January Friends

[UNDER CONSTRUCTION]

Fantaisie track (courte) series no. 344

creation: 2023/03/12

These tracks were uploaded to SC between 01/2023 and 03/2023,
except for the following, older ones:

. . -
[TO BE COMPLETED]

Happy listening!

* Soundcloud time: 1 year = 12 - 23 months.

HK_Fantaisies_tracks_344

MAKE ROOM FOR A DAY IN THIS EMPTY ARCADIA

Phase 1

Your Mix 3

Playlist 19/04/25

Ernergy (266)

Energy (268)

lyrics, vocals, mixing by Tam Jennifer, on synthetic guitar loop (anon.) Two loops have been chopped up, arranged and mixed in with the vocals to accent emotion. 

Indie experimental trap. 

Vocals recorded and mixed using Audacity and RODE USB Mini Microphone

FOR MY MOTHER

Cover generated using Stable-Diffusion.. design by Tam Jennifer. 

. 

I originally recorded a version of this song just two months after she died. Here is the original. 

Listen to Mother mother (DEMO 20191118) by Tam Jennifer Music on #SoundCloud
https://on.soundcloud.com/r6jbs

Where Did She Go ( I Wanna Know, 2022 )

Having battled for several pretty intense days finally resurrecting a long dead Fairlight VT-5 for a client in the workshop I ended up having one of those stranger moments fortunately with the recorder running to capture the moment.  During testing I had gotten curious and wondered what would happen if I fed the output of the synth the Fairlight Voicetracker was driving back into the VT-5.. I'd started recording some drones and, to my surprise, the feedback ended up basically causing the VT-5 to self-write this tense half-note laden string overdub sequence in sympathy with it almost like something straight out of some gritty 70s action crime thriller!

Recording & Composition D.A.Wilson, Hideaway Studio 2022.

1985 Fairlight VT-5: Dizzy Heights.. (Voicetracker Playing Itself!)

(Written by Terry Reeves)
Terry Reeves: Vocals, Acoustic Guitar
Hans Albers: All other instruments, Arrangement & Production

I think it’s important to say that a lot more women than you think have had one or multiple miscarriages. It’s just that it is a subject not often talked about because of the very personal pain that the couple go through. The unborn life has no contact with anybody else except the mother and the emotions are often only remembered by the mother and father.
When Jo and I were expecting our second child we were very excited and looking forward to having another Reeves in our growing family. I will never forget the day that we were told we were going to lose the baby and once told, left sitting in an open A & E waiting area having to cope with all our raw emotions and the prospect of the impending loss amongst the rest of the other patients.
Jo had to go through a painful operation to terminate the pregnancy and it is a day she will never forget. We were a family of three planning being a family of four having now to plan being a family of three recovering from an invisible loss and explain it to our young son.
It was an extremely difficult time but we were fortunate that after a few years we did have two more children. Jo tells me that although it is difficult to explain the connection she had with the unborn child that the presence of life inside her will never be forgotten.
I felt I couldn’t let this moment in our lives pass by without acknowledging our unborn child in some way. The rollercoaster of emotions we shared at that time from euphoria at increasing our family to devastation and bereavement at our loss were felt intensely only by Jo and myself played it’s part in forging the strong bond we have had throughout our relationship. (Terry Reeves)

Two giving chance for more to love
Sharing excitement of a life that grew
Future moments by imagination
Holding tightly to a dream, not knowing who

The moment will always be there

No blessing from a hand of friendship 
Could change the feeling of love untried
A desperation of disappearing contact
Sixteen weeks of wonder with a life inside

The moment will always be there
Will always be there x2

Will always be there x3

It’s hard to share the tears of life unborn
Expectations waiting, true feelings strong
Growing three to four into a family together 
Not knowing where to be or why we belong

The moment will always be there
Will always be there x2

Many questions asked reasons who or why
Emotional growth but no name it’s true
An everlasting memory impossible to share
Changing 4 back to 3 kept just between two

The moment will always be there
Will always be there
Will always be there
Will always be there

FOUR TO THREE - CRIPPLE CLUB & HANS ALBERS

Before the storm

World Wild

near (2022) for Trio Accanto.
Live Recording. 'near' is a miniature written for and first performed by Trio Accanto on October 6th, 2022 in FABRA I COATS (Barcelona).

