears” track from the same album.

So instead of making it about me, I invented a fake cola drink with a name that sounds like mine—easier to explain, and far less narcissistic. So drink up bitchezz

Nee-Cola

I like noise music & electronic music.
love creation. love originator.
Please feel free to send me a mail. :-)

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(sona) formo

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