Dear friends and visitors: This cover version is in memory and honor of Gary Moore (R.I.P.). And it is also dedicated to all those, whose lives are overshadowed and should once again enjoy the sunny side of life! I recorded all the instruments and the vocals myself. I hope you enjoy my interpretation of this awesome rock ballad from one of the greatest guitarists, singers and songwriters on the planet. Please let me know what you’re thinking about :-) 
"One day the sun will shine on you!"

Retromaniac Records 2021

One Day

One Day - Gary Moore

Мир тебе, Шми Шми Сад سلام عليكم

Soltane Ghalbha Orchestra

"YES OR NO" is a bilingual track that captures the slow unraveling of a relationship not through silence, but through too many words. 
It tells the story of two people who try to save their bond by dissecting it over and over until nothing is left but exhaustion, resentment and emotional debris.

The song moves fluidly between English and German, mirroring the back-and-forth dynamic of the relationship itself: 
two perspectives, two voices, locked in a cycle of analysis, accusation, and desperate attempts at understanding. Conversations become arguments. Clarity becomes confusion. Intimacy dissolves under the weight of too much needing to be said.

Yet beneath the emotional fatigue, there’s still longing. Still love. The relationship may have "ended" in practical terms but emotionally neither has truly let go. The silence that follows is not peace but a new kind of ache.

This track is a quiet storm - subtle, thoughtful, and painfully honest. It’s for anyone who’s ever tried to talk their way out of heartbreak, only to realize that understanding doesn’t always heal.

YES OR NO?

[verse]
Da steht der Mond, der strahlend leuchtet, 
Besonders hell am Firmament. 
Genau der und dieser Mond, umringt von Sternen, 
Auf den du blickst wenn du dir was ganz besondres wünschst.
Genau so, oh yeah, wie das Licht in deinen Augen, 
Ich hab sie in Erinnerung, ganz nah, oh yeah. 

[verse 2]
Der Mond, auf den ich meine Träume baute, 
Auf einmal ist er nicht mehr da, 
Der Mond, er ist verschwunden hinter dunklen Wolken. 
Irgendwo, ganz weit weg und doch ganz nah, 
Ist etwas passiert, und wir wissen beide, warum, 
Warum nur ist das so? 
YES OR NO ? oh yes, oh no. 

[chorus]
I don’t care who’s wrong or right 
I don’t wanna fight no more  (too much talking, Baby)
Too many nights we tried to sleep it over
I don’t wanna fight no more 
It is time for letting go. 

[bridge]
Ich will nicht mehr leiden
Der Schmerz geht vorbei 
Die Zeit wird helfen die Wunden zu heilen 
Das ganz ohne dich bringt mir zurück das leuchtende Licht 
Mach’s gut meine Liebste
Und nein, ich vergesse dich nicht 
Ich schau auf den Mond und denke an dich 

[chorus]
I don’t care who’s wrong or right 
I don’t wanna fight no more  (too much talking, Baby)
Too many nights we tried to sleep it over
I don’t wanna fight no more, oh no 
It is time for letting go. 

[chorus]
I don’t care who’s wrong or right 
I don’t wanna fight no more  (too much talking, Baby)
Too many nights we tried to sleep it over
I don’t wanna fight no more, oh no 
It is time for letting go. 

REALLY? 
YES OR NO? 

Songwriter and Lyrics: BONDELZZ (Torsten Ulrich Galts)

YES OR NO? I don´t care who´s wrong or right (duett)

🔥 Embers of the Forgotten 🔥

In a world long silenced by war and whispered legacy, "Embers of the Forgotten" breathes myth back into memory. This dark fantasy concept album fuses cinematic folk, ritual ambient, and gothic symphonics into a sweeping saga of fading oaths, hollow thrones, and ancestral rage. Each track unfolds like a lost chapter, steeped in chantwork, spectral strings, and cavernous echoes.

Through its haunting soundscapes and lyrical incantations, the album traverses forgotten battlegrounds, broken bloodlines, and cosmic trials. It beckons listeners to confront the remnants of power—who deserves to wield it, and what sacrifices remain in the ash.

