This song reflects on the relentless passage of time and the fleeting nature of life's moments, yet highlights love as the one constant. In a world where trains roll, cars blur, and planes soar, time's shadow cannot obscure the enduring presence of love. It is a reminder that despite the impermanence of everything around us, love remains a guiding force that transcends time and space, offering clarity amidst the chaos.

The lyrics delve into the philosophy of existence, exploring how love is the thread that binds our past, present, and future. Unlike transient memories or forgotten dreams, love endures, grounded in our hearts, resisting the temporal flow. The song invites listeners to reflect on what truly lasts in life: the unyielding strength of love, amidst the ever-changing landscape of reality.

Love Remains

(Ahoj, Labe...)
(Should I approach you in Czech language?)
(First time I see you.)
(Read and heard a lot about you.)
How many languages do you speak?
How many names have kissed your tide?
You look so calm…
Would you tell me a story?
You’ve seen wars and morning joggers,
Power plants and pensioners with dogs.
They sniff the grass near your sighing shore —
You flow, and yet, you store.

I stood and asked, you stayed in motion,
A mirror made of ancient ocean.
And still I hoped you’d turn your face —
A river’s love, a river’s grace...

🎵 Elbe, do you remember me?
I was just a thought beside your stream.
You flow, you glow, no need to try —
But still you caught my drifting eye.
Elbe, oh Labe, your silence speaks,
A thousand hearts in seven weeks.
You never stopped, you never stayed —
But I was seen. I felt, I prayed. 🎵

During weekdays, not that crowded...
Just you, and ghosts of conversations past.
Bridges — people crossing lives,
Unaware they walk through time.
And in the evening?
Couples wrapped in sunset skin.
Hugging. Laughing. Kissing.
Do you care, or do you just flow past it all?
Maybe you envy. Maybe you don’t.
Maybe you only want to reach the sea.
The North calls you —
Cold. Final. Salty.
Is that love? Or duty?

You carry secrets no one sees,
Yet whisper none to winds or trees.
And still I ask — foolish, slow —
Is it pain, or just your flow?
[Refrain – sung again, intensified beat]
🎵 Elbe, do you remember me?
The girl who spoke to you so free?
You didn’t stop, you didn’t turn —
But something in me starts to burn.
Elbe, oh Labe, proud and wide,
You took a piece I couldn’t hide.
You never cried, you never fought —
But somehow, somehow — you were caught. 🎵

Alright… I won’t bother you more with questions.
I know you just want to flow.
To live your life. To reach your sea.
That’s your destiny. Your only plan.
But maybe…
Just maybe, you’ll remember me.
Someday.
Some way.
I’ll never forget you.

🎵 Elbe, oh Labe, farewell flow,
You know things I’ll never know.
I was just a voice on your quiet shore…
But you made me feel. You made me more. 🎵

Elbe (Deep House Version)

Who are we when memory fades and identity fractures?
Fragments of Me is a philosophical alt-pop ballad about the shifting self, imagined futures, and the quiet instability of becoming.
A song for anyone who has ever felt like a collection of unfinished versions.
From the official soundtrack to “Tutte le favole per bambini cresciuti”, an illustrated short story collection (Italian edition), available now on Amazon.

#spokenword
#altpop
#philosophicalpop
#existentialmusic
#fragments
#independentartist
#favoleperbambinicresciuti
#newmusic
#selfandtime
#memoryandidentity
#poeticlyrics
#fragmentsofme

Fragments of me

“Gone Too Far” is a meditation on emotional retreat — a soul’s quiet resistance after too many collisions with pain. The track begins with a soft cry against chaos (wahala), as the protagonist drifts further into stillness, choosing numbness over noise, and silence over survival.

Love once lifted her, made her light — but gravity always returns. What was once flight becomes exile, and the heart learns to protect itself the only way it knows how: by disappearing.

The song does not scream, it surrenders — not to weakness, but to boundaries. Each verse is a chapter in her story of departure: from joy, from connection, from herself. The repetition of pain is not for emphasis, but to show how trauma becomes rhythm — and how rhythm becomes the only thing left pulsing when the soul grows quiet.

“Gone Too Far” is not just about heartbreak. It’s about the delicate, dangerous freedom of letting go — when choosing to feel nothing seems safer than feeling everything.

Gone Too Far

Velocity

Gone Too Far - Volume 12

Engagement Call to Action:

🎧 Play it on repeat and let us know your favourite line.

