#bass — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #bass, aggregated by home.social.
-
Now Playing
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Slipknot - Slipknot ギミチ - CD Mate Feed Kill Repeat Original Edition 🔥 🛍️ 🌑 🔔 44.1kHZ lossy Digital version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Digital Signal Path
- SBC Pi5 ARM SOC / Linux system X86
- UMC22 / Forte Digitizer Behringer [Out 0 1]
- Instrument Mixer {16 channel} [stable TRS OUT 0 1]
- Yamaha Mixing Console {stable TRS IN 0 1}
- Aux0 send Effect rack unit0 channel 0
- Aux1 send Effect rack unit0 channel 1
- Aux 0 return Master Bus channel 0
- Aux 1 return Master Bus channel 1
- Master faders {logarithmic eLog(x)}
- XLR output {channel 0 1}
- Headphone Amps 0 1 (4 channel x 2)
- 1/4" output 0 1
- 1/4" output 2 3 (monitor output)
- Yamaha StagePass Live mixer (8 channel) with feedback detection / eliminator 98 dB current SPL 125dB SPL ideal
- Floor monitors x 2
- Digitizer input 0 1
- DAW
log
uname -aZ
sources:
man uname(1)man flac(1)man moc(1)man ls(1)https://en.wikipedia.org/wiki/Slipknot_band
https://en.wikipedia.org/wiki/Metal
https://en.wikipedia.org/wiki/Heavy_metal_music
#NowPlaying #Music #Slipknot #Metal #Metal #Bass #electric #Retro #LegacyMusic #Music #metal #Digital #no #TV
- SBC Pi5 ARM SOC / Linux system X86
-
Now Playing
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Slipknot - Slipknot ギミチ - CD Mate Feed Kill Repeat Original Edition 🔥 🛍️ 🌑 🔔 44.1kHZ lossy Digital version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Digital Signal Path
- SBC Pi5 ARM SOC / Linux system X86
- UMC22 / Forte Digitizer Behringer [Out 0 1]
- Instrument Mixer {16 channel} [stable TRS OUT 0 1]
- Yamaha Mixing Console {stable TRS IN 0 1}
- Aux0 send Effect rack unit0 channel 0
- Aux1 send Effect rack unit0 channel 1
- Aux 0 return Master Bus channel 0
- Aux 1 return Master Bus channel 1
- Master faders {logarithmic eLog(x)}
- XLR output {channel 0 1}
- Headphone Amps 0 1 (4 channel x 2)
- 1/4" output 0 1
- 1/4" output 2 3 (monitor output)
- Yamaha StagePass Live mixer (8 channel) with feedback detection / eliminator 98 dB current SPL 125dB SPL ideal
- Floor monitors x 2
- Digitizer input 0 1
- DAW
log
uname -aZ
sources:
man uname(1)man flac(1)man moc(1)man ls(1)https://en.wikipedia.org/wiki/Slipknot_band
https://en.wikipedia.org/wiki/Metal
https://en.wikipedia.org/wiki/Heavy_metal_music
#NowPlaying #Music #Slipknot #Metal #Metal #Bass #electric #Retro #LegacyMusic #Music #metal #Digital #no #TV
- SBC Pi5 ARM SOC / Linux system X86
-
Now Playing
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Slipknot - Slipknot ギミチ - CD Mate Feed Kill Repeat Original Edition 🔥 🛍️ 🌑 🔔 44.1kHZ lossy Digital version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Digital Signal Path
- SBC Pi5 ARM SOC / Linux system X86
- UMC22 / Forte Digitizer Behringer [Out 0 1]
- Instrument Mixer {16 channel} [stable TRS OUT 0 1]
- Yamaha Mixing Console {stable TRS IN 0 1}
- Aux0 send Effect rack unit0 channel 0
- Aux1 send Effect rack unit0 channel 1
- Aux 0 return Master Bus channel 0
- Aux 1 return Master Bus channel 1
- Master faders {logarithmic eLog(x)}
- XLR output {channel 0 1}
- Headphone Amps 0 1 (4 channel x 2)
- 1/4" output 0 1
- 1/4" output 2 3 (monitor output)
- Yamaha StagePass Live mixer (8 channel) with feedback detection / eliminator 98 dB current SPL 125dB SPL ideal
- Floor monitors x 2
- Digitizer input 0 1
- DAW
log
uname -aZ
sources:
man uname(1)man flac(1)man moc(1)man ls(1)https://en.wikipedia.org/wiki/Slipknot_band
https://en.wikipedia.org/wiki/Metal
https://en.wikipedia.org/wiki/Heavy_metal_music
#NowPlaying #Music #Slipknot #Metal #Metal #Bass #electric #Retro #LegacyMusic #Music #metal #Digital #no #TV
- SBC Pi5 ARM SOC / Linux system X86
-
Now Playing
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Slipknot - Slipknot ギミチ - CD Mate Feed Kill Repeat Original Edition 🔥 🛍️ 🌑 🔔 44.1kHZ lossy Digital version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Digital Signal Path
- SBC Pi5 ARM SOC / Linux system X86
- UMC22 / Forte Digitizer Behringer [Out 0 1]
- Instrument Mixer {16 channel} [stable TRS OUT 0 1]
- Yamaha Mixing Console {stable TRS IN 0 1}
- Aux0 send Effect rack unit0 channel 0
- Aux1 send Effect rack unit0 channel 1
- Aux 0 return Master Bus channel 0
- Aux 1 return Master Bus channel 1
- Master faders {logarithmic eLog(x)}
- XLR output {channel 0 1}
- Headphone Amps 0 1 (4 channel x 2)
- 1/4" output 0 1
- 1/4" output 2 3 (monitor output)
- Yamaha StagePass Live mixer (8 channel) with feedback detection / eliminator 98 dB current SPL 125dB SPL ideal
