folks, i've tried to cut it short, really, but the melancholy age never fits in less than a lifetime.

Some really far-out sonic territory that you explored here within the inner depths of these audio realms! Great mix & recording production..A fantastic trek through the vast wilderness of it all!

I SEE A PART-TIME SURRENDER GOING ON

Another track from my upcoming Time Machine EP with music similar to Hidden Room and Time Machine

Electro Chill perhaps Nu Jazz (a brass, woodwind solo could push it more in the jazz direction, so maybe a future remix)

............
An original composition, no AI, produced digitally using a MIDI keyboard and DAW.


76 bpm

DAW: Apple Logic Pro X
MIDI: Akai Professional Keyboard
E-INSTRUMENTS:
Session Strings
Concert Grand piano
SoCal Ballad Piano
Ambient Lead
Lunar Chords synth
Upright Ballad Bass
Deep Round Synth Bass
Minimal Techno Pattern
E-DRUM KITS:
Analog Circuits
Trip Hop Remix
African Kit
European Folk Kit
Pop Kit

COVER ART is a composite using AI-generated images created by the DaVinci app and then designed in Photoshop.
………………..
ARTIST NOTE: I’m one of those people who has developed a high tolerance for uncertainty, instability I endured in childhood, and because of it, I learned with courage and loving support to harness uncertainty into inspiration, a drive to create.

For me, the unknown is an invitation, as if life has offered me blank canvases upon which to paint. Or a keyboard and computer upon which to express sounds that I hear in my head and heart. That for me, is a Benevolent Enigma, the awesome mystery of why and how something springs forth from what seems like nothing — how beauty emerges out of a barren void  like a rose growing out of a concrete sidewalk.
………………..
.

Enigma

Thank you for listening!

soundcloud.com/emilio-gs/sets/cinematic-music-by-emilio-gs

Surrender

Saponaria - Fleursonseaux
All rights reserved - © Copyright

Saponaria

E-Unexpected Parade

lyrics

Miami is calling my name
My summer mind, my summer brain
Drinks are on me
Step into the sea

Neon Daze 
Neon Daze
Neon Daze
Neon Daze

Bartender make me a drink
One that makes me forget how to think
white sands all around
I love this neon town

Neon daze
Neon Daze
Neon Daze
Neon Daze

neon daze

Cheating lovers in a motel.

Lyrics:
At the Motel down by the Liquor Store
"Do not disturb" sign hangs upon the door
Informing Housekeeping of the status of "Our Armour"
You arch your back in a way that I just can't ignore

You say I'm a simpleton
I just watch my pay per view
Your minds on him
And my heart feels so blue
Because I'm
Full-time bastard
I'm your part-time handsome man
Part-time, handsome man

Does your husband see your sad eyes?
And think their true?
I feel like a small part of you
Housekeeping comes once a day
But you like to cum 
So much more than that
You say

Baby, I'm a simpleton
I watch my pay per view
Then I know your hearts with him
I know my heart is blue
I'm a full time bastard
What are you?

I'm your part time handsome man...

Part -Time Handsome Man

Vocals https://soundcloud.com/couch-king-presents

Production https://soundcloud.com/rizlix


Here's a collab with the soundcloud legend https://soundcloud.com/couch-king-presents


You can hear his original work here;

https://soundcloud.com/couch-king-presents/i-like-to-sample-old-drums




Couch King Presents x RiZLiX - This One Goes

a little snippet from the other night. Somewhat contrasting the extreme noise of our last SC post : ) Still making use of this wonderful space and Grand Piano, no doubt we will get asked to leave at some stage, but until then happy days : )

Kirby/Ward  Organ Room Jam # 27

/ emergency broadcast / emergency broadcast / emergency broadcast /
/
— rollout, transmission, odyssey begins — 

the incoming age of melancholy:
not simply an era nor a season, but the endless twilight borne of every choice and every surrender,
woven from the threads of every generation’s longing—now, at last, unraveling before our eyes.

it begins as a hush—
not even silence, but something deeper:
the collective holding of breath as we pass through threshold after threshold,
unwilling—unable—to look back
at what still burns on the distant altars,
the cost we never counted,
the price we always assumed someone else would pay.

here, the mountains are made not of stone but of unsent messages,
unspoken apologies, unreached hands.
here is the valley of sacrificed afternoons,
where children chase phantoms,
where memory loses its shape under blue electric light,
where elders recall the scent of rain on pages, the music of patience.
here, the rivers are sorrow and the bridges are compromise,
some scorched, some crossed in regret,
most never rebuilt.

who are we, now, on this side of the threshold?
we—the bold, the bruised, the lonely inheritors of immeasurable plenty and exquisite emptiness—
we raise towers in tribute to unseen gods,
wireless cathedrals and temples that promise everything and deliver
only the ache of again, again, again
another update, another offering, another blinking vigil.

in the age of melancholy, every blessing is double-edged.
comfort comes yoked to numbness;
speed, to the erasure of slow becoming;
certainty, to the narrowing of all that is possible
and the slow extinction of wild hope.

