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(Verse 1)
(Voice is low, conversational, over a clean, pulsing bassline and a simple, tight drum beat)
You kept the user manual in a drawer I never saw
Filled with schematics, every exploit, every flaw
Soldered my trust with circuits meant to fray
Your love had a kill switch, a timed self-decay
I bet you feel so smart, your little engineer's design
Yeah, your perfect exit strategy worked out just fine
You launched the upgrade while I’m still under warranty
But this model learned a thing or two from your authority
(Pre-Chorus)
(Drums build with simple eighth-notes on the floor tom, guitars enter with a muted, crunchy chord progression)
And I’m reading the fine print of all your empty vows
Saw the terms and conditions you’re hiding in right now
(Chorus)
(Explodes into full-throttle pop-punk. Driving drums, distorted power chords, aggressive vocals)
WELL GOOD FOR YOU, YOU GOT YOUR BRAND NEW GIRL
IS SHE SHINY? IS SHE PERFECT IN YOUR DISPOSABLE WORLD?
AND GOOD FOR YOU, YOU THINK I’M OBSOLETE
ANOTHER BROKEN PRODUCT TOSSED OUT ON THE STREET
BUT I’VE GOT A RIGHT TO REPAIR THE DAMAGE THAT YOU DO
SO GOOD LUCK EVER FORGETTING ME, AND SCREW YOU, IT’S GOOD FOR YOU!
(Verse 2)
(Music drops back to verse feel, but with more tension, a single guitar holds a long, feedback-tinged note underneath)
Remember all those nights you said forever was the plan?
Was that just beta-testing for your next big lifespan?
You coded every memory with a backdoor key
So you could wipe the server clean and walk away from me
Now you’re running diagnostics on a different machine
While I’m dismantling the lies, rebuilding this whole scene
'Cause you left your deliberate cracks right in my chassis-frame
Then acted so surprised when it all went up in flame
(Pre-Chorus)
(Drums and guitars build again, more intensely this time)
And I’m gutting the motherboard of all your toxic code
Yeah, I’m staging a hostile firmware overload!
(Chorus)
(Full throttle again, vocals are even more strained and powerful)
WELL GOOD FOR YOU, YOU GOT YOUR BRAND NEW GIRL
IS SHE SHINY? IS SHE PERFECT IN YOUR DISPOSABLE WORLD?
AND GOOD FOR YOU, YOU THINK I’M OBSOLETE
ANOTHER BROKEN PRODUCT TOSSED OUT ON THE STREET
BUT I’VE GOT A RIGHT TO REPAIR THE DAMAGE THAT YOU DO
SO GOOD LUCK EVER FORGETTING ME, AND SCREW YOU, IT’S GOOD FOR YOU!
(Bridge)
(Music cuts out to just a heavily-reverbed, arpeggiated guitar line. Vocals are pained but strong, building)
Maybe I'm not broken...
Maybe I was built to last longer than your affection
Maybe this void isn't failure...
It’s the space I needed for a system resurrection!
(Guitar Solo)
(An aggressive, melodic, yet slightly chaotic guitar solo kicks in. It's not about technical perfection; it’s about raw emotion, with bends that sound like screams and fast runs that feel like panicked energy. It resolves into the final chorus power chords.)
(Chorus)
(Even bigger, gang vocals join on key lines. The energy is at its absolute peak)
WELL GOOD FOR YOU, YOU GOT YOUR BRAND NEW GIRL! (IN YOUR DISPOSABLE WORLD!)
IS SHE SHINY? IS SHE PERFECT IN YOUR DISPOSABLE WORLD?
AND GOOD FOR YOU, I’M FAR FROM OBSOLETE! (OUT ON THE STREET!)
NOT SOME BROKEN PRODUCT YOU TOSSED ON THE STREET!
I’VE GOT A RIGHT TO REPAIR THE HEART YOU BROKE IN TWO!
AND HONEY, I’M THE UPGRADE, SO REALLY, GOOD FOR YOU!
(Outro)
(Music cuts abruptly after the final line, leaving only the sound of a guitar's ringing feedback that slowly fades to silence.)
About The Song
This song, "Last Year's Model," takes the core emotional grievance of a partner treating a relationship as disposable and filters it through a powerful, non-obvious metaphor: the landmark "Right to Repair" legislation in the tech world. Just as consumers are fighting against corporations that design products with planned obsolescence—made to break and be replaced—the narrator is fighting back against an ex who clearly engineered their romance to fail. The song channels the fiery, dynamic pop-punk energy of artists like Olivia Rodrigo to turn heartbreak into a righteous anthem of self-reclamation. It's not about mourning a loss; it's about actively calling out a flawed design and exercising the 'right to repair' one's own heart and value. The theme is the refusal to be junked and the powerful realization that you were built to last, even if someone else's affection had an expiration date.
Production Notes
The production must mirror the song's lyrical journey from quiet accusation to explosive catharsis. Inspired by Olivia Rodrigo's "good 4 u," dynamics are everything.
Vocals: Verses should be dry, intimate, and upfront. Use a high-quality condenser mic like a Neumann U87 through a Neve 1073 preamp and a Tube-Tech CL 1B compressor for warmth and tight dynamic control. Pre-chorus should build with subtle slapback delay. The chorus vocal needs to be powerful; double-track it and add slight parallel distortion to one track for grit. The bridge should feel spacious with a long hall reverb, then snap back to dry for the final chorus assault.
Instrumentation: The bassline is the pulse in the verses—clean, punchy, and relentless. Guitars (Fender Telecaster or Jazzmaster) should be muted and clean-ish in the verse, then slam into heavily saturated power chords via a Marshall JCM800 or a Mesa Boogie Dual Rectifier for the chorus. The guitar solo should prioritize feel over precision. Drums need an aggressive, acoustic kit sound—think big snare, punchy kick, and crash cymbals that wash over the chorus.
Mix/Arrangement: Automate everything. The track width should feel narrow and centered in the verses and explode into a wide stereo image for the choruses. Let the drums drive the build. The abrupt stop at the end is crucial; it leaves the listener with the ringing emotional feedback of the final guitar chord.
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