- Floor monitors x 2
- Digitizer input 0 1
- DAW
log
uname -aZ
sources:
man uname(1)man flac(1)man moc(1)man ls(1)https://en.wikipedia.org/wiki/Slipknot_band
https://en.wikipedia.org/wiki/Metal
https://en.wikipedia.org/wiki/Heavy_metal_music
#NowPlaying #Music #Slipknot #Metal #Metal #Bass #electric #Retro #LegacyMusic #Music #metal #Digital #no #TV
- SBC Pi5 ARM SOC / Linux system X86
-
Now Playing
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Slipknot - Slipknot ギミチ - CD Mate Feed Kill Repeat Original Edition 🔥 🛍️ 🌑 🔔 44.1kHZ lossy Digital version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Digital Signal Path
- SBC Pi5 ARM SOC / Linux system X86
- UMC22 / Forte Digitizer Behringer [Out 0 1]
- Instrument Mixer {16 channel} [stable TRS OUT 0 1]
- Yamaha Mixing Console {stable TRS IN 0 1}
- Aux0 send Effect rack unit0 channel 0
- Aux1 send Effect rack unit0 channel 1
- Aux 0 return Master Bus channel 0
- Aux 1 return Master Bus channel 1
- Master faders {logarithmic eLog(x)}
- XLR output {channel 0 1}
- Headphone Amps 0 1 (4 channel x 2)
- 1/4" output 0 1
- 1/4" output 2 3 (monitor output)
- Yamaha StagePass Live mixer (8 channel) with feedback detection / eliminator 98 dB current SPL 125dB SPL ideal
- Floor monitors x 2
- Digitizer input 0 1
- DAW
log
uname -aZ
sources:
man uname(1)man flac(1)man moc(1)man ls(1)https://en.wikipedia.org/wiki/Slipknot_band
https://en.wikipedia.org/wiki/Metal
https://en.wikipedia.org/wiki/Heavy_metal_music
#NowPlaying #Music #Slipknot #Metal #Metal #Bass #electric #Retro #LegacyMusic #Music #metal #Digital #no #TV
- SBC Pi5 ARM SOC / Linux system X86
-
Spent a long time playing with a digital effects #bass pedal seeing what it can and can't do. Compression, reverb various presets for fingerstyle, slap, tapping etc. Can even simulate classic amps. Lovely bit of kit.
But tonight I tried to dial in "my perfect tone" using the "empty" setting, in theory the pedal isn't there.
Yup, guess what, got close with the pedal but as soon a I took it physically out of the circuit it sounded great. Software helps, to a limit. -
🔴 [ES/EN] EN VIVO 🔴
🚀 2010-2026 🎶
🔗 Twitch: https://twitch.tv/fungusdiamonds
🔗 Kick: https://kick.com/fungusdiamonds -
2 famous bassists who said Eddie invited them to join Van Halen
https://rockandrollgarage.com/2-famous-bassists-who-said-eddie-invited-them-to-join-van-halen/
-
2 famous bassists who said Eddie invited them to join Van Halen
https://rockandrollgarage.com/2-famous-bassists-who-said-eddie-invited-them-to-join-van-halen/
-
2 famous bassists who said Eddie invited them to join Van Halen
https://rockandrollgarage.com/2-famous-bassists-who-said-eddie-invited-them-to-join-van-halen/
-
2 famous bassists who said Eddie invited them to join Van Halen
https://rockandrollgarage.com/2-famous-bassists-who-said-eddie-invited-them-to-join-van-halen/
-
2 famous bassists who said Eddie invited them to join Van Halen
https://rockandrollgarage.com/2-famous-bassists-who-said-eddie-invited-them-to-join-van-halen/
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How do you describe the "first position" in the #bass ? What makes it identifiable as such ?
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Ich hab mir ein Bass-Buch von Alex Webster gekauft. Er empfiehlt darin sich Drunken Wisdom von Overkill anzuhören, als Beispiel für das Zusammenspiel von Bass und Gitarre als rhythm section.
Heißer Tipp 🤘🏻
-
CW: Solutions To Problems, Fire, Blood
Playing the bass, discover a new weird buzz. Not coming from the pickup, the amp, it's... coming from the body of the bass? Is it shorting out? WTF.
Poke at it, discover a thin layer of peeled plastic has come up off the pickup, and at long range of motion on the low E, is getting touched, making a bizarre noise.
Do I want this noise? Maybe. Does it muck up what I'm currently (badly) playing? Very much so.
Squeeze my too-small-for-bass-guitar fingers under the strings. No blood yet. Maybe I can... index and ring finger together, grip it. It peels down onto the front face of the bass.
It is at this point I realize the bass, which I nabbed a while back, shipped with a protective peelable plastic, which *somehow* has been heat applied over the pickups, over the face of the bass, over everything.
I. Peel. The plastic.
Strings are in the way, I frowst about under them like a fox in a too-small wuzzy. There is a trivial but increasing flow of blood. I pause for a cloth and then a layer of super glue. There is no super glue in the house.
There is no styptic powder in the house.
