#existential electronica

[marottesmusic]

A spooky Spotify playlist for the alt weirdos

[mild-effect]

Mild Effect - The Journey Won't Take Long

[zennicai]

Song of the Week #27: zipcode - untitled 1

mysterious and sinister vibes that bring out the dread of many by the time the song progresses halfway through. an L.A Club Resource banger for sure.

Zipcode - Untitled | Releases | Discogs

[cleoselene]

rules: shuffle your "on repeat" playlist and post the first 10 tracks, then tag 10 friends to do the same. tagged by my Anthony Rizzo sister-wife @an-ivy-covered-summer

this playlist is called "Drive Time" because I mostly listen to it in the car. it has 1025 songs so this should be interesting.

1. Book Of Mormon Original Broadway Cast Recording - Two By Two (CANNOT WAIT TO SEE THIS AGAIN, WE GOT HOOKED UP WITH FREE TIX FOR MARCH)

2.The Amazing Devil - The Calling (seriously y'all plz listen to this song it is a fucking masterpiece. all of TAD is amazing but this song and "Farewell Wanderlust" are two of the greatest songs of all time)

3. TOOL - 10,000 Days (Wings Part 2) (oh I guess shuffle wants me to cry at a TOOL song this day okay! and also be filled with existential death for how many days I will have to spend in the fire with this MS! anyway this album is just constant grief in progrock metal, it's so good, probably their best)

4, Big Red Machine feat. Taylor Swift - Renegade (god this is a banger. god this era of Taylor's music, was just. *chef's kiss* this is a favorite to sing along with in the car. I think it seems like Joe got Bon Iver guy in the breakup so I fear we may never hear another one of their awesome collabs again. the way they sing verses of different lyrics at the same time is so enchanting)

5. Sza - SOS (I have been on a major Sza kick lately; the production on her music is fucking immaculate. Like R&B with lots of influences from 90s trip-hop. I am so ready for intricate electronica to make a comeback. Between Sza doing so well and Gaga's next album singles sounding super industrial, I AM EXCITE)

6. Damien Rice - The Blower's Daughter (oh gosh oh gosh shuffle YOU ARE ON A ROLL. this is my favorite Damien Rice song. so breathtakingly beautiful, you absolute bastard who has only released like 2 albums in 25 years)

7. VNV Nation - Lights Go Out (SHUFFLE YOU ARE KILLING IT. Amazing song, highlight of the Noire album, which was Ronan's response to Trump's election and climate change, released in 2018. A club banger about people stupidly ignoring the warnings and just dancing in the club to great club bangers, designed to be played in clubs as the banger single from the album. Goths, we're on a different level, okay?)

8. Indigo Girls - Let It Be Me (can you believe that my mother, who at one point was easily the most popular lesbian in Southwest Florida in the 80s and 90s, thinks the Indigo Girls are "boring lesbian music?" And yes, she likes ANNE MURRAY. Like how dare she be an Anne Murray fan and call the Indigo Girls boring. Anne Murray's music is pretty but it is also the absolute definition of boring. Anyway my mom has seen Anne Murray in concert like four times, front row every time, and three out of four times, Anne handed her a red rose at the end of the show. I guess it's her tradition to hand out roses to fans at the end of the show who seemed really into it. My mom has been an "Anne Murray is a lesbian" truther forever and took these roses as signs Anne was kinda into her. Look all I'm saying is that I am the child of a 75 year old parasocial fangirl who shades competing lesbian artists like the kids do with pop stars these days, roflcopter)

9. Les Miserables The Complete Symphonic Recording - The Bargain/The Waltz of Treachery (musical theater representing! anyway this recording is my favorite of the myriad Les Miz recordings because I loooooove the Eponine. And love Gary Morris as Valjean. Actually everyone kills it in this version. The fact that the Eponine didn't even speak English since she was from the Japanese show and still got the emotion so well is a marvel. FUCK I LOVE LES MIZ PLZ CAN WE GET AN ACTUAL GOOD FILM ADAPTATION OF IT SOMEDAY YOU HAVE NO IDEA HOW DEAR THIS PLAY IS TO ME AND HOW COMPLETELY DISAPPOINTED I WAS AS I SAT IN THE THEATER AFTER HYPING IT UP SO MUCH TO IDK MY BFF TWIG AND IT WAS ABSOLUTE GARBAGE. Les Miz is better than Wicked. Give it the Wicked treatment)

10. Taylor Swift - So Long, London (oh wow another sad one. And how appropriate since @an-ivy-covered-summer tagged me in this becasue we had a Rizzo-related meltdown about these lyrics: And you say I abandoned the ship But I was going down with it My white knuckle dying grip [...] I'm just mad as hell cause I loved this place

like when we had this freakout when we were talking about Rizzo begging Jed not to trade him and saying "I want to go down with this ship" T___T