💬 Comment with your own ‘Is that a fact?’ moment.

🔁 Repost and share—let your friends in on the vibe.

📲 Tag @YYMG across socials when you’re moving to 'Gone Too Far’.

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“Gone Too Far” is a meditation on emotional retreat — a soul’s quiet resistance after too many collisions with pain. The track begins with a soft cry against chaos (wahala), as the protagonist drifts further into stillness, choosing numbness over noise, and silence over survival.

Love once lifted her, made her light — but gravity always returns. What was once flight becomes exile, and the heart learns to protect itself the only way it knows how: by disappearing.

The song does not scream, it surrenders — not to weakness, but to boundaries. Each verse is a chapter in her story of departure: from joy, from connection, from herself. The repetition of pain is not for emphasis, but to show how trauma becomes rhythm — and how rhythm becomes the only thing left pulsing when the soul grows quiet.

“Gone Too Far” is not just about heartbreak. It’s about the delicate, dangerous freedom of letting go — when choosing to feel nothing seems safer than feeling everything.

------

Original Lyrics by Aime Pandi Bapaga

Title: Gone Too Far

She don’t want no wahala — no more
Ain’t got a voice left to holler — no more
She just wants to stare into the sun — don’t care no more
Rather go blind than watch heartbreak plays again.

She fell in love for the first time at seventeen,
Rain falling soft, with green beneath and grey above.
Infatuation lifted her — made her featherlight,
Her soul took flight, chasing the golden light.

She don’t want no wahala — no more
Ain’t got a voice left to holler — no more
She just wants to stare into the sun — don’t care no more
Rather go blind than watch heartbreak plays again.

The pain, the pain keeps spinning around,
The pain, the pain keeps growing inside.
The pain, the pain echoes in her veins,
Till it swallows her whole — again and again.

But what goes up must come down — it’s gravity,
She wasn’t ready for the weight of humanity.
Crash-landed, now she walks through tragedy,
In self-exile, praying silence brings amnesty.

She don’t want no wahala — no more
Ain’t got a voice left to holler — no more
She just wants to stare into the sun — don’t care no more
Rather go blind than watch heartbreak plays again.

The pain, the pain keeps spinning around,
The pain, the pain keeps growing inside.
The pain, the pain now floods her frame,
There’s no escape — just the ache again.

Too far gone — she won’t even answer the phone,  
Too far gone — prefers to face the dark alone.  
Too far gone — dripping tears that make no sound,  
Too far gone — drifting seaward, can’t find solid ground.

The pain, the pain (She’s too far gone)
The pain, the pain (She’s too far gone)
The pain, the pain, the pain, the pain —
Has taken over (Taken over) — she’s too far gone.
It’s taken over (Taken over) — she’s too far gone.
No turning back now — she’s too far gone...

She don’t want no wahala — no more
Ain’t got a voice left to holler — no more
She just wants to stare into the sun — don’t care no more
Rather go blind than watch heartbreak plays again.

Gone Too Far (Original Mix)

Exclusive to SoundCloud Only

🎵 Standing – Performed by Narco Noir | Produced by NuVox & Coco Spherg | Written & Composed by Aime Pandi Bapaga

Sometimes love doesn’t end with goodbye—it lingers, echoing in silence, in the songs we can’t listen to, and in the spaces where warmth once lived. “Standing” is a haunting reflection on loss, memory, and the stubborn persistence of feeling. It’s about being caught between letting go and holding on, standing still while the world moves forward.

-----

Original Lyrics by Aime Pandi Bapaga

Title: Standing

Since you’ve been gone,
Your words keep me cerebrating.
Ghosted, my thoughts keep replaying,
A silent voice, deep in praying. (mmm, praying…)

Oh, since you’ve been gone,
I can’t even jam that song.
(Standing) Still and lonely, all alone,
With no thoughts of my own. (all alone, yeah…)

I’m still waiting, yeah—waiting, yeah, waiting here. (still waiting…)
Bite my tongue, don’t cry out, silence my fear. (oh no…)
I am not over you, over you, over you. (not over you…)
I am not over you, over you, over you. (no, no, no…)
I am not over you, over you, over you. (still love you…)
I am not, I am not (I am not, I am not, I am not).