I emit sounds of dubious intelligence – grunts – and proceed to go about my business anyway. Eventually, with some small consequence, the entire face of the base is clear of protective plastic. Like a newly skun phone-face, it looks much better. Excepting, I suppose, the slight smears of blood. A cleaning takes place, a disinfecting, during which I consider whether bass guitars might become contagious. And whether I’ve had enough sleep for this sort of thing or not.
Back to playing.
The buzz is worse. There are two new buzzes. I turn on the proper light and discover the grippers for the pickups have gripped the protective plastic some. I emit a further sound of dubious intelligence, waking the Big Smart Dog, who demands walkies. I’ve just cleaned this, I’m no longer a leaky mess, I’m not cramming my fingers in under there again.
Tweezers? Chop sticks? Wait.
Fire.
I take both the bass and the BSD outside. I use a stick lighter to burn the plastic, much to the disgust of the BSD, and emit yet another sound. I like to think this one is vaguely smarter than the others, but it’s still a grunt. The BSD grunts back.
We go for a walk, mostly with me playing the bass, but sometimes in the dark and narrow paths, the trees do too. Coming back in, I find my freshly beautified bass has experienced pine tar. I decide it adds character and resist setting it on fire.
* * *
-
CW: Solutions To Problems, Fire, Blood
Playing the bass, discover a new weird buzz. Not coming from the pickup, the amp, it's... coming from the body of the bass? Is it shorting out? WTF.
Poke at it, discover a thin layer of peeled plastic has come up off the pickup, and at long range of motion on the low E, is getting touched, making a bizarre noise.
Do I want this noise? Maybe. Does it muck up what I'm currently (badly) playing? Very much so.
Squeeze my too-small-for-bass-guitar fingers under the strings. No blood yet. Maybe I can... index and ring finger together, grip it. It peels down onto the front face of the bass.
It is at this point I realize the bass, which I nabbed a while back, shipped with a protective peelable plastic, which *somehow* has been heat applied over the pickups, over the face of the bass, over everything.
I. Peel. The plastic.
Strings are in the way, I frowst about under them like a fox in a too-small wuzzy. There is a trivial but increasing flow of blood. I pause for a cloth and then a layer of super glue. There is no super glue in the house.
There is no styptic powder in the house.
I emit sounds of dubious intelligence – grunts – and proceed to go about my business anyway. Eventually, with some small consequence, the entire face of the base is clear of protective plastic. Like a newly skun phone-face, it looks much better. Excepting, I suppose, the slight smears of blood. A cleaning takes place, a disinfecting, during which I consider whether bass guitars might become contagious. And whether I’ve had enough sleep for this sort of thing or not.
Back to playing.
The buzz is worse. There are two new buzzes. I turn on the proper light and discover the grippers for the pickups have gripped the protective plastic some. I emit a further sound of dubious intelligence, waking the Big Smart Dog, who demands walkies. I’ve just cleaned this, I’m no longer a leaky mess, I’m not cramming my fingers in under there again.
Tweezers? Chop sticks? Wait.
Fire.
I take both the bass and the BSD outside. I use a stick lighter to burn the plastic, much to the disgust of the BSD, and emit yet another sound. I like to think this one is vaguely smarter than the others, but it’s still a grunt. The BSD grunts back.
We go for a walk, mostly with me playing the bass, but sometimes in the dark and narrow paths, the trees do too. Coming back in, I find my freshly beautified bass has experienced pine tar. I decide it adds character and resist setting it on fire.
* * *
-
BASSDOG – SCREAMO EP
#Abstract #Bass #EP #Electronic #Furry #Hyperpop #Hyperrock #NuMetal #Punk #Trap #Leiden
CC BY (#CreativeCommons Attribution) #ccmusic
https://bassdog.bandcamp.com/album/screamo-ep -
Anonymous Acid 1993
-
Did you know that a certain percentage of people trying to get stoned actually change into a stone being - irreversible?
For more worrying doomer facts, don't hesitate to tune into a new very drug-free issue of…
RADIO IRRTUM!
--- ↓↓↓ Deutsch Version below unten ↓↓↓ ---
The next issue of #RadioIrrtum! will arrive this Saturday, 2026/08/29, 8:00pm UTC+2/Berlin time/CET. On Alex Berlin at DAB+ K12D in #Berlin/Brandenburg and worldwide @ https://www.alex-berlin.de/radio-livestream .
A German language #radioShow exploring the sonic vastness of the #underground. Emitted transmissions may raise attention for new unheard #music. Don't worry about the #GermanLanguage aspect - this is about #music!
This time we'll have...
- phunky live (recorded) NeoJazz
- sometimes quite tricky #Beatmaker stuff
- Brazilian 140s #Halftime #Bass
- Rough British Bass Beasts
- #LiquidDnB
- #Psychedelic Stoner #DoomMetal
- #BlackGaze #Doom
- #Hardcore
- several forms of #Punk
- and #Acappella #SurfMusic
I've got lots of electronic or sample based music within the last issues, a bit too much perhaps. So this time we'll have a cut: 50% will be electronic/sample based mostly - but the other half is completely handmade, with a surprising lot of pure dooooomy metal, 🤟 yes!
All that with lots of #CreativeCommons content, cuz music wants 2b free. Also many tracks played aren't on #Spotify - cannot bash 'em enough. And most important: We've got outstanding #FediArtists in it, like @[email protected], @[email protected] or @[email protected] . Thanks for making the Fediverse such a nice n cozy diverse space of culture!