Anyway I am pretty firmly on the record thinking TTPD sucks but there are like... five songs out of the 31 that I like, and this is one of them. This one I liked instantly.

anyway THANKS THIS WAS GREAT LIKE I LITERALLY LISTENED TO EVERY SONG AND DIDN'T SKIP ONCE. Usually I don't listen to everyone for these memes but they're all worth the full listen this time. Goddamn I make good playlists.

tagging @sylvieons @thebreakfastgenie @brightnshinythings @malkaleh @coralreeferband

that's five my brain is bad i'll stop there but I would love to read any of your answers i love talking about music I will do it all day every day always tag me in these and in your answers because i miss a lot because dash is overwhelming but i am ALWAYS interested in these

there's a reason I worked in a music store for five years

[zinphandel]

22, A million- Bon Iver

hi guys!!! today we are listening to 22, a million by bon iver. this is VERY EXCITING for me cos i fucking LOOOOOVE bon iver. rosyln (from the twilight soundtrack lol) is in my top 5 songs of all time. also EVERY SINGLE SONG from for emma, forever ago was in my spotify wrapped 2024 top songs im a big bon iver bitch basically!

Initial thoughts?

if u had given me 1 million pounds i would have bet it on dan howell including this on his favourites of 2016. like of COURSE he did! Justin Vernon goes into this album straight off the back of producing with Kanye (he did loads of production and vocal work on mbdtf, and YEEZUS) (my favourite kanye albums!) and changes up the style we are so used with bon iver (acoustic, folky) to a fun, new electronic and hip hop inspired project. it’s SUCH a fun progression and feels like the perfect direction for bon iver to move in to!

Is this a first-time full album listen-through?

no! however i’m not actually as familiar with this album as other bon iver albums. which is WEIRD bc this is when they went electronicy which is SO up my street like thinking about it on paper this should be my favourite bon iver album. but i actually don’t think ive listened in YEARS!

Listen through:

• firstly let’s talk about the fucking SONG names oh my lord they are so annoying

• 22 (OVER S∞∞N) feels like a really nice transition song between the folky stuff i’m used to with bon iver and their new more electronica inspired style it marries the styles up well and blends them- which serves as a great intro into the album

• 10 d E A T h b R E a s T has GORGE production. obviously i knew what i was in for with the production on this album it’s sooooo sexy and nice

• justin vernons voice gives me the most gorgeous chills ever. i really enjoy how he plays with with pitch and tone and vocal modulation for this album. it’s a new, interesting outlook and fits the aesthetic of the album. he has one of the most interesting and unique voices ever and i loooove how he utilises it differently for different projects

• i’m a massive whore for blending genres and i’m in love with how it’s pulled off on this album! it still FEELS like a bon iver album but feels like a natural progression forward

• i bet this would fucking slap live

• this album is strange, experimental and existential and literally makes you feel like you are ascending to a different realm

• feels very reminiscent of the radiohead trajectory- like the bends- ok computer- kid a etc

• god i bet this was a critical darling it feels like catnip for critics lol

• this album is SO special because although you can hear lots of music that is sonically similar ( the kanye stuff he produced, certain radiohead tracks, lots of frank ocean and james blake) it still feels insanely unique- nothing sounds and evokes the feels that this album does. such a special project!

Favourite song(s)?

715 - CRΣΣKS, 21 M♢♢N WATER, 33 ‘GOD’

Least favourite song?

29 #Strafford APTS

Would i listen again?

for emma, forever ago is still my favourite bon iver project but this is still fantastic. 100% gonna relisten!!

Do i recommend?

yes!!!! so unique and fun. this album is truly brilliant. it’s probably bon ivers best (objectively) please give this a listen!

What would I rank it out of 10?

8/10

thanks danny boy. another fabulous pick :3 see u tomorrow for another one

read my 2015 reviews here

read the rest of my 2016 reviews here

listen to the playlist of highlights from dans favourite albums here

[astorythatwritesitself]

Comin' atcha again with Meet Me in the Woods by Lord Huron pretty please 😊

'I've been exposed to knowledge beyond any contemporary sapient being's comprehension, died, come back to life, and still have to keep going and all I got was this lousy t-shirt' 😂

Yeah no this is the like - ME2 act 1 song, post-resurrection & that semi-manic free fall of trying to Work while experiencing an existential crisis of epic proportions, while also trying to rally a bunch of people to go right back into those jaws.

There ain't language for the things I've seen, and the truth is stranger my own worst dreams.

This is the song for staring so deep into the eyes of madness, it might have actually fixed some things.

(Bonus reason: Adrian's mostly into new wave/darkwave/electronica, not folk... but she would absolutely dance to this song.)

