To my granddaughter Ana, who is celebrating her first birthday today......

ANA'S GARDEN

Revisiting one of my earlier inspirations Waketa:
https://soundcloud.com/amanitalinda/waketa,
with a new fresh breath of Slovakia, my home country. Enjoy!
VIDEO LINK to WAKETA UPGRADE 2024:
https://www.youtube.com/watch?v=IdQnidVw3fo
Mix & mastering by Jeamland.
Cover design by Amanitalinda & Jeamland.
Video production by Jeamland.
https://soundcloud.com/mortenjeamland
You can check out also this Waketa collaboration track:
https://soundcloud.com/aperawrecords/04-waketa-original-cut

Waketa Upgrade 2024 & Video Link

||| Drift |||
From the album White Noise + Releases October 15 2025 on all major streaming platforms +
Droning synth meets shoreline soundscape in this dark, downtempo track. Let go and drift away upon the tide of experimental beats, delayed guitar and distorted melodies.
Watch the video: https://youtu.be/aoZm3HfrEnU

White Noise

Drift

Download

Lightyears

West Album

La rosée

lyrics

I ain't a child no more
I make my own way
I will walk through that door
I see my own fate

emotional no more
emotional no more
emotional, emotional

I can make up my own mind
You don't have the say
I can make the glee inside
I set my own place

emotional no more
emotional no more
emotional no more
emotional no more
emotional, emotional

no more

emotional no more

at the green lake

https://youtu.be/8onvf9vFZ_I?si=HQne6j0iCuwREvjZ

ios garage band jam 02.08.2025

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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

IAMMUSIC

Official Soundcloud for Dark Electro Producer Scratch Kelly 
West Coast, Tasmania 
Darkwave + Dark Ambient + Wave + Experimental + Industrial

Scratch Kelly constructs a synthesis of dark ambient, industrial and wave music. She creates a diverse sonic landscape, from brutal and unforgiving industrial sounds to dreamy dark wave territory marked by melodic synth bass so deep you could drown in it. Her music is designed to bring a sense of realisation, contemplation and healing to the darker places of the psyche.
First surfacing in 2018 with as part of the Hobart based duo Soundtractor, and moving onto solo music production in 2022 with a series of self-released EP's and albums. Her work is heavily influenced by darkwave and industrial electro, but her  inclusion of complex, often experimental rhythms and emotive melodies sets her apart from the rest of the dark electronic scene. She has received her greatest exposure so far on radio and at the Unconformity Festival.