🔗 Themes woven throughout:

The decay of dynasties

Memory as ritual

Fire as rebirth and judgment

The duality of silence vs legacy

The gods we shape through grief

This album doesn’t ask to be heard—it demands witness.

Sanctum of the Forsaken Name

📀Album : Miss Joker
 
-------------------------
🎼 Crédits
Lyrics : Gilles LAWSON
Composition : Swaru
Production : Swaru
Mix & Master : Swaru & Song.do
Label : Swaru Records

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📲 Suivre Sōraëlle

TikTok : @sralle2
Site officiel : https://sraelle.bandcamp.com

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

📩 Contact & Booking
Email : soraelle7@gmail.com

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

© 2025 Sōraëlle. Tous droits réservés.

La reproduction, distribution ou modification sans autorisation est interdite.

C’est affreux

Yasmin Levy - Me Voy (Live Performance At The Tower Of David)

Anna RF Feat Naadistan - Tum Hi Ho

Clint Mansell - Lux Aeterna | Live (Requiem For A Dream A Film By Darren Aronofsky, 2000)

Kayhan Kalhor & Erdal Erzincan - Tahran Konseri [ Live In Tahran 2012 Kalan Müzik ]

TRIO MARA - Sari Gyalin - Սարի Գելին - Instrumental - Rouge Mix

Piano: Naze Isxan 
Violin: Nure Dlovani 
Music: Unknown

Sound Engineer: Roland Lücke 
TRIO MARA / LIVE RECORDINGS / Rudolf-Oetker-Opera-Hall / Bielefeld, Germany /30th September 2012 
Mix & Mastering: Roland Lücke

***

TRIO MARA press kit:
http://www.sonicbids.com/2/EPK/?epk_id=369621

TRIO MARA virtual WOMEX: http://www.womex.com/virtual/sakina_teyna/trio_mara

TRIO MARA booking contact: 
booking@ko-event.com, Fax: +49 221 168 42 83, John Tobisch-Haupt

***

KURDISH ETHNO MEETS CLASSICAL 
https://www.facebook.com/trio.mara.project

***

Discription & Biography

'Mara' is Zazaki, which is one of the oldest native languages in the Middle East. It means BY US.

Mara draws from the rich treasure of traditional Kurdish songs. They express them anew in their own particular way by contrasting classical and contemporary music. Presented in a way only women can sing them these songs turn into a great experience.

***

Sakina 
SAKINA began her career self taught, as an autodidact, before she received professional education and voice training. 
In the 90′s she was a member of the Mesopotamian Culture Centre, a Kurdish artists association based in Istanbul but acting throughout all of Turkey. Its members suffered various reprisals by the government because of their Kurdish lyrics. Some of them paid their artistic dedication with their lives. 
During this time she organized many (due to the government led forbiddance of the Kurdish language until the late 90s) illegal concerts, until eventually she was forced to flee. 
She continued her work in Armenia, Syria and Kurdish-Irak. 
Currently she is living in Vienna. 
Since 2008 she has become increasingly involved with human rights issues in particular women’s rights issues. 
She views her music as a way portraying the life of people in the Kurdish regions. She realizes this with a sensitive performance of striking melodies by which suffering and melancholy, courage for life and yearning become palpable.

Naze Isxan 
Naze Isxan began to play piano at the age of six. The pianist graduated from the Rimsky-Korsakov Conservatory in Krasnodar as a concertmaster and music teacher. Since the end of the nineties, she has given concerts in Russia at first and since 2001 she also appears on a regular basis in other European countries. 
She has a passion for Kurdish music that she would like to introduce to a wider non-Kurdish audience in her concerts. Therefore, she also arranged traditional Kurdish melodies for piano and published the first Kurdish music book for piano in 2004 (Evina Kurdistane - Bona Pianoforte).

Nure Dlovani 
Nure Dlovani is a solo violinist who also works as a teacher for violin and piano. She received her professional education at the conservatories in Moscow, Erevan, and Frankfurt. 
Her repertory is rich and comprises classical music and pop as well as sound tracks or crossover performances with the New Philharmonics in Frankfurt. She also works with a variety of well-known Kurdish musicians both in the studio and as a solo violinist in live concerts.

