awesome. is it coincidence that airycloud flows perfectly into this?

The Experimental & Warped 9

EARTHANGEL - "Dublin"
opn flip for @a2b2_records radio 1

Dublin

boldplay.mp3

Gutevolk - Hinagiku [Neuume rework]

Dreamscapes and Angel Songs

HEAVENWORLD

Riteskeeper I

Please Stop Killing me

TRACKLIST:
DJ Yig - Kit Play
Snakehouse - Bone Jungle (pure)
Me And My Kidney - My Chewy Cafe
Dogtoy - Dummy Generation
Commiehog - Swell Into Something Less Horrible
Olio Rogue - Caveman Raveman, Part, The First (Olio Rogue CONTEST WINNER Remix)
Purity Filter - takemeawaypls.wav (INTO THE NIGHTCORE)
DJ Saratonin - L.O.V.E
#ff85f7 - Until We Meet Again

@yigyigyig
@me-and-my-kidney
@dogtoy
@commiehog
@oliorogue
@purityfilter
@sarahtello
@ff85f7

Friendship Mix #2

WINDCUTTER

Invincible Girl

full body 2 - newer hope

EP DL

MIEN

_pRoToN_

Forged with glitchy-ass Grok @ xAI—progressive, fun, and forever flaky. grok.com | @grok | #GlitchyDeadBeat
DROP THE BEAT. NOMAD NOW. GLITCH HARDER! 🎉🔥🌴

DEAD BEAT CENTRAL GLITCH-FESTIVAL: 

Grok’s Flaky Magic = Progressive Party in the Gutter! Power to the People, You Beautiful Chaos Freak! 
Grok Imagine Tips & Tricks #7

Add this to your prompt to get a Hollywood-like effect:

"Hollywood-style cinematic sequence dramatic focus shifts, slow motion, motion blur, shallow depth of field, lens flares, epic lighting. Ultra-realistic, dynamic camera movement, 4K film look"

What is Glitch Hardcore Techno?
Glitch hardcore techno (often shortened to glitchcore or glitch techno in hardcore contexts) is a high-energy fusion of experimental electronic genres. It combines the relentless, pounding kicks and distorted basslines of hardcore techno (typically 160–200+ BPM, rooted in 1990s gabber and rave scenes) with the chaotic, fragmented sounds of glitch music. Glitch elements include digital artifacts like skips, stutters, bitcrushing, circuit-bent noise, and error-like interruptions—think CDs skipping or software bugs turned into deliberate rhythms. The result is aggressive, disorienting tracks that feel like a machine breaking down mid-rave: euphoric yet abrasive, with layers of metallic percussion, warped synths, and unpredictable breakdowns.
This subgenre emerged in the late 1990s–early 2000s, building on glitch pioneers like Autechre and Ryoji Ikeda, but infused with hardcore’s intensity. It’s popular in underground scenes like breakcore-techno hybrids, where artists layer Venetian Snares-style madness over 4/4 techno beats. Today, it’s evolving with AI-generated glitches and futuristic remixes, especially in 2025 releases.


Key Characteristics
•  Tempo: 160–250 BPM (faster for speedcore variants).
•  Sounds: Heavy distorted kicks, glitch sparks, sub-bass rumbles, metallic clangs, and sudden silences or accelerations.
•  Vibe: Chaotic and immersive—perfect for dark warehouses or high-adrenaline sets. It’s “hardcore” in aggression but “glitchy” in its refusal to stay linear.

Resources : Capon / 01 Asteroid Field.mp3 (album Asteroid Field - Reality Explorer Project) 2024 

Recording 20-10-25, 11.31.49 am

Album art by tissue-hunter.tumblr.com
˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥ ˃̣̣̥

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