Music like gangster movies, or secret agents from the sixties.                                                      My Spotify listeners link is : https://open.spotify.com/artist/2uemfJJnIjutXUJlk8sI80?si=kOnmzZgXSyKHznafC6rQAw

Rock connection

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

Create the next four bars by going against the image of the first four bars. Then create the next eight bars by going against the image of the eight bars you created. This is repeated until the last piano chord is destroyed by a delay that is too strong, and the song ends with the lingering sound cut off. All of this ingenuity is music. But I let the music itself take the initiative in my creation. This technique cannot be called a collage. It's like arranging items bought at a music general store in front of a bakery. I think it has meaning.


Shouting Music in the World (311)

rotten weather   rollin’ in

we’ll go walkin’ anyway

‘gainst the wind


get your go-bag ready
load the car up


did you hear it?  distant roar

keep your ear down to the ground

check the score


get your hard hat ready
fill those bottles up


i can’t remember
were you there?
your fingers running
through my hair


let them come now  let them try

beating down the beautiful

of our tribe


purple mountains raging
blackened skies 
constitution’s aging
battle cry 

high angels  hiding

my country  dying

(not too late)   (late)

let’s listen  let’s breathe 

(not too late)   (late)

--------------------------------------------------------------------------------------------------

Thanks to Janine Levinson, Cheesemont Paisely-Paisely, and Wheelwright for early listening and feedback.

Rotten Weather

"Stellar Lounge" 

I would like to thank each and every member of the SoundCloud community who keeps creating fantastic music for us to hear, and my sincere thanks also go to everyone who has taken the time to listen to some of my songs this year and perhaps even also given comments to them. 

For quite some time I've been planning to try to create kind of a synthwave-like track. So without further ado, please join me on a trip through intergalactic spaces to the "Stellar Lounge"! 

Made and played by the undersigned in the autumn & winter of 2024. Recorded in Cubase Pro with significant help from iZotope Neutron 4. Mastered in iZotope Ozone 11. The cover art is a picture of my Yamaha U1 piano, blended with a picture of northern lights (picture taken by me in the Finnish Lapland).

All comments would be very welcome!

I used VST instruments including, but not limited to the following:
- Rhodes Chroma VST by Cherry Audio (melody and lead lines), 
- Native Instruments Electric Keys Diamond,
- Rhodes Anthology (Rhodes Mark V electric piano),
- UVI Soul Drums,
- UVI ultra mini & Arturia Mini V4 (Minimoog bass sound),
- Native Instruments Session Guitarist - Electric Mint,
- UVI Beatbox Anthology 2 (LDrum-Shaker),
- UVI PX memories (Memorymoog kind of pad sound),
- UVI FMX-8 (electric tines),
- UVI JP Legacy, Saturn-4 (lead Sax sound, cf. Roland Jupiter 4) and
- Arturia Analog Lab Pro (lead sounds).

I also want to take this opportunity to wish you all a pleasant holiday season!

Stellar Lounge

Microscopy

curieux l'évolution de ce morceau : d'abord une simple mélodie aux pianos électriques et à la flute, puis un climat très différent avec les voix et la batterie  ( pour agiter un peu la mélancolie, mais qui reste malgré moi bien collée au fond : on ne se refait pas!)

conversations en bord de nuit

travel diary 5 part

When pirates came to party Oh what a sight 
The stars above lit up the night 
Swords in the air A toast to the crew 
The treasure was laughter The gold was the brew

When pirates came to party

LUCHAS BINARIAS

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

/

/
What's it all about..
/

"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

Gil Gámez : producción.
Mía León : diseño y edición.
Diógenes Tacuara : letra y arreglos.

Proyecto5813 pertenece al laboratorio audiovisual de CERCo21 (Centro de Estudios y Revisión Conrinuum). Un espacio que investiga lo que tienen en común una torre eléctrica y una palmera, los andes y los rascacielos, un microchips y una hélice de ADN. P5813 es un sintetizador que sondea las proporciones para orquestar sonidos, esculpir piedra, edificar ciudades y construir herramientas. Alquimia de Valores. No hay lugar para el arte por el arte mismo sino como producción estética. No es un deleite a los sentidos sino un choque psicológico que utiliza los sentidos como medio. Música para la vista. P5813 es la armonía entre la arquitectura de frecuencias  y un oscilador de punto-línea.
El ruido de la tecnología. Música hecha con los deshechos del capitalismo.

LUCHAS BINARIAS

# p r o y e c t o 5 8 1 3

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