[alexandriaisburning]

048: Child of Eden

A spiritual sequel to Tetsuya Mizuguchi’s Rez, Child of Eden released with little fanfare, and has seemingly failed to achieve the same critical adoration and cult status as its predecessor. Regardless, Child of Eden acts as a sort of missing link between Rez and Mizuguchi’s subsequent directorial projects, folding back into its predecessor with Rez Infinite’s Area X, with visuals and themes being directly revisited in Tetris Effect. (Co-producer James Mielke also went on to direct Jupiter & Mars, a dolphin themed game that draws from similar aesthetics seen here).

Child of Eden directly follows themes explored by Rez’s finale, with many parallels in its setup, but eschews a direct connection for more of an alternative retelling. Both involve taking on an AI--in Rez you take on a rogue AI named Eden as she has an existential crisis brought on by an overload of information. In Child of Eden, Eden is instead the name of cyberspace, the archive of human knowledge where Lumi awakens. Lumi is made from the memories of the first human born in space, and when activated, a virus begins to corrupt her memories, requiring you to clear various archives to keep her conscious. 

Rez’s aggressive, immediate club beats give way to a more layered pop soundscape provided by Genki Rockets, Mizuguchi’s own musical project. Genki Rockets itself ties into the story, with the frontwoman being a fictional 17-year old from the future, and the first child born in space, making Child of Eden’s Lumi an AI based on her. 

Genki Rockets’ music leans much heavier into the electronic pop elements, with heavily processed lyrics, guitars and samples. It’s a much more upbeat soundscape, leaning into themes of optimism and imagination. Rachel Rhodes reprises her role as Lumi here, seen in the opening video as well as in glimpses throughout the game. It’s a more human, and organic aesthetic compared to its predecessor, even when it leans into similar synthetic thematic material. 

Child of Eden largely follows the syncopated rail shooter format of its predecessor, with a focus on lock on attacks, with enemies coming in waves of 4 or some multiple of it, timed to line up with the beat of the music. Both locking on and releasing  are signalled with percussion, and timing your release as you reach maximum lock on will result in a score bonus for staying on beat. 

Supplementing the lock on is the rapid fire attack, which does less damage but can defend against attacks and break down armor on certain enemies. Attacks often follow a circular, or spiral pattern, requiring you to smoothly trace them in order to intercept them. A screen clearing bomb rounds out the arsenal, as your panic button when the odds get too overwhelming. 

The game was promoted for its use of motion controls, supporting both the Kinect and PS Move controller, leading to some people mistaking it to be a motion control only game. The game does support using separate controllers as Mizuguchi’s famous “trance vibrator”, so you can even get the force feedback while using them. 

As for the controls themselves, I can only speak to the Kinect version, but they work well, with each hand acting as a different shot type, and tracking generally being good, though there might be some unintentional overlap when switching hands. Raising both hands activates the bomb function, which has a short buffer to prevent accidental bombing, meaning you’ll have to anticipate using it a little earlier. The feeling is not unlike Fantasia’s conductor-like hand motions, though instead of swipes here there’s a great focus on tracing shapes across the screen. 

Child of Eden’s stages flow between transitory tunnels with more focused encounters, to open spaces with a large number of popcorn enemies to occupy yourself with as you take in setpieces. It never reaches the frantic pace of contemporary rail shooters, but synced up with the layered electronica of the soundtrack, there’s a dense visual and auditory soundscape that demands attention. 

Each stage--or Archive, in the game’s terms--focuses on one particular theme. Matrix depicts the initial dive into cyberspace, dense with tunnels, and focused on an abstract geometric theme that calls back to Rez, incorporating some of its gate designs. 

Evolution calls to mind Rez’s final stage, chronicling the evolution of life, starting from the player performing cellular division, evolving into sea life and finally traveling into space to meet more fantastical creatures. 

Beauty begins in a garden with blooming flowers, before diving into their root network and ascending to face off against massive, sentient clusters of them. 

Passion builds on the humanoid encounter from Rez’s Area 4, this time pitting two figures clashing and racing each other, as you get caught in the crossfire. As they clash footage of humanity’s technological evolution appears, chronicling our eventual ascent into space. 

Journey is the final stage, incorporating imagery from all the previous stages, culminating in the final encounter where you free Lumi and restore her memories. 

Each stage is host to a variety of surreal imagery, both abstract and interpretational, with creatures and viruses depicted as living neon beings, calling to mind the bioluminescent deep sea creatures. Eden itself appears as a collective unconscious, a digital representation of the history and hopes of humanity. It’s an optimistic, New Age type vibe, that sees humanity reaching far into the cosmos.

It’s an opposite interpretation of Rez. Instead of the weight of all our connections and knowledge leading to an existential crisis, it’s what connects and lifts us up. It’s up to us to weave it all together and give hope to the future. 