***

TRÎO MARA 
Trîo Mara ku ji jinan pêk tê û stranên jinan bi înstrumentên klasîk ên rojava û teknîkên deng ê gelerî ji nu ve sirove dike, di kemanê de ji Nurê Dilovanî, di piyanoyê de ji Nazê Îsxan, di stranbêjî de ji Sakîna pêk tê. Rewîtiya Trîo Mara ya mûzîkê berê salek û nîv destpê kir. 
“MARA” bi zaravêya zimanê Kurdî Kirmanckî de tê wateya “Ji Me”. Gelek zimanên din ên Rojhilata Navîn de pêyva “ma” pêyvêk mê ye. Bi Kirmanckî û Ermenîkî tê wateya dê. Mara bi Erebî tê wateya Jin. 
Trîo Mara li keleka sê zaravên zimanê Kurdî, bi Tirkî, bi Ermenîkî û bi Azerî jî stranan dibeje. Endamên Trîo Mara bawer dikin ku sînorên ku deshilatdaran di nava gelande ava kirine bi rêya mûzîkê ku bi xwe zimanek taybete û herkes dikare tê bigîhe ji holê radibin. Bi israrek mezin divê mirov bi zimanê astiyane ya mûzîkê bi pêyîve. 
Her sê hunermendên jin, di stranên xwe de qasê trajedîya gelê Kurd û jinan, heman demê, evîn, sahî û cosî, ês û janên civata xwe jî dixwazin bînin ziman. Hember nêrînên deshilatdar ya zîhniyeta mêran dixwazin bibin dengê jinên ku naxwazin bê deng bimînin. 
Stranên TRÎO MARA ji me wek bêhnek, deng û awazek û rîtmek, ji were bibin xelat. Em hêvîdarin ku hin caran we li serê çiyayên bilind û asîde, hin caran li keleka çemên dîn û har diherikin de, hin caran dêstên bê dawî de derxînin rewîtiyêk xwes ê bi mûzikê re.

***

TRIO MARA 
Kadinlardan olusan, kadinlar tarafindan söylenmis sarkilari klasik bati müzigi enstrümanlari ve geleneksel ses teknikleriyle yeniden yorumlayan TRIO MARA, kemanda Nurê Dilovanî, piyanoda Nazê Îsxan, vokalde de Sakîna'nin yer aldigi bir üçlü olarak müzikal yolculuguna bir seneyi askin bir süre önce basladi. 
MARA, Ortadogu’nun kadim dillerinden biri olan Kürtçe’nin Kirmanckî lehçesinde “Bizden„ anlamina gelirken, Ortadogu dillerinin birçogunda da birbirine yakin disil anlamlar tasir. Ma, Ermenice ve Kirmanckî'de köken olarak ana anlamina gelir. Ayrica Arapça'da MARA kadin demektir. 
Kürtçe'nin Kurmancî, Kirmanckî ve Soranî lehçelerinin yanisira, Türkçe, Azerice ve Ermenice sarkilar da seslendiren TRIO MARA, halklarin kültürleri arasinda olusan yapay sinirlarin ortak bir dil olan müzik yoluyla anlamsiz kilinabilecegine ve israrla müzigin barisçil diliyle konusmak gerektigine inaniyor. 
Yüzyillardir savaslarin, kanin, gözyasi ve acinin dinmek bilmedigi Kürdistan’dan gelen TRIO MARA üyeleri, repertuarlarinda kadinlarin ve halklarin trajedilerini yansitan sarkilar kadar, asklarini, coskularini, yasam biçimlerini yansitan sarkilara da yer veriyor. 
TRIO MARA, egemen bakis açilari ve yargilari karsisinda susmayan kadinlarin sesi olmayi amaçliyor. 
TRIO MARA sarkilari bizden size bir nefes, bir ses, bir ritm olarak gelsin. Kah vahsi dag baslarinda, kah coskun irmak kenarlarinda, kah uçsuz bucaksiz ovalarda, müzikle güzel bir yolculuga çikmaniz dilegiyle.


Sanctum of the Forsaken Name

Xiao BaiMalz