The premiere was part of the 11th edition of Festival Mixtur.

https://www.joseluisperdigon.com/near


'[...]Llorarán los acólitos, las vírgenes de plomo,
los ángeles de cera.[...]'

'Te morirás primero', from 'Al final del agua', Elsa López

near (2022) for Trio Accanto l Live Recording

Songs by another project "little big bird"

2023/1/1

Website

星の種

Cold (The Cure cover)

But the relation becomes still more complex — and apparently more
mysterious — in that, with the development of the specifically
capitalist mode of production, not only do these things — these
products of labour, both as use values and as exchange values — stand on their hind legs vis-à-vis the worker and confront [the person] as “capital” — but also the social forms of labour appear as forms of the development of capital, and therefore the productive powers of social labour, thus developed, appear as productive powers of capital. As such social forces they are “capitalised” vis-à-vis labour. In fact,
communal unity in cooperation, combination in the division of labour,
the application of the forces of nature and science, as well as the
products of labour in the shape of machinery, are all things which
confront the individual workers as alien, objective, and present in
advance, without their assistance, and often against them, independent of them, as mere forms of existence of the means of labour which are independent of them and rule over them, in so far as they are objective; while the intelligence and volition of the total workshop, incarnated in the capitalist or his understrappers (representatives), in so far as the workshop is formed by the combination of the means of labour, confront the workers as functions of capital, which lives in the person of the capitalist. The social forms of their own labour — the subjective as well as the objective forms — or the form of their own social labour, are relations constituted quite independently of the individual workers; the workers as subsumed under capital become elements of these social constructions, but these social constructions do not belong to them. They therefore confront the workers as shapes of capital itself, as combinations which, unlike their isolated labour capacities, belong to capital, originate from it and are incorporated within it. And this assumes a form which is the more real the more, on the one hand, their labour capacity is itself modified by these forms, so that it becomes powerless when it stands alone, i.e. outside this context of capitalism, and its capacity for independent production is destroyed, while on the other hand the development of machinery causes the conditions of labour to appear as ruling labour technologically too, and at the same time to replace it, suppress it, and render it superfluous in its independent forms. In this process, in which the social characteristics of their labour confront them as capitalised, to a certain extent — in the way that e.g. in machinery the visible products of labour appear as ruling over labour — the same thing of course takes place for the forces of nature and science, the product of general historical development in its abstract quintessence: they
confront the workers as powers of capital. They become in fact
separated from the skill and knowledge of the individual worker, and
although — if we look at them from the point of view of their source —
they are in turn the product of labour, they appear as incorporated
into capital wherever they enter the labour process. The capitalist
who employs a machine does not need to understand it (see Ure). But vis-à-vis the workers, realised science appears in the machine as
capital. And in fact all these applications of science, of the forces
of nature and of large masses of products of labour — applications
based on social labour — appear only as means of exploitation of
labour, means of appropriating surplus labour, hence, vis-à-vis
labour, as forces belonging to capital. Capital naturally employs all
these means only to exploit labour, but in order to exploit labour, it
must employ them in production. And thus the development of the social productive powers of labour and the conditions for this development appear as the work of capital, and not only does the individual worker relate passively to this work, it also takes place in antagonism to [the person].

☭Specter👻 Of 👻Marx☭ - Powers Of Kapital

This psychedelic journey began with Tez sending me a guitar track for the cover of the Syd era Floyd song. I added some bass, organ, and lead guitar. Tez then added some organ of his own and some more guitar. Then, we sent it to our drummer friend Ken, who added the drums. Tez then mixed and produced this one for the final version. And a heroic job both he and Ken did, too. Neither mixing this nor adding drums to it could've been easy. My hat's off to them both.

Interstellar Overdrive (Transatlantic Trio) A Floydy Interpretation

Image created by me.
https://www.deviantart.com/leehon/art/We-Reward-The-Narcissistic-793056196

Draconian Calmness Created An Ocean Of Trauma

mono.tonik - retrospective

Hi guys, i find a new toy and it sounds like this !
A new secret weapon.
Basically these recordings aren't edited except for the volume.

no fucking Ai were used in this track.