And that’s why it doesn’t work as well for me. While that cosmic, spiritual viewpoint is appealing, and supported by tons of evocative imagery, it ends up feeling too limited to achieve its more ambitious message. The narrative aims for something larger in scale than its environments and run time support. Stages are strangely small, and aside from a few standout moments, don’t evoke the feeling of a connected journey. 

Genki Rockets’ music also provides a more consistent soundscape than Rez, but ironically that results in less contrast in mood, making each stage’s track harder to differentiate, with a lack of threat or stakes. The denser soundscapes also draw emphasis away from the accompanying percussive effects, resulting in a weaker connection between your actions and music. 

The largest problem by far is the game’s structure. It’s relatively short, coming in at about the length of an album, but it drags it out by forcing you to replay stages until you meet an arbitrary medal requirement. Finishing a stage earns you between 1-3 stars, and stages can be played again to earn more, with a certain amount required to unlock the next stage. Even if you somehow manage to earn a 3-star ranking on the first try, you’ll need to grind older stages by level 2, stopping your initial momentum dead in its tracks and giving you very few songs before you start repeating them. 

Rez did require a certain rank in each stage before accessing the final stage, but you’d seen most of the game by then, and would have much more variety to return to when attempting to unlock the final stage. As if afraid players would finish it too fast and leave unsatisfied, Child of Eden drags out what’s here, dramatically halting its pace, and really only earning another hour and a half or so. Each run does earn you another lifeform to add to the fish tank that is Lumi’s Garden (the level hub you pan around before selecting a level), but it doesn’t come close to justifying the repetition baked into the first run. 

Child of Eden doesn’t come close to the emotional highs (and lows) of Rez, but even with this repetition built into it, it’s a relatively short journey that is worth experiencing, if only to see its beautiful visuals and connections to the rest of Mizuguchi’s catalog. It’s an optimist interpretation of his own work, and while it can often come off as a bit corny, it’s still encouraging to immerse yourself in an optimistic, humanist worldview to fend off the torrential cynicism that seems to blanket everything today. 

Child of Eden never received a modern release, but is playable via backwards compatibility on the Xbox, minus the Kinect features. 

Screenshots were captured via PS3 emulation, so they may not be entirely accurate.

[sheetmusiclibrarypdf]

Radiohead: Creep Easy Piano Solo Arr.

Radiohead: Creep Easy Piano Solo Arr.Best Sheet Music download from our Library.Please, subscribe to our Library.Browse in the Library:Band MembersMusical Evolution & Key AlbumsKey Musical InnovationsCultural Impact & LegacyEssential Deep Cuts & B-SidesWhy Radiohead MattersRadiohead’s "Creep" – The Definitive Breakdown

Radiohead: Creep Easy Piano Solo Arr.

https://vimeo.com/1002476252?share=copy Radiohead: The Definitive Guide to One of Rock’s Most Innovative Bands Formed in 1985 in Abingdon, Oxfordshire, England, Radiohead has become one of the most critically acclaimed and influential rock bands of all time. Known for their genre-defying evolution, experimental approach, and deeply introspective lyrics, they’ve redefined alternative music over three decades.

Band Members

- Thom Yorke – Lead vocals, guitar, piano, electronics - Jonny Greenwood – Lead guitar, keyboards, orchestration, electronics - Ed O’Brien – Guitar, effects, backing vocals - Colin Greenwood – Bass, synths - Philip Selway – Drums, percussion (Original name: On a Friday—changed to Radiohead in 1991 after signing with EMI.)

Musical Evolution & Key Albums

1. Early Years: Grunge & Britpop Influences (1990s) - Pablo Honey (1993) - Breakout hit: "Creep" (a grunge-inflected anthem of alienation). - Initially dismissed as one-hit wonders, but the album hinted at deeper songwriting. - The Bends (1995) - Produced by John Leckie (Stone Roses, Pink Floyd). - Defined their melancholic yet explosive alt-rock sound. - Key tracks: "Fake Plastic Trees," "High and Dry," "Street Spirit (Fade Out)." - OK Computer (1997) - A landmark in rock history—often ranked among the greatest albums ever. - Themes: Technology, alienation, dystopia. - Key tracks: "Paranoid Android," "Karma Police," "No Surprises." - Won the Grammy for Best Alternative Album (1998). 2. Experimental & Electronic Shift (2000s) - Kid A (2000) - Radical departure—abandoned guitars for glitchy electronics, jazz, and ambient. - Influenced by Warp Records, Aphex Twin, Miles Davis. - Key tracks: "Everything in Its Right Place," "Idioteque," "How to Disappear Completely." - Grammy for Best Alternative Album (2001). - Amnesiac (2001) - Recorded during Kid A sessions—more jazz-influenced & abstract. - Key tracks: "Pyramid Song," "Knives Out," "Like Spinning Plates." - Hail to the Thief (2003) - A mix of electronic experimentation and rock aggression. - Political themes (post-9/11 anxiety). - Key tracks: "There There," "2 + 2 = 5," "A Punchup at a Wedding." - In Rainbows (2007) - "Pay-what-you-want" digital release—revolutionized music distribution. - A return to warmth & melody, blending rock and electronica. - Key tracks: "Reckoner," "Weird Fishes/Arpeggi," "Jigsaw Falling Into Place." 3. Later Work: Art-Rock & Orchestral Explorations (2010s–2020s) - The King of Limbs (2011) - Rhythmic, loop-based, minimalist. - Inspired by Flying Lotus, dubstep, and organic textures. - Key tracks: "Lotus Flower," "Codex," "Separator." - A Moon Shaped Pool (2016) - Orchestral, haunting, deeply emotional. - Features Jonny Greenwood’s string arrangements (influenced by his film scoring work). - Key tracks: "Burn the Witch," "Daydreaming," "True Love Waits." - Recent Work & Side Projects - Thom Yorke’s solo work (The Eraser, ANIMA). - Jonny Greenwood’s film scores (There Will Be Blood, The Power of the Dog). - The Smile (Yorke & Greenwood’s side project with jazz drummer Tom Skinner).

