"Touchless" was written around the idea of being incredibly close to someone while still feeling an invisible distance that never fully disappears. The song explores that modern contradiction where presence exists physically, emotionally, even visually, but the connection itself feels untouchable. I did not want the track to sound dramatic in an obvious way. I wanted it to feel suspended, almost emotionally numb at times, because that kind of silence can hurt more than chaos. The production was designed to feel like driving at night through California with someone beside you who no longer feels entirely real. The arrangement stays intentionally spacious and cinematic. Instead of filling every frequency range, I focused on atmosphere, movement and emotional tension inside the empty spaces. The piano acts as the emotional backbone of the song, while the synth textures slowly expand around the vocal like distant city lights. Nothing arrives too aggressively. Everything grows gradually, almost unconsciously. Technically, the track blends dream pop, alternative pop and soft cinematic synthwave influences. The drums remain restrained and pulse driven, more like a heartbeat than a dominant rhythmic layer. I avoided excessive loudness compression because I wanted the track to preserve air, depth and vulnerability. The silence between sounds became part of the composition itself. Vocally, I wanted something intimate but detached at the same time. The performance stays fragile and controlled, like someone trying to sound emotionally stable while slowly realizing the connection around them has become artificial. The melodies stay close and conversational in the verses, then widen emotionally without turning into oversized explosive choruses. A lot of the harmonic structure was built around unresolved tension. The chords rarely settle completely, which reinforces the meaning behind "Touchless" itself, closeness without true contact, intimacy without emotional impact. Visually, the California convertible and the mannequin driving represent that exact emotional displacement. The relationship still moves forward physically, but something human has quietly disappeared. The mannequin is intentionally imperfect and unnatural, almost unsettling. It symbolizes emotional substitution, projection, and the feeling of sitting beside something that imitates presence without truly being alive. I wanted "Touchless" to feel less like a song and more like a memory replaying itself through neon reflections and empty highways at night.more

This came together quite organically, pleased with the result. Still needs some mix tweaks, but nearly theremore

"Karpman Triangle Through" explores a relational dynamic well known in psychology, the Karpman triangle, where the roles of victim, savior, and persecutor circulate between the people involved. The song follows this movement through several relationships, until the moment when it becomes clear that these roles are not fixed and that, over time, we often end up embodying all of them. The structure of the song reflects this mechanism. The verses are intentionally short and direct. This writing choice also aligns with the way music is often consumed today, especially by younger audiences used to fast pacing and fragmented attention. The narrative therefore progresses in brief moments, almost like snapshots of different relationships. The pre choruses create both musical and narrative tension. They all end with the same line, "Then every truth just pointed you." At first it sounds like an accusation directed at the other person. But as the song unfolds and the roles of the triangle reveal themselves to be interchangeable, that accusation gradually loses its direction and begins to reveal a share of personal responsibility in the cycle. The chorus is built on a deliberately repetitive rhythmic structure and on the enumeration of the triangle’s roles. This repetition creates a looping effect that mirrors the relational mechanism described in the song, where the same patterns tend to reappear from one relationship to another. The outro repeats the chorus almost identically, but the meaning shifts. Where the cycle once continued, the final lines mark a stop and a moment of awareness. A subtle structural play appears in the last two lines, where the final word of the second to last line and the final word of the last line are reversed. This inversion does not only change the meaning, it reinforces it through the structure itself, as if the way out of the triangle were happening both in the story and in the form. The artwork visually echoes this idea. The singer performs the yoga triangle pose, a direct reference to the Karpman triangle. The posture is calm and almost meditative. The extended arms suggest directions that move beyond the triangle, hinting at the possibility of leaving the pattern rather than remaining trapped within it. Her bare feet recall the difficulty of the path, but also the practice of yoga itself, which requires balance, effort, and inner work. The scene takes place in the middle of New York, a symbol of modern life where psychological mechanisms within relationships are increasingly recognized and understood.more