“what did you give for this?” asks the old voice inside—
and we hush it with data, with noise,
with things that will never love us back.

our gods are many—everywhere, nowhere—
famous for a season, then discarded,
as fickle as the pulse in a liquid crystal display.
once, gods demanded faith, sacrifice, story and song.
now, they demand only attention—
bring us your tired eyes, your restless mind, your need to be known.
and in return, they give us chains so beautiful,
we praise them as gifts.

but beneath the wafer-thin bounty, the banquet of quick joys—
the shadow:
for every god installed, something sacred is displaced,
every new device arrives with its own silent requirement
that some part of us—ancient, slow, shimmering—must be left behind.

still, we are the ones who choose, trembling though we are—
again and again, at every threshold:
the altar, the new coin of the realm,
purchase paid in what cannot be replaced.

no one warned us that all this ease would cost us ourselves,
that to belong to the gods of now is to mourn what made us human—
the bruises, the breaks, the precious awkwardness of becoming.

what is melancholy, in this thunderous shadow,
if not the noblest form of remembering?
not a sickness, but a wisdom, a refusal to let the soul’s lost countries be overrun
without one last prayer, one last song.

let us be brave enough to mourn,
bold enough for the trembling joy in sorrow—
to sit by the ghost-lit ruins of intimacy and warmth and hope,
and refuse the command to forget.

for in this age, courage lies not in the conquest of new things,
but in the deep humility of honoring what is lost—
the quiet grace of looking back, and bearing witness,
and speaking to the brave few who will listen:

remember—
before the gods of upgrade and speed,
we danced in forests, we bled and healed together,
we built fires for each other’s warmth,
we told stories that did not sell,
and we were not ashamed to love slowly,
to grow bruised and then strong with time.

may we, the humbled .....
........4'000 characters.. there's more to it, sorry....

/ lyrics: fictionalive
/ music: a tiny excerpt of the epic mighty double dutch DJ Set
Kasheme's Local Digger Session w/ Murphy & Cavaliere Spruzzi (Save the Vinyl / monorecords)
https://soundcloud.com/kashemezurich/kashemes-local-digger-session-w-murphy-spruzzi-save-the-vinyl-monorecords

The Incoming Age of Melancholy — Eternal Dusk Between Eras / The Last Custodians of the Old Music

Endless Streets

New song written and performed by David Cooper.

Lyrics:

High in a mountain sky
Feel yourself fly
Oh spread your wings

Run across the forest floor
Running by a sparkling stream
Just follow your dream

Chorus

Be, will you be the one
Be, will you be the one
Be, ah set us free
Baby let’s run

See, see the eagle fly
Across the sky
Over the mountains high

Fly away
Above the trees
To a place you need to be, need to be

Chorus

Solo

Chorus x 2

Baby, Let's Run

Super Sweeper (2025)

Roland Effektgeräte-Test4 (allein zuhaus)

Sci-fi nerd alert! A song inspired as much by author Liu Cixin as it is by Massive Attack.

Also, h/t to the bass octave pedal. You da best, mate!

The Dark Forest Hypothesis

Stop The Train

Songster version was a little ‘copla’ about not being able to be with, nor without, a loved person.  As usual, I’ve ‘upgraded’ it, process from which you only get the final result, normally. 

But, following lyrics’ contradictions, I not only serve parts with different levels of (dis)order in heavy rock - flamenco sauce, but raw vs very cooked parts as well, starting with the improvised phone recording of the very first idea I had to develop the song, so please excuse my failures and noises.

Letra  /  Translated lyrics:

Te veo venir (No te vuelvas a ir)  /  I know where you're coming from (Don’t you leave again)

Te veo venir,                                                 /  I know where you're coming from,
cuando vienes con esa carita de pena,        /  when you come with that sweet sad face,
te veo venir,                                                  /  I know where you're coming from,
cuando vienes llorando sin que te duela,     /  when you come crying without any pain,

te veo venir (x3)                                            /  I know where you're coming from, (x3)

Te veo venir,                                                 /  I know where you're coming from,
cuando dices que quieres hablar conmigo,  /  when you say that you want to talk to me,
te veo venir,                                                  /  I know where you're coming from,
cuando quieres estar al lado mío,                /  when you want to be by my side,

te veo venir (x3)                                           /  I know where you're coming from, (x3)

Te veo venir,                                                 /  I know where you're coming from,
cuando vienes con esa carita de pilla,          /  when you come with that sweet sly face,
te veo venir,                                                  /  I know where you're coming from,
cuando vienes con esa sonrisa, chiquilla,    /  when you come with that smile, little girl,

te veo venir (x3)                                            /  I know where you're coming from, (x3)

ER33FI03 RUIZZO©1996 – FRANCÉS RECORDS®2016


Factor Integrante

Te veo venir (No te vuelvas a ir)

(Don't follow me here, best on my main page ;)

Manifesto

We Declare:

    That the suffering in Gaza is not a distant conflict but a wound in the conscience of humanity.