Key Musical Innovations

Genre-Blending – From alt-rock to electronica, jazz, classical, and IDM. Production Techniques – Use of sampling, modular synths, algorithmic composition. Lyrical Themes – Existential dread, political dissent, climate change, human disconnection. Live Performances – Known for rearranging songs radically in concert.

Cultural Impact & Legacy

- OK Computer & Kid A are frequently ranked among the greatest albums ever (Rolling Stone, Pitchfork, NME). - Pioneers of digital music distribution (In Rainbows’ pay-what-you-want model). - Influenced bands like Muse, Arcade Fire, The National, Coldplay (early), and countless electronic artists. - Frequently cited by critics as the "Radiohead of "—a shorthand for artistic ambition and reinvention.

Essential Deep Cuts & B-Sides

- "Talk Show Host" (Romeo + Juliet soundtrack) - "The Daily Mail" (From The King of Limbs era) - "Spectre" (Unused James Bond theme) - "Man of War" (Finally released in 2017’s OKNOTOK reissue)

Why Radiohead Matters

Few bands have reinvented themselves so drastically while maintaining critical and fan acclaim. From the raw angst of "Creep" to the orchestral despair of A Moon Shaped Pool, Radiohead remains the defining art-rock band of their generation. Want to discover more about Radiohead? Dive into: - Their 1997 Meeting People Is Easy documentary (on the OK Computer tour’s toll). - Jonny Greenwood’s film scores for Paul Thomas Anderson. - The Smile’s albums (A Light for Attracting Attention).

Radiohead’s "Creep" – The Definitive Breakdown

"Creep" is the song that launched Radiohead into the global spotlight—a haunting, self-loathing anthem that became an unlikely alt-rock classic. Despite the band’s later ambivalence toward it, the track remains a cultural touchstone. Here’s everything you need to know: 1. Origins & Writing - Year Written: 1992 (before Pablo Honey was recorded). - Primary Writers: Thom Yorke (lyrics, melody) + Radiohead (music). - Inspiration: - Yorke wrote it after seeing a girl he liked at a club but feeling too insecure to approach her. - The "I’m a creep, I’m a weirdo" refrain reflects his struggles with alienation and self-doubt. - Musically, it was influenced by The Hollies’ "The Air That I Breathe" (1974), leading to a later songwriting credit for Albert Hammond and Mike Hazlewood. 2. Musical Structure & Innovation - Key: G major (verses) → B major (chorus) – an unusual shift for a rock song at the time. - Dynamics: Starts soft, then explodes with Jonny Greenwood’s crushing guitar noise before the chorus. - Iconic Guitar Moment: Greenwood’s three dissonant strikes before the chorus—meant to sound like "a glitch in the system." - Bass & Drums: Colin Greenwood and Phil Selway provide a slow, brooding rhythm that amplifies the song’s tension. 3. Release & Initial Reception - First Release: 1992 (as a single, later included on Pablo Honey, 1993). - Initial Flop: It bombed in the UK upon release, peaking at #78. - Unexpected Breakthrough: - Gained traction on Israeli radio, then spread globally. - Re-released in 1993, reaching #7 in the UK and becoming a US alt-rock hit. 4. Why Radiohead Hated (Then Reclaimed) It - Early Resentment: - The band felt pigeonholed as "the Creep band." - Yorke called it "the most depressing song ever" and refused to play it for years. - Later Reappraisal: - Played it live again in the 2000s, often in reworked, slower versions. - Acknowledged its role in their career, though they still prefer deeper cuts. 5. Cultural Impact & Legacy Defined 90s Alt-Rock – Alongside Nirvana’s "Smells Like Teen Spirit," it became an anthem for outsiders. Enduring Popularity – Over 1.6 billion streams on Spotify (their most-played song). Covers & Samples – Famous versions by: - Prince (slow, soulful rendition) - Scala & Kolacny Brothers (choral cover, used in The Social Network trailer) - Postmodern Jukebox (jazz twist) Memes & Irony – Despite its angst, it’s now a self-aware meme (e.g., karaoke staple, TikTok trends). 6. Live Performances & Evolutions - Early 90s: Raw, aggressive (see Live at the Astoria, 1994). - 2000s: Stripped-down, acoustic or piano-driven (e.g., 2003 Glastonbury). - 2016+: Occasionally played as a nostalgic crowd-pleaser. 7. Bizarre Fact - NASA Played It in Space – In 2013, astronauts on the ISS woke up to "Creep" as their morning alarm. "Creep" is a paradox: a song Radiohead outgrew, yet one that refuses to fade away. Its raw vulnerability and explosive catharsis still resonate, proving that even a band as forward-thinking as Radiohead couldn’t escape the shadow of their first masterpiece. Want more? Compare it to: - "How to Disappear Completely" (their anti-"Creep") - "Karma Police" (another iconic self-loathing anthem) - The Smile’s "Thin Thing" (how Yorke’s angst evolved). Read the full article