I'll post playlist + manuscript later here. Having questions? I'll gladly answer. Just ask. CU all on Saturday! :)
And now: LET'S CHANGE INTO STONE!
--- ↑↑↑ English version above, the Deutsche welche jetzt ↓↓↓ ---
Radio Irrtum! kommt näher → Samstag, 29.08.26, 20:00 isses soweit auf Alex Berlin (DAB+ K.12D / Stream URL oben).
Also die seltsam funke(ln)de Radiosendung, in der planetenumfassende Weiten des musikalischen Untergrunds erforscht werden.
Mit:
- Live (aufgenommenem) NeoJazz
- tricky Beatmaker Zeugs
- 140er/Halftime Bass
- Rough Bass
- Liquid DnB
- Psychedelic Stoner Doom
- Black Gaze Doom
- Hardcore
- Riot Punk
- Egg Punk
- und Acapella Surf Musik
50% cooles Studiogefrickel, 50% pures verdoomtes Handgefertigtes!
Viel der gespielten Musik ist nicht bei Spotify zu finden, es gibt Creative Commons Inhalte und Musikprojekte direkt aus dem Fediverse sind auch am Start (s.o.).
Details in englisch oben, Playlist/Manuskript nach der Show hier drunter. Fragen einfach stellen – ich antworte!
Bis zur Sendung… vielleicht? :)
#fediArtists #musicRecommendation
Radio Irrtum! stands for: #NoAi / #NoAiInMusic / #NoDrugs -
https://www.europesays.com/ie/641000/ The 1977 bassline too difficult for Gene Simmons to play #1970s #1977 #AceFrehley #bass #ClassicRock #Éire #Entertainment #GeneSimmons #IE #Ireland #KISS #Music #PaulStanley
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CF Signals: Bane:9, Milan d’Oullins – 777 [Garage 83-C x La Grande Gudule x Armen Crew]
Following the legacy of Her Tentacles Sip My Mind, L’Ultime Ventouse, Panne Seiche, Bulot Rider, and Octo+, the aquatic territory’s most select collaboration returns with Krab Core. A magnificent various artists compilation, as varied as its title suggests, uniting once again the creative forces of this summer’s triple musical alliance. Between aquatic experiments, sonic drifts, and unhinged crustaceans, the artists plunge into a collective journey through uncharted and delightfully absurd waters. Available as a «pay-what-you-want» release on Bandcamp—alongside a super limited CD edition for dedicated collectors—the compilation features cover art by Billy Dogz.
At Club Furies, we are thrilled to be part of this major release with the exclusive Premiere of 777, a track by French producers Bane:9 and Milan d’Oullins. Rising from the depths of bass music and breakbeat, the piece deploys a mysterious, nostalgic, and electric sound design. Its architecture evokes a landscape submerged in cold shores and black sands, an environment where echoes of the past overlay time to emerge with an energy as subtle as it is potent.
https://soundcloud.com/clubfuriess/cfs-bane9-milan-doullins-garage-83-la-grande-gudule-armen-crew
The track’s narrative articulates through a rhythm and progression as delicate as it is patient. The sonic structure reveals itself as plastic and versatile, masterfully proving that the seams of high intensity can run along parallel rails. With 777, Bane:9, Milan d’Oullins, and this summer alliance sign a flawless sonic manifesto: proving that avant-garde electronic music reaches its apex when percussive complexity embraces cinematic drift and abyssal immersion.
https://clubfuries.com.mx/2026/04/24/cfp-n-trip-amplify-arm009/
Towards the denouement, the composition rejects any complacent resolution or traditional fading closure. The breakbeat drive cuts off abruptly mid-modular friction, leaving residual frequencies and the depth’s echo suspended in mid-air like an unfinished interference in the dark.
KRAB CORE
GARAGE 83-C x LA GRANDE GUDULE x ARMEN CREW
VARIOUS ARTISTCredits
Mastering: Simon Hamelin @ HDN Mastering
Track 17 Self-mastered
Artwork: Billy Dogz (www.instagram.com/billy_dogz/)Release Date: August 14, 2026
50 CD’s and Bandcamp Only: armencrewmusic.bandcamp.comTracklist
01 – bane:9, Milan d’Oullins – 777 – 5:32
02 – Akam Sector – Desafio de Embolada – 4:37
03 – Azogial – Me You – 5:24
04 – DJ 8.6 – Gudule Gonk – 4:40
05 – Jacques Satre – Lizards Games Stepper – 5:21
06 – DJ LM$ – Bug Me Out – 3:54
07 – Nyttes – Ominous Harvest – 5:54
08 – Oda Fiasco Bravo – Up and Fine – 5:05
09 – alombreducheval – Toto il est Bien – 8:16
10 – Pas de Pâquerette – Ouvrir les Côtés – 2:57
11 – eul Diap – Kulta Kuro – 8:40
12 – Gargantuan Grief & acheve – Pseudo-V – 4:10
13 – Force Rouge – Somewhere Over The Rainbow – 4:18
14 – DJ Padset – Revenge – 4:03
15 – Francis Cheval, Pickle Vick – La Soupe Aux Petits Choux – 3:14
16 – Zwoin – Ta Mère – 4:18
17 – reallyraw – Zehef – 2:38
18 – Lemon schaden x anodyna – Anhedonia – 3:50Bane:9
SoundCloud | Instagram | Bandcamp | Linktree
Milan d’Oullins
Garage 83-C
SoundCloud | Bandcamp | Instagram | Facebook
La Grande Gudule
Armen Crew
SoundCloud | Instagram | Facebook | Bandcamp
Club FuriesWebsite | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree
#Acid #ArmenCrew #Bane9 #Bass #Breakbeat #CFPremiere #clubFuries #ClubFuriesPremiere #Electrónica #electro #Electronic #Electronica #France #Garage83C #KRABCORE #LaGrandeGudule #MilanDOullins #Premiere #premiereCF #PremiereClubFuries #techno -
✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Sarah Vaughan - Interlude 🛍️ 🌑 🔔 LP Vinyl Analogue version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Sarah Vaughan & Her All-Stars