2023 - 03 - 06 17 - 04 2023 - 03 - 06 17 - 33 Pt.II

I don't know, don't ask - it just happened! What does Gembardi even mean? I need a lay down :)

Gembardi

Track from the new album Backyard Songs. Entire album see links below:

https://open.spotify.com/album/0A5laTESGeVYMwkp7EKet3?si=Sa12nfabTnCyTKV0sUZ1sg

https://music.youtube.com/playlist?list=OLAK5uy_kd81Y1QvxP1KyqVaz_gqCR74nro4Jy6XQ&feature=share

https://music.apple.com/dk/album/backyard-songs/1677164705?l=da

Backyard Ramlösa

Runtime Eater

Nebulous

Release Date: 19.04.2024

ANDATA is back after their collaboration on Three Six Zero with Juliet Fox which was highly supported by BBC Radio 1.
This time they collaborated with no one else than Funk Tribu one of the shooting stars of the “New Wave” who has achieved worldwide recognition with his song “Phonky Tribu” with over 80 million streams on Spotify and performances on the biggest stages around the world like Teletech and Baum Festival.

Artist Socials:
ANDATA Insta: https://www.instagram.com/andata.music/
ANDATA SC: https://soundcloud.com/andata 
Funk Tribu Insta: https://www.instagram.com/funktribu/
Funk Tribu SC: https://soundcloud.com/funktribumusic

Label Socials:
Customized Culture Insta: https://www.instagram.com/customized.culture/ 
Customized Culture SC: https://soundcloud.com/customizedculture 
Website: https://customized-culture.com/

BCCO Premiere: Funk Tribu X ANDATA - New Wave

Contours and detours
Written and recorded by TJG May 2024

Life rarely moves in straight lines—and neither does the music. Three Photons returns with "Contours and Detours", a winding, analog-rich meditation on movement, misdirection, and the beauty of the unexpected.

Contours and Detours is my take on Gershwin's Rhythm changes with my own harmonic substitutions throughout. Written in B-flat Major with a Key change in the bridge. 

Technical Details
Rhythm Guitar: Gibson ES 335
Lead Guitar: Gibson ES 335
Guitar Amplifier: Fender George Benson Hot Rod Deluxe
Fender pedal board: Line 6 delay; Fender clean boost
Mics: a pair of Royer r10 ribbons on guitars
Mic preamps: API 312
Mixer: API 24 channel summing mixer (8200/7800)
Stereo Bus processing (API EQ and API compressor)
Final mix down to a MARA MCI JH110 1/4inch 2-track at 15 ips using ATR Master Tape.

Contours and detours

Started as a kind of Raga--Jo created some lovely handmade words- and Stephen and his beautiful Duesenberg Guitar made some amazing droning magic to complete the vision--

TEXMEX SHAMAN: @texmex-shaman
"Always enjoy the opportunity to collaborate with Jeff and Jo. They are wizards with words and sorcerers with sound. Was happy to contribute a bit to this one."

@sonic-textures: First, there was amazing music made by STONERJAZZ. Then, I composed a poem and integrated it, surprising myself with having written the first 'love' poem in a long time - and to Snow White of all fairy-tale people! To highlight it all, TEXMEX SHAMAN made the music ring out even more beautifully. Eventually I created some artwork, inspired (by some reason I don't grasp myself at the moment) by those expensive vinyl imports from Japan. It might have to do with how much I value Jeff's and Stephen's guitar playing and creativity. It's a thrill ride to collab with those two experimental musicologists ;-)


Jo(Sonic structures and Silent Stretches) --Poetry, Production,Vocals and artwork-
Stephen(TexMex Shaman)-Guitar and Production
Jeff (stonerjazz) guitar and Fx(E-bow/melotron)--Djembe

lyrics copyright jo richter:

still wearing his headphones
in the mall's thermal flow
uranium bones
intercourse afterglow

she walks down the aisle
as light as a rainbow
sunlight on the Nile
et in arcadia ego

a bodice, a comb, eris' pear
black, red, white as snow
forces align, forces shear
a million mirrors in a row

she walks down the aisle
as light as a rainbow
sunlight on the Nile
et in arcadia ego

et  in arcadia ego- featuring Sonic Structures and Silent Stretches and TexMex Shaman

Sorrow - Thaís Cristine
Lyrics by Thaís Cristine Erb
Instruments and Production by Eduardo Galera
Recorded at Mu.Sick Studios (2024)

Artist Commentary: “Sorrow” is a song I feel deeply connected to and proud of. Its musicality reflects a subtle integration of my Brazilian roots, and the lyrics come from a place of real emotional honesty - something I value in everything I create. This song was born from a moment of deep internal conflict: the sorrow I experienced in response to a situation I deemed unfair and saddening. I struggled with putting my feelings into words. But ironically, that very silence is what led to this song. Once I recognized what I couldn’t express, the music helped me find the words. I believe Sorrow will resonate with people who think deeply, feel intensely, and often carry unspoken pain that others might not validate. If this song brings you a sense of recognition, comfort, or emotional solidarity, then I’ve fulfilled one of my greatest hopes as an artist.