    That silence and political games by so-called Western defenders of democracy are betrayal incarnate.

    That art, music, and truth must tear through walls of apathy, breaking chains with sound and spirit.

    That to remain silent is to support the erasure of life itself.

    That we rise—voices united, hearts aflame—to amplify those crushed under siege, to shatter the walls of oppression.

    That every beat, every echo, every lyric becomes a rebellion against forgetting.

    That through collective awakening, we reclaim not just Gaza’s future but the soul of humanity.

/ -- . .  -- . -- .. --  I AM LIVING PROOF

/ : fictionalive, August 16, 2025 - 4:21 pm

/
Disclaimer: Ladies and gentlemen, and anyone who needs a special mention, I'm throwing caution to the wind and speaking out about this chaos. I'm going live, ready or not. So, sit back, relax, and try to enjoy - it's all for your own good.
/
/ -- . .  -- . -- .. --  I AM LIVING PROOF
/
//
"NOTHING UNDER THE SUN IS NOT PART OF CREATION, NOR IS IT NOT CREATION ITSELF—IT'S ONLY WHAT YOU MAKE IT. NO JUDGES, NO DIVIDES—UNITY." 
/
/ : fictionalive, July 30 - 11:11 am
/
//
For This Is The Voyage, The Legend, The Song – Where We Belong
/
/ Keep shining
/
"NOTHING UNDER THE SUN IS NOT PART OF CREATION, NOR IS IT NOT CREATION ITSELF—IT'S ONLY WHAT YOU MAKE IT. NO JUDGES, NO DIVIDES—UNITY."

1. Philosophical and Metaphysical Context

This phrase operates on a profound metaphysical premise rooted in ancient and modern spiritual thought: the idea that everything within existence ("under the sun") is inherently part of creation, yet simultaneously defies a simple binary of "creation" and "non-creation." The double negation — “is not not part” and “is not not creation” — serves as a dialectical device emphasizing paradox rather than straightforward affirmation or denial.

Nothing exists outside creation’s domain. All that "is" is both a part and a reflection of the creative whole — but perhaps creation is not a static “thing.”

It touches on panentheism or even non-dualism, suggesting creation transcends our binary modes of thought.

In this sense, the phrase challenges rigid ontologies. It rejects compartmentalization — what we consider ‘created’ vs. ‘uncreated’ is a false dichotomy.

2. Existential and Constructivist Overtones

The clause “It’s only what you make it” signifies a turn from metaphysical absolutes to personal agency and interpretation.

Creation is not a fixed category but a creative, subjective, and participatory process.

Reality is texturized by human meaning-making — your perception, actions, and judgments shape what ‘is.’

This brings in vibes of existentialism and constructivism, affirming our power and responsibility in shaping the world and imbuing it with meaning.

3. The Ethics of Judgment and Division

“No judges, no divides” strikes a moral and social chord:

It calls for radical acceptance — no external or internal authority imposes judgment.

It opposes division, sectarianism, or exclusion based on arbitrary or prejudiced distinctions.
This has echoes of universalist humanism and inclusive ethics, a plea for unity beyond fractured identities, labels, or separations.

4. Final Summation: Unity as a Creational Ethos

The closing refrain “UNITY” serves as the conceptual apex:
Unity is not merely a formal condition but an existential and creational ethos, holding the paradoxical unity of all existence despite apparent differences or judgments.
It is a call to embrace multiplicity without fragmentation — wholeness that contains diversity.

Style and Rhetoric

Paradox and Double Negatives: The use of double negatives (“not not”) is daring and poetic, evoking the style of Zen koans or 
Hegelian dialectics — prompting reflection rather than offering a direct statement. It challenges the reader to dwell in ambiguity and complexity.

Capitalization and Punctuation: The em dash creates dramatic pauses, underscoring the key thematic shifts; the capitalized “UNITY” acts as a powerful, summative slogan or mantra.

Economy of Words: Despite its complexity, the phrase remains succinct, poetic, and emphatic—a hallmark of impactful philosophical proclamations.

Cultural & Literary Resonances

Biblical Allusions: “Under the sun” recalls the Book of Ecclesiastes, with its contemplations on the nature of existence. This embeds the phrase within a long tradition of existential inquiry.

Contemporary Spirituality: The phrase resonates with New Age and postmodern spiritual ideas emphasizing non-duality, co-creation, and global unity.

Political and Social Dimensions: In a world segmented by ideologies and conflicts, “no judges, no divides” can serve as a subtle political manifesto for peace and acceptance.

The Incoming Age of Melancholy — Eternal Dusk Between Eras / The Last Custodians of the Old Music

fictionalive ⭕️ UNITY

Recent comments

SACHERBROS.

Frans Beelaard

fictionalive ⭕️ UNITY

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