Interlude
Night In Tunisia
Continental Label Records 1944
- Night in Tunisia is a magnifique musical composition written by Dizzy Gillespie in 1942 while he was playing with the superb Earl Hines Band
Night in Tunisia is a Jazz standard
It is also known as "Interlude", under which title it was recorded (with lyrics) by Sarah Vaughan and Anita O'Day
Gillespie himself called the tune
Night in TunisiaAlthough the song is sometimes titled "A Night in Tunisia", the proper title is
Night in Tunisia- The complex bass line in the "A section" is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes gives the song a unique, mysterious feeling
Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections — in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
Sarah Vaughan and Her All-Stars
Dizzy Gillespie (trumpet)
Aaron Sachs (clarinet)
Georgie Auld (tenor Sax)
Jack Lesberg (Double Bass)
Chuck Wayne (guitar)
Piano/Producer: Leonard Feather (piano)
Morey Feld (drums)
Recorded in New York City on December 31 1944 (Continental Label Records)
Interlude
Lyrics
I lived in a dream for a moment
We'd loved in a midnight solitude
But I never knew at the moment
Love was just an interludeI thrill as your arms would enfold me
A kiss of surrender says the mood
Then heaven fell down when you told me
Love's a passing interludeThe magic was unsurpassed
Too good to last
The magic my heart once knew
Is dressed in blueThe shadow of night all around me
I walk in a moonlight solitude
When I thought romance really found me
Love was just an interludeThe shadow of night all around me
I walk in a moonlight solitude
When I thought romance really found me
Love was just an interludeZ
Sources
- My LP
https://en.wikipedia.org/wiki/Sarah_Vaughan?wprov=sfla1
https://en.wikipedia.org/wiki/A_Night_in_Tunisia?wprov=sfla1
https://www.youtube.com/watch?v=xxAvj2cidBs
Reaction I
You can clearly see, based on the size of the toot, that I love this song.
- For the first time I heard it on the radio the AM radio
- For the second version, which is the first computer rendering, I heard it on my Amiga computer! As a module
- When I heard it again after many decades, I didn't recognize Night in Tunisia at first, because I remembered a super fast live version that Dizzy Gillespie played.
- It was when I heard the second part, a few beats in, that I recognized the brilliance of the band and the composer
What a powerful song both fast and slow versions
You should also listen to the Art Blakey version#NowPlaying #SarahVaughan 🎶 #DizzyGillespie 🎶 #Jazz #year1942 #Saxophone #Tenor #Bass #Double 💫 #Standard #Music #Retro #RetroMusic #no #TV
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✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Sarah Vaughan - Interlude 🛍️ 🌑 🔔 LP Vinyl Analogue version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Sarah Vaughan & Her All-Stars
Interlude
Night In Tunisia
Continental Label Records 1944
- Night in Tunisia is a magnifique musical composition written by Dizzy Gillespie in 1942 while he was playing with the superb Earl Hines Band
Night in Tunisia is a Jazz standard
It is also known as "Interlude", under which title it was recorded (with lyrics) by Sarah Vaughan and Anita O'Day
Gillespie himself called the tune
Night in TunisiaAlthough the song is sometimes titled "A Night in Tunisia", the proper title is
Night in Tunisia- The complex bass line in the "A section" is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes gives the song a unique, mysterious feeling
Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections — in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
Sarah Vaughan and Her All-Stars
Dizzy Gillespie (trumpet)
Aaron Sachs (clarinet)
Georgie Auld (tenor Sax)
Jack Lesberg (Double Bass)
Chuck Wayne (guitar)
Piano/Producer: Leonard Feather (piano)
Morey Feld (drums)
Recorded in New York City on December 31 1944 (Continental Label Records)
Interlude
Lyrics
I lived in a dream for a moment
We'd loved in a midnight solitude
But I never knew at the moment
Love was just an interludeI thrill as your arms would enfold me
A kiss of surrender says the mood
Then heaven fell down when you told me
Love's a passing interludeThe magic was unsurpassed
Too good to last
The magic my heart once knew
Is dressed in blueThe shadow of night all around me
I walk in a moonlight solitude
When I thought romance really found me
Love was just an interludeThe shadow of night all around me
I walk in a moonlight solitude
When I thought romance really found me
Love was just an interludeZ
Sources
- My LP
https://en.wikipedia.org/wiki/Sarah_Vaughan?wprov=sfla1
https://en.wikipedia.org/wiki/A_Night_in_Tunisia?wprov=sfla1
https://www.youtube.com/watch?v=xxAvj2cidBs
Reaction I
You can clearly see, based on the size of the toot, that I love this song.
- For the first time I heard it on the radio the AM radio
- For the second version, which is the first computer rendering, I heard it on my Amiga computer! As a module
- When I heard it again after many decades, I didn't recognize Night in Tunisia at first, because I remembered a super fast live version that Dizzy Gillespie played.