[marottesmusic]

What do you wish on the moon?

[johnkatsmc5]

Abschaum "Confusion" 2012 + "Discomfort" 2012 + "Collision (split /ventre de biche)" 2011 + "Teenage Apocalypse" 2011 + "Et Toi" 2020 + "Quand viennent les Serpents"2024  France Psych, Kraut Rock,Minimal Synth Punk,Electronic,Ambient,Experimental

full bandcamp

https://abschaum.bandcamp.com/

full spotify

https://open.spotify.com/album/4Z7t0xeQxARha42uP1KJ4S

https://open.spotify.com/album/6evFVH3Vw7BKUOiOSFma29

https://open.spotify.com/album/1OFdfvSOQ4CgFEinO7SdGZ

https://open.spotify.com/album/25AskTGj0rb0leaE51yODJ

https://open.spotify.com/album/4GIhK4t2JnCx7kp9Bldicc

https://open.spotify.com/album/4rdxYnyGUvuXQVWHntP9Oi

Abschaum "Confusion" 2012

Line-up / Musicians - Chris Poincelot / vocals, guitar, keyboards - Jonas Baderou / bass - Paul Renard / drums Songs / Tracks Listing 1. Bad Moon (6:02) 2. Black Candy (3:57) 3. T.D.M.E.S.B (4:21) 4. Another Lie (8:49) 5. Some Pressure (5:10) 6. Silent Night (4:38) 7. Waiting For The Sun (3:19) 8. Stranger (8:34)

Abschaum "Discomfort" 2012

Line-up / Musicians - Chris Poincelot / vocals, guitar, keyboards - Jonas Baderou / bass - Paul Renard / drums Songs / Tracks Listing 1. Perception (4:26) 2. Pressure in My Head (4:45) 3. You're Too Blind to See It (4:01) 4. Tell Me Baby (3:21) 5. Discomfort (3:12) 6. Nouvelle Lune (5:08) 7. Crash (6:11) 8. Last Walk (3:22)

Abschaum  "Collision (split /ventre de biche)"2011

Songs / Tracks Listing Bombing Night Club 02:43 Bad Vibrations 04:39 Moonlight 03:16 Bataille 03:28

Abschaum "Teenage Apocalypse" 2011

Tracklist Holy Ghost 02:28 Human Fly 01:51 Daddy's Boy 03:19 Acid Head 04:19 City Crooner 04:00 Trash Me 04:33 Green Sand 04:18

Abschaum "Et Toi" 2020

Abschaum is a forward-thinking musical project that has deftly carved out its unique space within the realms of experimental and electronic music. The name, German for 'scum,' hints at the band's penchant for fusing rebellious energy with an avant-garde aesthetic. Drawing upon a broad spectrum of influences, from darkwave and post-punk to psychedelic rock and electronica, Abschaum has crafted a sound that is both captivating and enigmatic. Their recent releases reflect a maturation of their sound and an expansion of their thematic scope. Tracks like "Et Toi" and "Amour Liquide" showcase their skill in blending moody atmospherics with lyrical introspection, while "Moon Tango" injects a more rhythmic and danceable quality into their sonic tapestry. With "Confusion" and "Discomfort," Abschaum continues to challenge listeners with industrial textures and existential themes. "Teenage Apocalypse" embodies the band's ability to capture the zeitgeist, melding apocalyptic imagery with a sense of youthful rebellion that resonates across generational divides. Abschaum remains a band to watch for those who appreciate music that pushes boundaries and provokes thought.....~ Tracklist Vie et splendeur 05:40 Le Demon sonne à ta porte 07:08 Et toi 05:43 L'orage 09:35 Chat noir 03:59 Avalanche 05:12

