tape_2046 / beatrice vorster                    © 2023 


0:00 / 2:53

Posted byu/TeacherTraining8739

12 hours ago

Is it known what Ecco used to make 3rd crush and 7th crush?

Did he make it on his phone?

Average drainer hallucinations
ambi vert

1 week ago

Perk ☆ —


7:00 PM

fool u have fallen for their ingenious trap



4:41 AM

real life looks like its glitching

I'm 104 years old and I remember the first time I heard this song in 1944 after we liberated Stockholm. It touched my heart then and it touches it now.

7 months ago

Jason Watts

admin vic


10:17 AM

Even when I play video games

I feel high arousal in my nervous system

fast racing heart

but it’s like a good adrenaline way

but the bad one just feels bad n stressful

Im a time traveller from the year 1776.

The declaration of independence was just signed and the national anthem is Cartier God Icedancer Interlude.

They have been lying to you this whole time!

Richard Ivan

1 year ago

one week without icedancer I don’t know what is real anymorv

sophia jullien

1 month

im 300 years old and i remember times when i live in castle

draining everyday thank you bladee


6 months ago

yo please bring this back to spotify

toaster sticks

1 month ago

As a 229 year old War of 1812 veteran,

I remember blasting this during the burning of Washington.

It brings back so many memories.


9 months ago

5th day without icedancer on spotify i just wanna die

zoid PH

1 month ago

who else here cuz they put icedancer off spotify

aleksi seppala

1 month ago


Posted byu/drunkatolivegarden

11 hours ago

Doodling off an edible nd listening 2 crest / spiderr

hour 20 without icedancer...
i began to shake when i first heard the news of it disappearing,
and didnt think it was real.
i went to spotify and it WAS real..
the sight of it horrified me and i started hyperventilating.
i tried to distract myself by listening to other albums,
such as eversince and redlight,
but that only made me think about it more.
i then proceeded to break into tears and start violently shaking.
i had to turn it off because all i could hear were the
voices in my head saying
and i went crazy.
so crazy i started abruptly
sweating and breathing heavily,
i felt like i was about to die.
as the hours passed,
it got worse and worse.
i felt like demons were taking control
over my mind and monsters
started to arise from my heart.
intense shaking,
and screaming non stop. for hours on end.
i tried to console myself by taking a rest,
but that night the thought
of icedancer being gone kept me up all night.
i managed to get around 40 mins of sleep,
waking up with bloodshot eyes.
though i was insanely tired,
i thought that maybe
icedancer would be back,
so it would be okay.
i slowly made my way onto the spotify app
, reluctantly searching
hoping for the best.
my heart starting pounding
as i realized it wasnt there.
i ran to the bathroom with
the urge to vomit,
and i starting brutally
vomiting up blood.
tears started viscously pouring out
of my eye sockets.
i could feel all the demons
exiting my body
as the blood and
tears emitted from my body holes.
to calm myself down,
i decided to finally go on a walk,
after years of being locked up,
decaying, rotting away in my bed,
listening to icedancer. ......
whats this...?
it was sharp and green.
my eyes widen as i remember.
i hadnt seen the sight of it in years.
as i bend down
and softly lay my hand onto it,
it almost pierces through my skin.
it hurt my weak hands
havent ever touched anything else
besides my phone, and airpods.
thinking of that made
me remanence back to
the times when
i was able to put in my airpods
and listen to my favorite album,
this nearly broke me back into tears.
as i run home,
i make it to my room in time.
i knew what was about to happen.
i jump onto my bed and burst into a mental breakdown.
with my hands aggressively shaking and
my mind filled with voilent thoughts,
i come back to my senses.
this isnt what bladee would want of me.
i cant think this way.
that brings me slight peace,
and calms me down enough
to make my hands steady enough to write this.
with my eyes still filled with tears,
and waterfalls streaming down my cheeks,
i will go to sleep again tonight,
with the only thought in my mind
being that icedancer is gone.
its been very hard getting through these past hours,
and im not sure if i can make it any longer.
if i die tonight,
youll know why. t
he pure pressure of icedancer
being removed from my life.
i just cant take it anymore.
as i lie my head on my pillow,
i wish the best for the rest of you,
as im sure you may have had a similar experience as me.
goodnight all,
and maybe forever.
my only wish is to wake up tomorrow
with icedancer infront of my eyes.
otherwise, i wish to not wake up at all.

1 month ago

step-printing: temporal stutters

Chungking Express; 
opening sequence Shot by a handheld camera, “only glimpses of the sky are visible and, even so, they are ‘denatured’ with the clouds moving at an abnormal speed … the camera then freeze-frames on a woman we do not and cannot recognise, because she is in disguise” (Tong, 2003).
; dir. Wong Kar-Wai; 1994

Chungking Express opens with a multi-perspectival blur - a chase sequence with an incoherent mess of colours which dislocates the surrounding architecture; at friction with the classic cinematic establishing shot where rather than establishing location, Wong Kar-Wai attempts to capture time. This atmosphere of space/time displacement sets the narrative tone which is defined by the tension of action and inaction as characters - often isolated from each other while still occupying the same frame - long for romantic connection. Their images drift through this artificial bubbled present while space splinters as
“images of time” (Tong, 2003). Janice Tong utilises Deleuze's conception of Time-Image in Cinema 2 to make a case for Wong Kar Wai’s “temporal exegesis” in the sense that his films unfold rather than run linearly, less driven by narrative structure (2003).

This effect of simultaneously speeding up and slowing emerges from Wong Kar-Wai’s poetic deployment of step-printing. This opening sequence is shot at double-speed, 48 fps, and played back at 24fps. Frames 1-12 run consecutively then frame 12 gets repeated for the next 12 frames to achieve a ‘pause’; frames 13-24 are discarded and frames 25-36 run consecutively and so on (Tong, 2003). Something gets lost in this process - we lose grip on our surroundings, space becomes ambiguous, things appear and disappear in a mesh. Intercut with these step-printed sequences are our only resting moments - stills of expiry dates, clocks and declarations of measurements in voice-over:

“At the high point of our intimacy,
we were just 0.01 cm from each other”

The use of past tense itself becomes an insertion of time. This tension of distancing is supported by the wash of non-diegetic score - the slow emergence of out-of-sync footsteps as our only diegetic hook. We are relocated in a fictional present through a more conventional orchestral piece which itself suggests a parody of 
cinematic inevitability. Straddling diegetic and nondiegetic, the music throughout the rest of the film also splinters our temporal location - the only recognisably contemporary track is ‘Dreams’ by The Cranberries but “even as you hear the opening your familiarity is immediately displaced by a Cantopop version remade and sung by Faye Wong” (Tong, 2003).

Significantly, step-printing is not the same as slow motion, despite its similarity in the experience of temporal manipulation. Where slow motion requires the filmmaker to shoot at a higher frame rate - you are ‘creating’ time - with step-printing you are lingering in a moment. The mechanics of image-making allows us to inhabit a space we cannot ordinarily see - a previously ‘blank’ screen between frames. By occupying this latent space we are afforded a kind of computationally enhanced vision through repetition of what is missing.