Thermoplast

108 - Nocturne

Phonk/Trap track with a focus on heavily manipulated 808s and evolving grooves.  This track is upbeat and meant to catch the listener off guard with unexpected transitions. I actually found it challenging to make a phonk track (and it might a be a stretch to call this phonk) - So I would like to thank Limitless TrueVibe for putting up a beat challenge to push me outside the norm!

Hard Movin -  Ebmin 160bpm

“I found the Beacon of Hope, in the Heart of this Storm” 

From the new album “ Harsh Vulnerable” 
https://moodexhibit.bandcamp.com/album/harsh-vulnerable

Harsh Vulnerable album

Mood Exhibit - Beacon of Hope

Video;  https://youtu.be/Gxdh5H0hQ30

Made in April 2025

Hidden Mirror

Electric guitar, percussion, effect pedals, unsynchronized loops, voice, two tube amps, field recording (jackhammer). All sounds, voice, lyrics, mixing and production: Velvet Something Superdark. Image: Abandoned doll's head at roadside, Berlin (photo: VSS)

I don't see you
You don't see me

I don't hear you
You don't hear me

I don't touch you
You don't touch me

I can't feel you
You can't feel me

I can't kill you
You can't kill me

I'm alone
And you're alone

I am home
And you are home

We're together
Here forever

We're together 
Here forever...

Together Forever

Pettifog

Anna Viechtl - Harfe
Sebastian Berweck - Klavier

Scenes aux sons d'émeraude habe ich 2023 anlässlich eines Komponistentreffens in Nürnberg komponiert. Leider kam es aus terminlichen Gründen dann doch nicht zur Aufführung.

Anna Viechtl und Sebastian Berweck haben im April 2025 die Komposition im Tonstudio der Landesmusikakademie Berlin für mich eingespielt; Toningeneur war Benjamin Ostarek.

Die Kombination Harfe und Klavier war im 19. Jahrhundert eine beliebte Besetzung. Sie wurde jedoch später seltener. 

___________________

Anna Viechtl - harp
Sebastian Berweck - piano

I composed Scenes aux sons d'émeraude in 2023 on the occasion of a composers' meeting  in Nuremberg. Unfortunately, it was not performed for scheduling reasons.

Anna Viechtl and Sebastian Berweck recorded the composition for me in April 2025 in the recording studio of the Landesmusikakademie Berlin; the sound engineer was Benjamin Ostarek.

The combination of harp and piano was a popular instrumentation in the 19th century. However, it later became less common.

Scènes aux sons d'émeraude

The bustling day has slipped away,
and gentle night begins to play.
It drifts from where your city lies,
then morning paints your hometown skies.
It feels so normal, everyday—
yet still, a wonder in its way.


にぎやかな日が過ぎていき
やさしい夜がそっと始まるんだ
君の街から夜が流れ
やがて朝が空を染めていく
あたりまえの毎日だけど
やっぱりふしぎなことだよね

Thermoplast

HELIUM

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