- It was when I heard the second part, a few beats in, that I recognized the brilliance of the band and the composer
What a powerful song both fast and slow versions
You should also listen to the Art Blakey version#NowPlaying #SarahVaughan 🎶 #DizzyGillespie 🎶 #Jazz #year1942 #Saxophone #Tenor #Bass #Double 💫 #Standard #Music #Retro #RetroMusic #no #TV
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✨ 💖💕🌹💐💖 💙💜💖🦋🌺💜🎼 🎶 🎸 Now playing Sarah Vaughan - Interlude 🛍️ 🌑 🔔 LP Vinyl Analogue version 🎹 📚 📖 🎻🎻 🎼 🎶 ✨ 💖💕🌹💐💖 💙💜💖🦋
Sarah Vaughan & Her All-Stars
Interlude
Night In Tunisia
Continental Label Records 1944
- Night in Tunisia is a magnifique musical composition written by Dizzy Gillespie in 1942 while he was playing with the superb Earl Hines Band
Night in Tunisia is a Jazz standard
It is also known as "Interlude", under which title it was recorded (with lyrics) by Sarah Vaughan and Anita O'Day
Gillespie himself called the tune
Night in TunisiaAlthough the song is sometimes titled "A Night in Tunisia", the proper title is
Night in Tunisia- The complex bass line in the "A section" is notable for avoiding the standard walking bass pattern of straight quarter notes, and the use of oscillating half-step-up/half-step-down chord changes gives the song a unique, mysterious feeling
Like many of Gillespie's tunes, it features a short written introduction and a brief interlude that occurs between solo sections — in this case, a twelve-bar sequence leading into a four-bar break for the next soloist.
Sarah Vaughan and Her All-Stars
Dizzy Gillespie (trumpet)
Aaron Sachs (clarinet)
Georgie Auld (tenor Sax)
Jack Lesberg (Double Bass)
Chuck Wayne (guitar)
Piano/Producer: Leonard Feather (piano)
Morey Feld (drums)
Recorded in New York City on December 31 1944 (Continental Label Records)
Interlude
Lyrics
I lived in a dream for a moment
We'd loved in a midnight solitude
But I never knew at the moment
Love was just an interludeI thrill as your arms would enfold me
A kiss of surrender says the mood
Then heaven fell down when you told me
Love's a passing interludeThe magic was unsurpassed
Too good to last
The magic my heart once knew
Is dressed in blueThe shadow of night all around me
I walk in a moonlight solitude
When I thought romance really found me
Love was just an interludeThe shadow of night all around me
I walk in a moonlight solitude
When I thought romance really found me
Love was just an interludeZ
Sources
- My LP
https://en.wikipedia.org/wiki/Sarah_Vaughan?wprov=sfla1
https://en.wikipedia.org/wiki/A_Night_in_Tunisia?wprov=sfla1
https://www.youtube.com/watch?v=xxAvj2cidBs
Reaction I
You can clearly see, based on the size of the toot, that I love this song.
- For the first time I heard it on the radio the AM radio
- For the second version, which is the first computer rendering, I heard it on my Amiga computer! As a module
- When I heard it again after many decades, I didn't recognize Night in Tunisia at first, because I remembered a super fast live version that Dizzy Gillespie played.
- It was when I heard the second part, a few beats in, that I recognized the brilliance of the band and the composer
What a powerful song both fast and slow versions
You should also listen to the Art Blakey version#NowPlaying #SarahVaughan 🎶 #DizzyGillespie 🎶 #Jazz #year1942 #Saxophone #Tenor #Bass #Double 💫 #Standard #Music #Retro #RetroMusic #no #TV
-
Just saw it's #BandcampFriday again this week!
It's been a busy few months for me with non-music stuff, so nothing new ready to launch yet. But I did do bassline-recording last week for that song I was writing last year! It was one of those where I wrote myself some quite tricky moves and had to practise a lot before I could actually play them :-)
-
Just saw it's #BandcampFriday again this week!
It's been a busy few months for me with non-music stuff, so nothing new ready to launch yet. But I did do bassline-recording last week for that song I was writing last year! It was one of those where I wrote myself some quite tricky moves and had to practise a lot before I could actually play them :-)
-
Just saw it's #BandcampFriday again this week!
It's been a busy few months for me with non-music stuff, so nothing new ready to launch yet. But I did do bassline-recording last week for that song I was writing last year! It was one of those where I wrote myself some quite tricky moves and had to practise a lot before I could actually play them :-)
-
Just saw it's #BandcampFriday again this week!
It's been a busy few months for me with non-music stuff, so nothing new ready to launch yet. But I did do bassline-recording last week for that song I was writing last year! It was one of those where I wrote myself some quite tricky moves and had to practise a lot before I could actually play them :-)
-
Just saw it's #BandcampFriday again this week!
It's been a busy few months for me with non-music stuff, so nothing new ready to launch yet. But I did do bassline-recording last week for that song I was writing last year! It was one of those where I wrote myself some quite tricky moves and had to practise a lot before I could actually play them :-)
-
NEVER LET 'EM TURN YOUR VOLUME DOWN!
Wait, who's sayin' that?
RADIO IRRTUM!
Ur favorite radio show (isn't it?).