Abschaum "Quand viennent les Serpents"2024

Abschaum returns solo to perform "Quand viens les serpents", his new album released in March 2024 by Macadam Mambo, where folk meets ambient in the most magical way, surrounded by drones, atmospheric synths and guitar lines, punctuated by lyrics and flute parts, vaporized in reverb and spatial echoes, all working harmoniously to send us into the cosmos.....~ Tracklist Jin 03:23 Tromper le temps 05:21 Squatter l'araignée 03:25 Luis Gil (Long song for Selva) 03:32 Assis dans l'herbe 12:26 Quand viennent les serpents 04:37

Abschaum "Confusion" 2012 + "Discomfort" 2012 + "Collision (split /ventre de biche)" 2011 + "Teenage Apocalypse" 2011 + "Et Toi" 2020 + "Quand viennent les Serpents"2024  France Psych, Kraut Rock,Minimal Synth Punk,Electronic,Ambient,Experimental

https://johnkatsmc5.blogspot.com/2025/04/abschaum-confusion2012-discomfort-2012.html?view=magazine

https://johnkatsmc5.tumblr.com/post/781905374818304000/abschaum-confusion-2012-discomfort-2012

[musicarenagh]

Find Your "PARADISE" in Oblivion with P0STERGIRL P0STERGIRL, the Brighton-based purveyor of sardonic art-pop, has dropped a new single, "PARADISE," and, honestly, it's the kind of track that makes you want to simultaneously dance and ponder the heat death of the universe. I think I need new shoes, too. https://open.spotify.com/track/2RM0f0UWF7JumJR9gCxnhI?si=726ed2382cac472e "PARADISE" apparently grapples with optimistic nihilism, which, at first glance, feels like ordering a sugar-free ice cream sundae topped with existential dread. P0STERGIRL, draws inspiration from physicist Brian Cox (because who doesn't find particle physics inherently catchy?) to delve into the sheer absurdity of it all. It's that strangely comforting, albeit darkly humorous, acknowledgement that nothing really matters. It is, to use one the genre definition, an indietronica song, but also some king of anthem. The music a sonic layer cake of Indie-pop glitter electronica that is all so...cheerful, almost manically so, as it celebrates, or laments the end. [caption id="attachment_59128" align="alignnone" width="768"] Find Your "PARADISE" in Oblivion with P0STERGIRL[/caption] The core message? We're all going to kick the bucket, so why not embrace the void with a cheeky grin? Reminds a film ending... what was it? The lyrics explore this yearning, not for a fluffy cloud heaven, but for the ultimate escape hatch: oblivion. Non-existence. It's not about angels and harps; it's about the sweet, sweet release of no longer having to worry about, you know, anything. Did I pay rent? This release feels like the musical equivalent of a Salvador Dali painting – surreal, a bit unsettling, but ultimately captivating in its strangeness. Did I leaved the oven on? The idea that our worries and memories will vanish along with us isn't presented as tragic, but, some how liberated. So, P0STERGIRL seems to ask us that question. "Paradise" found, perhaps, not in eternal bliss, but in eternal nothingness? Where do you find it? Follow P0STERGIRL on Bandcamp, YouTube, Instagram, Website, Facebook, TikTok

[moochilatv]

CASILIAN presents: Rythme du Temps

Some Manu Chao vibes here

"This song deals with existential struggles and the weight of disillusionment in the face of an oppressive and ever-changing world. It expresses a mix of a quest for escape and resignation, where dance becomes an outlet, a way to resist the passage of time and broken promises. Through themes such as nostalgia, injustice, and stories of exclusion, the lyrics depict a society where hope wavers, but where movement and rhythm offer a glimmer of solace and an attempt to reconnect with a sense of freedom", CASILIAN.

Stream Rythme du Temps:

CASILIAN, composed of the two Franco-Norwegian brothers Lucas. J and Mikael B. Roussel, make music that feels like home, a party and an existential crisis all at the same time. 

Their blend of folk and electronica, also called folktronica, seeks to bring together the organic and mechanical world, the past and future, the light and the dark and to create a space in which audiences can explore themselves. 

