Originally a poem which was written by my beloved one. I thought in return I would like to make a little song out of it, so this is my humble attempt.



Wie Sonnenlicht
Du bist wie das Sonnenlicht am Morgen.
Flutest den Raum,
rüttelst mich sanft aus einem Traum,
bist der immer helle Impuls zum Erwachen.
Du bist wie das Sonnenlicht am Mittag.
Stehst im Zenit.
Und was auch immer geschieht,
Du bleibst der intensive Schein über meinem Schatten.
Du bist wie das Sonnenlicht am Abend,
das am Horizont noch schaut.
Entgleitest sanft meiner Haut
als ein warmer Strahl der Verlässlichkeit.

Über Nacht bis zum Morgen.

Über Nacht bis zum Morgen.

Wie Sonnenlicht
Du bist wie das Sonnenlicht bei Nacht,
vom Mond reflektiert.
Der wachende Schein, der mich flankiert,
auf dem Weg aus den dunkelsten Stunden.
Du bist wie das Sonnenlicht

Über Nacht bis zum Morgen.






Like sunlight
You are like  sunlight in the morning.
Flood the room,
gently shake me out of a dream,
you are the ever-bright impulse to awaken.
You are like  sunlight at noon.
You're at the zenith.
And whatever happens,
You remain the intense glow above my shadow.
You're like sunlight in the evening,
that still looks over the horizon.
Gently slipping away from my skin
as a warm ray of reliability.

Overnight until morning.

Overnight until morning.

Like sunlight
You're like sunlight at night,
reflected by the moon.
The watchful glow that flanks me,
on the way out of the darkest hours.
You're like the sunlight

Overnight until morning.

lyrics Maria Caroline Hutka

Wie Sonnenlicht

Abstract Vignettes in De Stijl Sound Grids

Gardens of GoG (Inversion)

Also check out Mice on Spice in Space
@user-840795647

Fish Pie Private Eye

petal

made with casio and zoom h1 and NCH 
mosquito Photo by Yogesh Pedamkar on Unsplash

it does take a lot of annoying mosquitoes to feed all the frogs at the swamp

Bottle Bell (2025)

Shadows In The Groove

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Colonial Powers, The Legacy That Never Left The Building
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lyrics: fictionalive
music: mobygratis
written, produced, licensed, and provided
by mobygratis
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coVer ArT fictionalive DYI, wall shot 01.001.02
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fusion of it all - fictionalive with the popoems series and the hyper media reports
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dropped
Wednesday, August 6th, 2025
05:50 AM Central European
Hot Summer Time Zone
today, not so so much so
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*
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// keep shining, crazy little diamond

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What's it all about..
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"Colonial Powers, The Legacy That Never Left The Building"

This title, poised on the cusp of irony and indictment, addresses its subject with the stylish precision of a rapier’s point. It evokes not a dusty treatise, but an invitation—a salon, a stage, a chamber in which the ghosts of history pace the parquet floors still.

First, observe the flourish: “Colonial Powers,” those familiar colossi, are not consigned to the tomb of history but linger on, uncannily present. The subtitle—“The Legacy That Never Left The Building”—is, for the feuilletonist, a masterstroke of sardonic wit. It both plays on the pop idiom (“Elvis has left the building”) and subverts it; here, the ‘star’ of colonialism remains stubbornly present, lingering in the architecture, policy, and psyche of postcolonial spaces.

A featherlight sarcasm hovers above the phrase, the kind that—with a knowing wink—invites the reader into a tacit complicity: of course the legacy never departed; did we ever truly believe otherwise? The construction conjures irony, a chief weapon of the feuilleton, and implies a skepticism learned by long acquaintance with the tricks of history and the repetition of power.

In the grand tradition of feuilleton writing, the title itself is both diagnosis and epigram. It distills a complex and ongoing wound—economic, cultural, and psychological—into a phrase brisk enough for any café table debate, yet sharp enough to lacerate complacency. The cadence, with its comma and deft repetition, creates a rhythm of announcement followed by wry afterthought: here is the topic, here is the verdict, subtle as a raised eyebrow.

Stylistically, it profits from the feuilleton’s hybrid nature: journalistic immediacy (this is happening now, everywhere); literary artistry (the phrase hits with double entendre); societal critique delivered with a velvet touch. It would not be misplaced, one suspects, at the bottom of a Sunday paper’s cultural page—nestled among witty rebukes, conversations with old Europe, portraits of vanished grandeur, and exposes of lingering injustice.

In sum: the title stands as a crisp, satirical banner—lucid, layered, and perfectly feuilleton. It raises its subject not with ponderous solemnity, but with the bracing, intimate skepticism that is the feuilleton’s signature. On guard, indeed: the building is filled with echoes, and this title leaves no doubt that someone—or something—has stayed behind.

Plaintext and ready for instant release, Captain!

Colonial Powers, The Legacy That Never Left The Building

Gespräch zwischen Mozart und Salieri

The secret laboratory of Dr. Hindenburg

Galaxy Algorithms

I started playing around with digital music creation in my early twenties, but I have always been haunted by a quote from Theo Parrish who said that he is "not comfortable with convenience replacing artistry", meaning that you need to put effort into learning and mastering the skills in order to bring something good. I studied computer science and have a passion for logics and programming and somehow my lack of any musical background has kept me from publishing any of my works.

Many years later I got inspired by an interview with Thomas Fehlmann where he explained how the focus in his work is not on the result so much but on the process itself. How the process is a "source of expression" and something he just feels he has to do. This resonated with me and I realised that it's ok to be an autodidact in music and it's ok to make music just for the sake of making music. I make music for me and if you, dear listener, like it along the way I'm very happy about that.

I am inspired by nature, natural processes and the interaction we have with them. Organic asymmetric fractal patterns that are rooted in logic but unpredictable as they express. How a particular stormy night can affect the shape and growth of a plant for years to come.

I use Bitwig Studio to create my tracks.

(I don't always respond with "thanks" to each comment but I read and appreciate all. If you have a question or really need a reply send me a message)

(With a few artists we run a little group on discord to discuss ideas and what not. The link is below if you're interested in joining)

Galaxy Algorithms

Derk Bell