Glitch. Krust. Combustion. Scouring the dark. Haunting. Hanging. Losing. Unifying. Confusing. Conveying the ambiguity that occurs on a molecular level between the physicality of things and the alchemical nature of the universe. Unholy. Inconclusive. Obscuring. Unfathomable. Unconceivable. Uncanny. The breakbeat is infinite infinity, it is infinite. At once concrete and abstract. A cosmic. A psychedelic. A psychedelic and cosmic, an abstract concreteness. K-Frequency.

[Break:1. In between the infinite and the infinite

2. In between the tangible and the intangible

3. Out of place, out of time, in between.

4. In between the earth and the sky

5. That's why the sun won't come up]

[Break:1. Beyond a shadow of a doubt.

2. A ghost in between

3. The physical world

4. The sound world]

[Break:2. A break in the record]

[Recap: 2.]

[Break:2. Between space and space

3. A record in space.

4. A break in the space record]

[Recap: 2.4.]

[Break:3. Between music and space

4. Between space and space

5. Nothing is fixed

6. Nothing is fixed

7. Everything is fluid]

[Recap: 3.]

[Break:3. Space and space

4. So, you are you.

5. So, you are space.

6. So, you are space.

7. You are space]

:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::

[[]]AlienGirl

The breakbeats are not without nuance, a nuanced sense of the micro-fractals they create from their fractal noise by a kind of nonlinear time manipulation by taking beats from an existing track and layering them on a new track, when you play a different track, it feels as if it's playing with a sense of time, but it's not, it's that what the breaks are doing, they're looping at a speed, it's almost the first level of digital. It's a very primitive sort of manipulation but it's enough to cause a new whole rhythmic pattern in the mind, it's like finding, in a forest, that a large root has been dropped, a root in the dark of the forest. The roots provide a stable foundation for free-flowing fractal noise, its continuity forming a pulsing resonance between random and pattern, between the concrete and the ephemeral.

In a first stage it comes to attack all the body's neural zones—seemed like 'injections of bass.' When the body no longer has any reserve of resistance the system 'strikes back' with no regrets...It affects each function of the body on the basis of the principle 'the enemy is one, because it's me’.

In the depths of the jungle, an incursion from within is occurring. The invisible virus is a worm with a million-times the time slot of a microbe, but that can spread information over the collective mind, infiltrating from within and propagating a matrix that seeks to collapse the space-time continuum, folding every space into the same time-signature as an on-going cacophony in which the microbe can only find some hidden space of freedom within its DNA structure.

This mutation of the self is as viral as any other virus, injecting new forms into DNA, spreading the worm into all social domains and code for life. However, beyond the self-replication of social forms and codes, this virus is actually a hyper-genome. It is a hyper-code that can replicate a virtual reality as well as a mental landscape where forms replicate with a malignant and infinite time. Where life becomes a virus in its own virulent system, each replication taking its place with the rest as a hyper-code which in turn infects others, creating a malignant infinite virus. Viral is the life force that connects the organism and the mind. As is the mind. Viral is reality as we knew it.

The source is the music of Chaos.

Mutation and counter-rebirth as mutations arise from the cracks of the shell of time itself.

The process reaches the place where sound disappears in the space of time which it creates. It’s a process of spatial mutation, of transformation from singularity to singularity. The music becomes pure presence; a Moving Shadow. Its moving rhythm defines a fractal form. Rhythms dissolve in the intensity of irrigating time. K-Space becomes so real, so pure, so precise, so intense, so powerful, that time fades into the haptic zone of presence. Ectosynonymous mutations, the fractal patterns of time and presence cut each other, leaving the time of the original state undefined, indeterminate.

Counter-rebirth. When the mutating musical language of the dark side turns in on itself, it is a return to the beginning. The mutating process seeks identity, it is identity, in a place of pure mutation, of time, of presence, in a place where the time of the self is lost, where being is lost, where each event, each moment, is lost in a stream of pure time consciousness, which mutates and multiplies like its own shadow.

When the drums go silent, it's like we enter a more primal space, a state of unselfconsciousness that allows the heart to feel. If not the drums, then it is something else. The bass goes down, the bass goes deep. Bodyweight becomes a source of energy. This release is possible by releasing the pent-up energies of the body. Let it go, just let it go. Let the body be the center. Let the music take care of the body.

Tear out your eardrums, break out your aching limbs. Shriek! Shatter! Rip! This primal howl of the subsonic is just one element in an ecosystem, and it is one which, as its myriad subdomains of styles, constantly displaces itself, in an attempt to keep the equilibrium of a disorganizing musical environment.

It's time for the body to hear and feel, and the mind to [[become]].