What makes us fall in love first,
Becomes the source of the worst. (the worst, yeah…)
I was so taken by your quirkiness,
I missed the cracks in the surface. (couldn’t see it…)

Oh, since you’ve been gone,
I can’t even jam that song.
(Standing) Still and lonely, all alone,
With no thoughts of my own. (alone… so alone…)

I’m still waiting, yeah—waiting, yeah, waiting here. (I’m waiting, babe…)
Bite my tongue, don’t cry out, silence my fear. (mmm…)
I am not over you, over you, over you. (not over you, no…)
I am not over you, over you, over you. (oh, no, no…)
I am not over you, over you, over you. (still want you…)
I am not, I am not (I am not, I am not, I am not).

Rolling restless in my bed, searching for your heat. (oh, searching…)
Not a day goes by without missing the beat. (never a day…)
In the rhythm you left, still keeping me on my feet. (on my feet, yeah…)
How I miss your ego, your humour in tweets. (miss you, baby…)

Oh, since you’ve been gone,
I can’t even jam that song.
(Standing) Still and lonely, all alone,
With no thoughts of my own. (all alone, yeah…)

I’m still waiting, yeah—waiting, yeah, waiting here. (waiting, waiting…)
Bite my tongue, don’t cry out, silence my fear. (mmm, silence my fear…)
I am not over you, over you, over you. (I’m not, I’m not…)
I am not over you, over you, over you. (no, no…)
I am not over you, over you, over you. (still love you, babe…)
I am not, I am not (I am not, I am not, I am not).

(I am not over you, over you, over you…)
(not over you, no…)
(I am not over you, over you, over you…)
(never over you, never…)
(I am not, I am not, I am not, I am not, I am not).


September 9, 2025 at 7:45 PM

Standing

We live inside systems built to keep us comfortable and compliant.
Truth is a broadcast, edited and repeated until it feels real.

“We built the chains ourselves.”

Based on Lies is an introspective blend of electronic and soulful textures; a reflection on perception, power, and the quiet moments where we realize that even rebellion can be programmed.

Based on Lies

What if existence, love, and gravity all came with fine print? "T&C Of The Moon" is an anthem about radical acceptance, set to a driving, euphoric Post-Shoegaze groove.

We use corporate jargon to break down the cosmos: Gravity is a subscription, and your laugh is a coupon that takes 10% off pain. This track is about confronting all the universe's rules and saying, "I accept—every clause of light." It’s a powerful, intimate journey that builds from a quiet whisper to a final, soaring commitment: Check the box for wonder, hit "send."

By continuing, you agree to: Fall in love with the sound and keep your hope within reach of hands.

T&C Of The Moon

YYMG (Ya'Yo Miziki Global) is the full-service solution for pro-musicians, A&R, and commercial producers. We specialize in custom theatre compositions, jingles, and professional songwriting in any language. Inquire about a licensing/leasing or our high-impact music packaging services. Let's amplify your sound @yayomiziki in Instagram

YYMG (Ya’ Yo Miziki Global) is a pioneering international record label dedicated to producing and releasing premium, boundary-pushing music for the global stage. Specializing in world music and genre fusion, from Afrotrap and Afrofusion to Samba, Dancehall, and unexpected experimental blends, YYMG brings a bold, innovative sound that resonates across cultures and continents.

At our core, we believe in the transformative power of music. Through high-quality production and genre-defying artistry, we aim to elevate listening experiences, stimulate cultural curiosity, and contribute to the mental and emotional growth of our audience.

Whether we’re developing emerging voices or collaborating with global talents, our mission is clear:

> To craft timeless music that challenges borders and sets new standards for creativity and sonic excellence.



YYMG music is globally distributed and available on all major digital streaming platforms, including:

🎧 Spotify, Apple Music, iTunes, YouTube Music, Amazon Music, Tidal, Deezer, Boomplay, Pandora, iHeartRadio, Saavn, Tencent Music, NetEase, ClaroMusica, Yandex Music (beta), Triller (beta), MediaNet, Twitch Soundtrack, and more.

Socially engaged and digitally active, you can also connect with YYMG via: 

📱 Instagram, Facebook, TikTok, Resso, and YouTube

Independent storyteller blending sound, emotion, and experimentation. Exploring the borders between melody and meaning — one track at a time.
For more info: https://vzzncl.info

This account here isnt for promotional purposes. Its just simple placeholder and a showcase for our internal group. Its not meant to be "marketed" in soundcloud. We also DO NOT SEEK ANYONE'S ACKNOWLEDGEMENTS HERE. If u like what u hear? Cool. Or else? Still cool =)