Lyrics:

Sorrow:

How come when I try to say all the pretty words
It feels like nothing like myself, no, this isn’t me
How come I’ve said everything but it’s not enough
The words ain’t channeling much, no
It’s flawed their energy

Of love and remorse
I feel love, I feel regret too
I’m not in love, but I have loved you
I have no lied, I haven’t lied to you

Oh, I feel dishonest when I’m not lying 
Because I mistrust myself all the time
That’s what you did, love
Oh, feel inconvenient when I reach out
But they’re my feelings, they should be let out
Need to honor them too, oh

How come, the years have passed but the sorrow won’t
I’m feeling stupid, I’m feeling quite low, you told me to move on
How come I have a secret you’re like a god, oh
Seems like my spirit needs the real one, now that you’ve replaced him

Não soube amar, meu amor
Não quis me amar e me deixou
Por que cantar sobre a dor? 
Não posso falar, por isso canto 

Oh, I feel dishonest when I’m not lying 
Because I mistrust myself all the time
That’s what you did, love
Oh, feel inconvenient when I reach out
But they’re my feelings, they should be let out
Need to honor them too, oh

Closure, I sought revenge for closure
I thought revenge was closure
Maybe revenge was closure, closure
Closure, I sought revenge for closure
I thought revenge was closure
Maybe revenge was closure, closure
You hurt me with my sword

Sorrow

Red Room (dancehall) - Fleursonseaux
All rights reserved - © Copyright

Red Room (dancehall)

Written, performed and recorded by Neli CoKo, 2024, all rights reserved. 
Thank you for listening :)
Original picture by Bob Ward https://www.pexels.com/de-de/@wardmediauk/

Day Turns Night

Empty World by Jim Manser
mixed and produced by Russ sinfield 
taken from the forth-coming album Tales of generation x
2024
watch the music video on youtube
https://youtu.be/OeSaLV4wVV0?si=K_dXQc2Jhe2sBY3F

empty world

youtube

Empty World [watch the video on you-tube]

◾️"Memories, Changes & rebirth" is a deeply emotional composition. Nostalgia and sentimental reminiscences.
Each note seems to resonate with the weight of memories, while softer moments give way to powerful passages, marking the waves of emotions that invade the soul.

In the background, a subtle synthetic layer envelops the piano, creating an ethereal and immersive atmosphere, almost like a distant echo of past emotions.
An introspective journey, where melancholy and hope meet.

🎹 Final version will be available soon on my next album project "Rebirth 2.0"
◾️ will come out when it's ready 😜

Memories, Changes & Rebirth

Live Reflexion#018

Download / Listen: https://plt.polyptychmusic.com/PLTL359?hypesource=sc

The release is supported by Benny Benassi, Giuseppe Ottaviani, Citizen Kain, Matan Caspi, Haze-M, Luke Garcia, Øostil, Ziger, Seth Schwarz, Nosh & SJ, Axel Haube, Moonbeam, Spieltape, Sergio Del Lago, Different Age, Lorenzo al Dino (Pure Ibiza Radio, Spain), Kurt Kjergaard (Data Transmission Radio), Daria Fomina (Frisky Radio), DJ Jon Hodgson (Radio Cardiff, UK), Morris Tellez (Time Differences Radio Show, TM-Radio), Plus Thirty (Proton Radio), Groove Beat FM (Mexico), Russian Cybernetics Radio Show, The Wayfarer Radio Show (XBeat Radio), and others.