——— ↓↓↓ Deutsch Version below unten ↓↓↓ ———
The next issue of #RadioIrrtum! will arrive this Saturday, 2026/08/01, 8:00pm UTC+2/Berlin time/CET. On Alex Berlin at DAB+ K12D in #Berlin/#Brandenburg + worldwide @ https://www.alex-berlin.de/radio-livestream .
A German language #radioShow exploring the sonic vastness of the #underground. Emitted transmissions may raise attention for new unheard #music. Don't worry about the #GermanLanguage aspect - this is about music!
All that with an amazing variety of genres like…
- #Vienna #Postpunk
- Cyber #Triphop
- #Plunderphonic Funk
- #Nashville electro #HyperClash
- #140 #Bristol #Bass
- #MechanicalTechno
- #ElektroJunk ¹)
- #ArtPunk
- #HarteKost from #Cologne
- noisy and in parts truly classical #GuitarDrones
*¹) Actually the name of an artist played which perfectly fits his style.*
This time I seriously focus on music from the fediverse so shout out to those Fedi artists and underground music experts:
- @[email protected]
- @[email protected] ²)
- @[email protected]
- @[email protected]
- @[email protected]
- @[email protected]
*²) Wasn't aware you are right here while recording the show, Graham. Just realized it. How amazing!!*
Besides: Lots of #creativeCommons content. Much isn't on #Spotify - in fact this is maybe the only Radio Show that activly advertises against them all the time!
Will post playlist + manuscript after the show here + gladly answer any questions on Sunday latest. CU all on Saturday! :)
——— ↑↑↑ English version above, the Deutsche welche jetzt ↓↓↓ ———
#Radio Irrtum! kommt näher → Samstag, 01.08., 20:00 @ Alex Berlin (DAB+ K.12D / Stream URL oben).
Also die seltsam funke(l)nde Radiosendung, in der planetenumfassende Weiten des musikalischen Untergrunds erforscht werden.
Mit:
- Pustpunk aus Wien
- Cyber Triphop
- Plunderphonic Funk
- Nashville electro HyperClash
- 140er Bristolbass
- Mechanical Techno
- Elektro Junk
- Art Punk
- Harte Kost aus Köln
- verrauschte, z.T. echt klassische Gitarrendrones
Diesmal richtig mit Schwerpunkt "Musik aus dem Fediverse" mit ganz vielen coolen #FediMusicians (s.o.).
Zudem: Anti Spotify Ads und Creative Commons Inhalte, yo!
Details in englisch oben, Playlist/Manuskript nach der Show hier drunter. Fragen einfach stellen – ich antworte!
Bis zur Sendung… vielleicht? :)
#fediArtists #musicRecommendation
Radio Irrtum! stands for: #NoAi / #NoAiInMusic -
#introduction time!
Hi, I'm Bea. I seem to be leading a highly squiggly life that's led me through a wild range of experiences, has, at this point been going on for Some Time, and fortunately shows no signs of stopping yet.
Currently, amongst other things, I'm a #coder, a #boater, a #music obsessive, and a #cat mama, plus I #parent a non-zero irrational number of other humans of various ages in this, my sandwich era.
I've also been a #soundEngineer, a #teacher, a professional #psychic, a #theatre technician, and so on. I'm a #Londoner, a lapsed #Glaswegian and a recovering #NewYorker.
I'd list more specifics, but honestly they change all the time; two of the rare constants in my life are #singing and #bass, though I'm increasingly surrounded by a constellation of strange instruments; physical and digital, musical and nautical.
I'm also a #vegan (for the animals) #trans shapeshifter practising #nonMonogamy, and am gay for girls of most genders and apparently now the occasional boy. If this feels like rubbing it in your face, feel free to move your face.
I have an overdeveloped sense of justice, but only compared to your average late capitalist human, and the kind of highly spicy brain you'd expect from, uh, well, all of the above.
I'm afraid things are likely only going to get weirder from here.
No TERFs, no SWERFs, no cops, no Tories (or any other forms of fascism).
Warning! contains multitudes!
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This morning's slow and steady #workout #music is from Bell Witch doing one of their epic musical narratives. This one is light on the cookie monster moans, which is to my taste
https://youtu.be/3h2Dx2MF-S8
#Doom #Metal #Sludge #bass #Seattle #KettleBells #Heavy #BodyWeightTraining #Wellness -
Bassist of Billy and the Therapists
#photo #photography #music #rockandroll #dioday #cortland #bass #billyandthetherapists #
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CF Signals: Monotone – With U [tentapes]
The deconstruction of the contemporary club finds a field of absolute subversion within the hybridization of artistic identities. Monotone is the live electronic music project formed by Francesco Presotto and Kimi Recor—artists with extensive backgrounds under their monikers Ex.Hale and DRÆMINGS across imprints like Sonic Groove, Voidance, or Sumerian Records—whose proposal geographically oscillates between Venice and La Coruña. Joining forces, the duo deconstructs common compositional standards to erect a vision characterized by dark textures, atmospheric weight, and a distinctive ability to provoke a feeling of artistic and textural asphyxiation within the listener.
For the sixth release in the tentapes catalog, we welcome Monotone with Fictional Science, an immersive experience composed of four deeply emotional pieces blending field recordings and powerful low-end. The closing point and peak acceleration of this sonic universe concentrates on With U. The cut completes the release’s emotional circle in a definitive fashion, driving a continuous high energy from the start that drifts between the idyllic and the ineffable.
https://soundcloud.com/clubfuriess/cfs-monotone-with-u-tentapes
The track’s architecture manages tension with analog mastery, reaching sonic deltas that dip straight into silence—structural containment voids suspending the room’s breath—before forcefully reclaiming the flight previously undertaken. Altogether, it solidifies as one of the week’s most refined works, where sound design and physical force advance in flawless harmony.
