Uploaded December 2015 | Updated September 2026, 1 week ago
"Embraceable You" is a popular song, with music by George Gershwin and lyrics by Ira Gershwin. The song was originally written in 1928 for an unpublished operetta named East Is West. It was eventually published in 1930 and included in the Broadway musical Girl Crazy where it was performed by Ginger Rogers in a song and dance routine choreographed by Fred Astaire.
Released in 1981 by Phoenix Records
"Embraceable You" is a popular song, with music by George Gershwin and lyrics by Ira Gershwin. The song was originally written in 1928 for an unpublished operetta named East Is West. It was eventually published in 1930 and included in the Broadway musical Girl Crazy where it was performed by Ginger Rogers in a song and dance routine choreographed by Fred Astaire.
Released in 1981 by Phoenix Records



![no pulse only color (vol. II)
Presented and curated by △ thoHk ▽
Forms shatter into static. Volume II anchors itself in the deep, unhurried space between silence and sound. Here, rhythmic structure is entirely abandoned to lay bare a raw, visceral landscape of shifting frequencies and weightless density. Six timeless composers mapping the unseen: no pulse only color.
01. Jon Madof – Hayom (2026) [00:00 - 08:28]
Hayom (Today in Hebrew) is a live guitar improvisation by Jon Madof. It draws from a narrative in the Babylonian Talmud (Sanhedrin 98a) where Rabbi Yehoshua ben Levi went to the Messiah and said, Greetings to you, my rabbi and my teacher. The Messiah replied, Greetings to you, bar Leva’i. Rabbi Yehoshua ben Levi then asked him, When will the Master come? The Messiah answered, Today (Hayom). Sometime later, Rabbi Yehoshua ben Levi met Elijah and protested, The Messiah lied to me! He said he was coming today, but he did not come. Elijah explained, This is what he actually meant: He will come today, if you will listen to his voice (Psalms 95:7).
02. Maya Felixbrodt – Dream#1 [08:29 - 14:42]
Dream#1 is a live recording captured at Het Nutshuis in The Hague in 2014, later featured on her album Yellow Stomach Music, released on December 22, 2025. Originally conceived as a participatory stage installation, the track is a deeply texture-driven work from a period of artistic creation bridging The Hague, Istanbul, and Tel Aviv, focusing heavily on experimental noise, field recordings, and raw dream transcriptions.
03. Charlie Beresford with Tim Harries – You Spoke of Jesus [14:43 - 19:44]
You Spoke of Jesus was recorded recently with longtime collaborator Tim Harries (double bass). It is part of a group of works exploring ways to deconstruct the concept of song form, using a combination of a frequent motif that acts as an un-sung chorus and extended techniques backing a minimal vocal for the verses. The composition becomes more about a sense of place rather than a piece of music.
04. Jimmy Peggie – Monochrome Light (2026) [19:45 - 27:24]
Monochrome light is a sound installation composed of reflective timbres, subtle frequencies, and evolving textures.
05. Michal Perez Noy – My Child [27:25 - 31:29]
My Child is a dark experimental lullaby built from soundscapes, voice, and memory. The piece moves between comfort and unease, between mother and child, dream and shadow, creating an intimate space where tenderness itself takes on a mysterious depth.
06. Vladan Radovanović – Audiospatial (1978) [31:31 - 46:52]
Audiospatial is a seminal electro-acoustic work that exemplifies Radovanovićs obsession with structural hyper-polyphony, acoustic illusions, and the manipulation of sonic space. Created within the technological ecosystem of the Radio Belgrade Electronic Studio, the composition strips away conventional melodic narratives to focus entirely on the movement, density, and envelope of abstract frequencies. The track carefully layers synthetic timbres and shifting sound fields to manipulate the listener’s psychoacoustic perception, creating an immersive, multi-dimensional expanse where sound behaves as fluid physical architecture.
Vol. III is already in the works and coming soon! Stay tuned for the next phase. no pulse only color (vol. II)](https://i.ytimg.com/vi/gwhNXQD8X94/mqdefault.jpg)






![Alban BERG: Klaviersonate, op.1
Alban Bergs Piano Sonata (German: Klaviersonate), Op. 1, was published in 1910, but the exact date of composition is unknown; sources suggest that it was written in 1909. The Sonata is Bergs only piano work to which he gave an opus number.
The sonata is not in the typical classical form of three or four contrasting movements, but consists of a single movement centered in the key of B minor. Berg originally intended for the Sonata to be a more traditional multi-movement work, the opening movement followed by a slow movement and a finale. However, for a long period he lacked any ideas for these other movements. Berg turned to Schoenberg, who commented that the lack of inspiration meant that [Berg] ... had said all there was to say. Following Schoenbergs advice, Berg decided to publish the finished movement and let it stand by itself.
Although the piece has the nominal key of B minor, Berg makes frequent use of chromaticism, whole-tone scales, and wandering key centers, giving the tonality a very unstable feel, which only resolves in the final few bars. The structure of the piece is traditional sonata form, with an exposition, development and recapitulation; however, the composition also relies heavily on Arnold Schoenbergs idea of developing variation, a method to ensure the unity of a piece of music by deriving all aspects of a composition from a single idea. In this case, much of the composition can be traced back to the two opening gestures.
Peter Hill, piano Alban BERG: Klaviersonate, op.1](https://i.ytimg.com/vi/ipWY3cVCo9E/mqdefault.jpg)