After touring the UK, and playing at showcases such as Vill Vill Vest in Bergen, the Franco-Norwegian duo is now working on new material that will dive deeper into what they have coined “existential-folktronica”

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[projectl]

Sound Design for VR experience | Ars Electronica

Location: JKU MED CAMPUS (MED Campus I) Krankenhausstraße 5, 4020 Linz

Opening time: 4-7/9/2024 10:00-19:00 8/9/2024 10:00-18:00

Info: Ars Electronica 2024 (link)

This project was developed in the context of a hybrid residency at V2_ Lab for the Unstable Media in Rotterdam. Seven artists were invited to jointly explore contemporary topics such as Virtual, Augmented and Mixed Reality, Artificial Intelligence and Machine Consciousness, Data Privacy and Surveillance, Simulation Theory, Existential Risk and Future of Humanity as they are raised in the 1964 SciFi-novel Simulacron-3. The group reflected on the creation of XR experiences with a strong creative and artistic component to create a collective experience that, in its core, considers the concepts of human interaction, group dynamics and empathy. The outcome of the residency, which utilized open source tools and offered guidance from experts, is Department of Interfaced Dimensions (D.I.D). Work Title: Department of Interfaced Dimensions

Collaboration with: Annika Boll (DE), Eirini Lampiri (GR), Gökay Atabek (TR), Lam Lai (HK), Merve Sahin (TR), Mihai Gui (RO), Silvana Callegari (CO)

You are invited to step into a world of play, interactivity and uncertainty. Observe, follow or collaborate with your fellow participants to navigate your way through alternative realities. Interchange roles and actively engage in a play of surveillance and manipulation.

Department of Interfaced Dimensions (D.I.D) is an interactive, mixed reality experience that combines game mechanics with virtual worlds and the materiality of kinetic props to explore themes of identity, agency and control.

(photo Credit: JKU Linz / Photographer: Andreas Röbl)

[cleoselene]

Oh shit I knew you had good taste in music but I didn't know you were a prog girlie 👀 drop your top 3 prog albums?

Pink Floyd - Wish You Were Here

Existential Reckoning - Puscifer

TOOL - Ænima

yes I am very Maynard-focused in my music but tbh, seeing the video for Stinkfist when I was 17 and tripping acid changed my LIFE. Wish You Were on vinyl is a fucking transcendental experience that everyone should enjoy. the way it's a whole cohesive piece of music basically, fuckin' chef's kiss. And Existential Reckoning really takes a humanist approach to our really difficult political times with a dash of hope, that album got me through the pandemic.

I love most genres of music honestly but in general the more layered and complicated the production, the more I'm entranced, which is why prog rock does it for me. Also why I'm into really heavy electronica like EBM/Futurepop. I LIKE MY MUSIC TO HAVE LAYERS AND DEPTH.

[starstuffandalotofcoffee]

I love the song exile but it is physically impossible to enjoy Bon Iver to the fullest in temperatures above freezing let alone 90+ and humid

[irxnmaiden]

munday survey 👩‍💻✨

favourite colour(s): purples and pinks, really any shade; it took me how long to really admit how much i love pink, but it is my truth and i am happy to be living it!

favourite flavour(s): anything spicy; i usually keep a bottle of valentina (black label) in my purse just so i have it on the go. sweet things i sometimes get a craving for. not too big on overly salty or sour foods.

favourite genre(s): horror, sci-fi, and romance (ofc ofc ofc). also anything really existential/thought-provoking will always keep me enthralled. the more batshit and confusing it is, the more i will like it.

favourite music: anything electronic! electropop, edm, electronica, dubstep, synthpop... really, anything with synths in general. i love a shit ton of old music as well, psychedelic rock, new jack swing, older hip hop. rap i listen to daily, and some more “straight-forward” pop music. nothing entirely mainstream tbh, a lot of my favorite acts don’t really get radio play unfortunately. i love r&b, some country (its true its true, but they have to be female vocalists lmao), and classical music as well. there isn’t a genre i don’t like tbh, i can find gold anywhere i dig when it comes to music. my biggest passion for sure.

favourite movie: tough!! i’ll go with kiki’s delivery service, as i’m a ghibli fanatic and that movie never fails to make me cry and smile in equal measures.

favourite series: sailor moon, easily, especially for comfort. for non-comfort/Pain, i love utena and evangelion. outside of anime, i watch a lot of true crime which isn’t... really confined to one series? dysfunctional dating shows, wife swap, and hoarders are go-tos when my brain is fried lmao. also jersey shore! love them!

last song: one of my own in the car otw home! it’s called “moonshine” and gives me all the princess vibes, love that one (super proud of it, my fave demo i've ever created)

last series: made rabid watch sailor moon s! highly recommended for anyone wanting to get into the series, its the pinnacle of everything i love about sailor moon.

last movie: gorgo! and the first ju-on!

currently reading: "let’s pretend this never happened (a mostly true memoir)” by jenny lawson; “kageki shojo!! volume 1” by kumiko saiki.

currently watching: drag race s15, and rewatching the sitcom “mom” (i love allison janney i stan her so hard)

currently working on: my new oc, as well as catching jasmine up to date!