Towards the denouement, the composition avoids complacent solutions; the structure interrupts its rhythmic drive abruptly mid-sonic effervescence, leaving the synths’ echo and emotion floating like an unfinished interference in the dark. With Fictional Science, Monotone and tentapes sign a sharp editorial stance: a manifesto proving that avant-garde live electronic music reaffirms itself when capable of jarring both the body and the psyche.
Label: tentapes
Artist: Monotone
Title: Fictional Science
Catalogue: TNTPS006
W&P Ana Artalejo Moreno & Francesco Presotto
Master Ravi RaisaRelease Date: July 23, 2026
Support & Buy: BandcampTracklist
1. Deep Forest Dream
2. Endless
3. Fictional Science
4. With UMonotone
SoundCloud | Instagram | Linktree
tentapes
SoundCloud | Instagram | Bandcamp | YouTube | Linktree
Club Furies
Website | SoundCloud | Instagram | Threads | TikTok | Facebook | Bandcamp | Linktree
#Bass #CFPremiere #clubFuries #ClubFuriesPremiere #Electrónica #electro #Electronic #Electronica #Experimental #Italy #LaCoruna #Monotone #Premiere #premiereCF #PremiereClubFuries #Spain #techno #tentapes #UKGarage #Venezia -
#北海道石狩市花川10条3丁目 #自転車屋 https://www.bikingjp.com/954785/ #bass #cam #CyclingHokkaido #D302J+ #daw #DIY #DTM #filmora9 #FXAUDIO #guitar #HokkaidoCycling #Ibanez #IbanezRg1527 #ibanezrga71al #Japanese #metalmusic #music #musicfan #N4 #RG #setup #SONAR #sonra #Washburn #Whisky #wondershare #Zoom #ZOOMQ2N4K #カメラ #ギター #スピーカー #ペース #マイク #動画 #北海道 #北海道サイクリング #北海道自転車に乗る #札幌市 #石狩市 #美唄市自転車 #自作 #自作PC #自作スピーカー #自転車 #自転車屋 #音楽
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Free download codes:
Tel Quel - Decaying Lull
"When the noise fractures, what’s left is the lull—a crumbling five-track descent into ambient drift."
#ambient #industrial #idm #downtempo #cinematic #soundscape #bass #dubstep #postindustrial #chillout #fieldrecording #music
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Photo of the Day 16th June 2026.
On This Day 16th June 2004.https://madcam.co.uk/2026/06/16/photo-of-the-day-16th-june-2026/
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#北海道石狩市花川10条3丁目 #自転車屋 https://www.bikingjp.com/945855/ #bass #cam #CyclingHokkaido #D302J+ #daw #DIY #DTM #filmora9 #FXAUDIO #guitar #HokkaidoCycling #Ibanez #IbanezRg1527 #ibanezrga71al #Japanese #metalmusic #music #musicfan #N4 #RG #setup #SONAR #sonra #Washburn #Whisky #wondershare #Zoom #ZOOMQ2N4K #カメラ #ギター #スピーカー #ペース #マイク #動画 #北海道 #北海道サイクリング #北海道自転車に乗る #札幌市 #石狩市 #石狩市自転車 #自作 #自作PC #自作スピーカー #自転車 #自転車屋 #音楽
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Ixindamix – The Underground Tree
#Acid #Audiotrix #Bass #Breaks #Cheese #DNB #Electronic #Ghetto #Ixindamix #Scallywag #SimSimmer #Techno #bassline #liveset #Berlin
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://ixindamix.bandcamp.com/album/the-underground-tree -
Ixindamix – The Underground Tree
#Acid #Audiotrix #Bass #Breaks #Cheese #DNB #Electronic #Ghetto #Ixindamix #Scallywag #SimSimmer #Techno #bassline #liveset #Berlin
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://ixindamix.bandcamp.com/album/the-underground-tree -
Ixindamix – The Underground Tree
#Acid #Audiotrix #Bass #Breaks #Cheese #DNB #Electronic #Ghetto #Ixindamix #Scallywag #SimSimmer #Techno #bassline #liveset #Berlin
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://ixindamix.bandcamp.com/album/the-underground-tree -
Ixindamix – The Underground Tree
#Acid #Audiotrix #Bass #Breaks #Cheese #DNB #Electronic #Ghetto #Ixindamix #Scallywag #SimSimmer #Techno #bassline #liveset #Berlin
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://ixindamix.bandcamp.com/album/the-underground-tree -
Ixindamix – The Underground Tree
#Acid #Audiotrix #Bass #Breaks #Cheese #DNB #Electronic #Ghetto #Ixindamix #Scallywag #SimSimmer #Techno #bassline #liveset #Berlin
CC BY-NC (#CreativeCommons Attribution Non Commercial) #ccmusic
https://ixindamix.bandcamp.com/album/the-underground-tree -
Photo of the Day 29th May 2026.
https://madcam.co.uk/2026/05/29/photo-of-the-day-29th-may-2026/
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#ErikSatie 1866 –1925
Gnossienne No.1
#KarinNakagawa - #Koto 25 string
#André Buser - #Bass
#Urs Wiesner - #Vibraphone
#Günter Wehinger - #Flute#musik #music #musique #musica #Satie #classicalmusic #modernistmusic