Distributed by "Forward"
https://fwdmusic.com


Feel Free to Check All of Our Tunes, Free DLs, the Radio Show, and more - https://polyptychmusic.com

If you want to keep track of how your music "works" (to which playlists the tracks in Spotify, Apple Music, Deezer, and others are added; in what positions in TOPs on Beatport, Traxsource, iTunes, and others are your tracks or release, as well as finding releases on the main store pages; which TOP DJs play your tracks; and much more), feel free to use the Songstats service.
Actual and works for Artists and Labels

You will get a Lifetime Discount of 10% on your account through our link
https://songstats.com/?ref=POLYPTYCH

THE TIMELESS (be) - Edge of Life

We Are Called To Be Ourselves was inspired by someone I love. The title is also a reminder to everyone to live as you.

We Are Called To Be Ourselves

Recorded during the December full moon, 15.12.2024.

Tracklist: 

- HexagonSound: CITY 17
- Nathan Alexander: Livewire
- ROTURA XXL: To The Reverse
- Stan Christ, Zeltak: Laughter
- Torsten Kanzler: Untitled
- Svetec:  Ghosts High Noon
- Jastice: Hey You
- Michael Katana: Help Me
- Svetec: Retribution
- Sánchez Jr.:  NovoNeoNew
- SveTec: Slaves or Dead Men
- Svetec: Between Life And Death
- HexagonSound: CITY 17 (reprise)
- OliverTwisted: Doyoulikebass?
- REVM: Burst

✟𝐊𝐢𝐧𝐠𝐝𝐨𝐦𝐎𝐟$𝐡𝐚𝐝𝐨𝐰𝐬✟

The Vanishing Path is a sonic journey along a trail that slowly fades into oblivion. The track captures the essence of a path dissolving between memory and forgetfulness. With atmospheric soundscapes, powerful basslines, and a profound sense of melancholy, the song tells a story of searching for stability in a world that keeps slipping away.

This track is part of the upcoming album "Tides of Melancholy," a collection of ten pieces that together weave a profound narrative. It tells a tale of loss and hope, of fleeing from darkness and battling to rediscover lost paths. "The Vanishing Path" marks the beginning of a journey, where each track unfolds a new chapter in an emotional exploration of depth and expansive soundscapes.

The captivating harmonies and its dark yet gentle dynamics draw the listener into a world where every step leaves an echo. This album invites you to dive into the tides of melancholy and search for the light amidst the shadows.

The Vanishing Path" ist eine klangliche Reise auf einem Weg, der langsam in die Leere verschwindet. Der Track fängt die Essenz eines Pfades ein, der sich zwischen Erinnerung und Vergessenheit auflöst. Mit atmosphärischen Klanglandschaften, kraftvollen Basslinien und einer durchdringenden Melancholie erzählt der Song von der Suche nach Halt in einer Welt, die sich immer weiter entzieht.

Dieser Track ist Teil des kommenden Albums "Tides of Melancholy", einer Sammlung von zehn Stücken, die zusammen eine tiefgründige Geschichte erzählen. Es ist die Geschichte von Verlust und Hoffnung, von der Flucht vor der Dunkelheit und dem Kampf, verlorene Pfade wiederzufinden. "The Vanishing Path" markiert den Beginn einer Reise, bei der jeder Song einen neuen Abschnitt auf dem Weg durch emotionale Tiefe und klangliche Weite darstellt.

Die fesselnden Harmonien und die düstere, doch sanfte Dynamik ziehen den Hörer in eine Welt, in der jeder Schritt ein Echo hinterlässt. Dieses Album lädt ein, sich in die Wellen der Melancholie zu stürzen und nach dem Licht inmitten der Schatten zu suchen.
Note: This track was entirely composed, performed, arranged, and produced by myself – without the use of artificial intelligence.
Creating authentic music with real emotion and personality is important to me. Thank you for listening and for your support.

℗ 2025 DestKorn | © 2025 DestKorn. All rights reserved.
Unauthorized use, reproduction, modification or distribution of this track is strictly prohibited and will be prosecuted under applicable law.
℗ 2025 DestKorn | © 2025 DestKorn. Alle Rechte vorbehalten.
Jegliche unautorisierte Nutzung, Vervielfältigung, Bearbeitung oder Verbreitung dieses Tracks ist untersagt und wird rechtlich verfolgt.
Artist & Publisher: Matthias K. / DestKorn
SenneRecord – established 2012

Tides of Melancholy

The Vanishing Path

Watch the video on Youtube:
https://youtu.be/35pLxCLsTDs
https://youtu.be/DbKYEEUCCZE

http://www.youtube.com/@DerensixTwilightElegies

Mourning In The Mist

This captivating collection, Chill Synthwave and Techno Fusion, blends the nostalgic tones of retro synthwave with the driving rhythms of modern techno. Smooth synth pads, pulsating basslines, and hypnotic beats create a soundscape that is both atmospheric and energizing. Perfect for late-night drives, introspective moments, or creating a futuristic yet calming vibe.