50% of the songs here have been AI aided in the production phase but one thing remain constant here, the chords used, the lyrics, the tune are all original. We record one Verse/PC/C, and then AI will "gacha". All inconsistencies are edited with DAW. None of the songs on this channel here are finished complete productions. By doing this, we can ready a sample in less 3~4 days. If u still do not understand how wonderful this is for busy people with day time job, then good for u. Which means u have already ascended to the level that u make a huge killing from producing music =) 

Our group have lawyers, engineers, doctors and even ecologist etc. So its pure hobby for now but we are planning for bigger things. Afterall, many of the music on this channel are pure nostalgia from the 80s to 2010s. We recreate songs that we crave since more than half the group are boomers. =[

So no. Dont have to like the songs. =) We aint here to hunt for likes. We have other motives in our own production circle for 2026.

- Part Pianist, part composer, part poet, part IT technologies technician/programmer, 100% musician. -

Otoniel Rojas is a Dominican pianist and composer celebrated for his unique fusion of classical music with the rich rhythms of his homeland. Born in Santo Domingo, Dominican Republic, he was immersed in a vibrant musical environment from an early age. His father, an accomplished musician, served as the principal flutist and later as the piccolo player in the National Symphony Orchestra of the Dominican Republic, instilling in him a profound appreciation for music.

At just seven years old, Rojas began his formal music education at the National Conservatory of Music, initially focusing on the violin. Simultaneously, he nurtured a passion for the piano, teaching himself to play and developing exceptional sight-reading abilities. His prodigious talent quickly became evident as he accompanied his father in numerous public performances, church services, and television appearances across his native country.

Determined to refine his pianistic skills, Rojas pursued formal piano instruction, excelling in performance, counterpoint, music theory, and solfège at the conservatory. Despite his musical successes, he briefly explored an engineering career at the Universidad Autónoma de Santo Domingo (UASD). However, his unwavering dedication to music led him to resume his artistic journey.

Seeking broader horizons, Otoniel relocated to the United States to study at Brooklyn College of the City University of New York—a hub for international students and a springboard to esteemed institutions like Juilliard. Under the mentorship of acclaimed pianist Agustin Anievas, a celebrated American classical pianist known for his recordings of Chopin and Rachmaninoff. Under Anievas' tutelage, Rojas flourished, graduating with a Bachelor's degree in Piano Performance, earning the distinction of Cum Laude. His exceptional musicianship was recognized when he won the conservatory's piano competition, performing Beethoven's Piano Concerto No. 3 with the college orchestra.

Deeply involved in the college's musical community, Rojas participated in chamber music ensembles, served as a piano accompanist, and sang in both the specialized chamber choir and the conservatory choir. He expanded his compositional skills under the guidance of Robert Starer, an Austrian-born American composer known for his contributions to contemporary classical music. His collaboration with the university's ballet program led to his composition "A Passing of Time" being incorporated into the ballet's repertoire, which was performed internationally by the university ballet in Prague.

To further diversify his expertise, Rojas studied conducting with Karoly Kope, chamber music with Stoddard Lincoln and Marion Feldman—a distinguished cellist and professor at New York University—and delved into music history under H. Wiley Hitchcock, a leading authority on American music.

Upon returning to the Dominican Republic, Rojas continued to compose and perform. He was commissioned by the Sinfónica del Cibao to create "Mozartina," an orchestral piece that masterfully intertwines traditional merengue rhythms with themes from Mozart's "Jupiter" Symphony. The work features the tambora, a traditional Dominican percussion instrument, symbolizing a fusion of his classical training and cultural roots. "Mozartina" premiered with the Sinfónica del Cibao and was later performed in a revised version by the National Symphony Orchestra in Santo Domingo under the baton of Caonex Peguero, a prominent Dominican violinist/conductor/composer.

Today, Rojas continues to share his music with audiences worldwide. Through platforms like SoundCloud and published sheet music, he brings a unique blend of classical and Dominican musical traditions to listeners and performers alike. His journey reflects a lifelong dedication to music and a commitment to bridging cultures through his art.

Welcome to A’postrofi’s world of twisted funk; you can expect to listen to funky grooves, wild sound design, and unique song structures. 

A’postrofi mirrors current societal issues through stories that are told creatively, often through a multi character conversation. 

Our genre is Arabic synth pop, and our voice is twisted funk 🤘

Hi there — welcome to my corner of the web.

I’m here for one simple reason: to share my music with you.
Take a listen, explore, and I hope something here resonates with you. Enjoy the vibe!

New tracks tagged #PhilosophicalPop