Sparse Tech House Vibes

Dedicated most especially to L.K.A. ( Debbie`s new little grandson ), and to all children:)
Piano composition, piano: Debra Buesking @debra_buesking
Melody composition, poem and voice: Oddrun Eikli
cover design: Debra Buesking

Thank you from my heart dear Debbie my friend, for this collaboration of hope. 
Thank you Arne Hiorth for your studiowork.

What is the United Nations Convention on the Rights of the Child?
The United Nations Convention on the Rights of the Child (UNCRC) is a legally-binding international agreement setting out the civil, political, economic, social and cultural rights of every child, regardless of their race, religion or abilities.
The hope, vision and commitment of world leaders in 1989 led to the Convention. It is up to today’s generation to demand that world leaders from government, business and communities end child rights violations now, once and for all. They must commit to action to make sure every child, has every right.


Gently.

Wrapped in red, orange and blue
The little baby in mothers arms
Tiny white jasmin growing in her garden
Mother Nature dressed in spring
From magic skies of mint
Every color spins new
In future clear as aquablue

Let Nature Embrace you
Gently
So gently

Life`s colors flow from gold to umber
In crocuses, Petunias
In Asters and in Pansies
A thousand shades of reds
In yellows and in brown
From Magic skies of mint
Every color spins new
In future clear as aquablue

May Nature Embrace you
Gently
So gently

Gently. Debra Buesking and Oddrun Eikli

I just wanted to say i like this song better when doubled, that's all. But it's your song. Just doubled.

Albeit - Doubled

Nouvelle vidéo - Saturninan song ! Version live à la Barraque auprès du feu ^^ 
https://youtu.be/fP69ovvmteU

Saturnian Song - video live in description

just in my head

Cover
Written by Eddie Cooley and Otis Blackwell
Originally recorded by Little Willie John (1956)
Most known by Peggy Lee (1958)

Fever (Cover)

2:30 AM

Deep Sea (2025) Remastered

This is the last one of 44 songs I wrote with my mom’s Spanish guitar in my university years, songs I’ve been arranging and posting to SC for the last 6 years (I’ve skipped 4 of them which will become a conceptual album soon).

I’m so glad to have https://soundcloud.com/janinelevinson’s help on polishing the English texts and lending her vocal and painting arts to such an important song for me.

Also must credit https://soundcloud.com/user-498459842 for kindly and freely mastering the track.
 
CANCIÓN TRISTE CUANDO ESTOY SOLO (SAD SONG WHEN I’M ALONE)

Canción triste cuando estoy solo, para que sepas que yo nunca me iré.
Canción triste por todo lo que amo, último recuerdo de lo que pudo ser.

Sad song when I'm alone, so that you know I will never be gone.
Sad songs for all I love, are the last reminders of my ancient glow.

Do you think that someone somewhere else would ever care that I was here?
Do you think a future living man will give a damn for you and me?
Who could he be?

¿Piensas que a alguien a quien no conocí le importará si estuve aquí,
o no estuve yo?
¿Piensas que alguien que viva después se acordará de ti o de mí?
¿Quién podrá ser?

Canción triste…

¿Piensas que una nueva vida de amor nos bastará para creer,
para sentir?
¿Acaso te importa lo que piense la gente de mis intereses para morir por mí,
para morir por mí?

Do you think another life of love will be enough for us to see,
for us to feel?
Do you care what people really think about my pride, and will you die,
will you die with me?

Sad song…

ER44FI11 1997-2018

Canción triste cuando estoy solo (ft. Janine Levinson)

Pit Viper

I'm an avant-garde musician. I like to experiment with software, instruments, and everyday objects when creating on a song.

Music is my latest artistic passion; aside from being deeply invested in making music, I create digital art, drawings, paintings, mixed-media pieces, photography, photomanipulations, poetry, and short stories. All of which can be found on my DeviantArt: Leehon.

Thank you for reading and listening.

Draconian Calmness Created An Ocean Of Trauma

Naughty Temple