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That Far Shore Of You
(Verse 1)
Felt tip pen on a diner napkin
I'm drawing latitudes of what just happened
Trying to trace the architecture in my blood
Charting the seismic shift you started up
They say we're built on the same kinda fault line
A sympathetic tremor, yours and mine
But every time I think I've mapped the grace
I get lost inside the borders of your face.
(Pre-Chorus)
And I read the article again
About the brain and where feelings begin
They call it a semantic space, a neural grid
I'm just trying to plot the stupid things we did.
(Chorus)
So we navigate the isobars of doubt
Measure the pressure every time you’re out
Is this a continent we're founding, fresh and new
Or just that far shore of you
Fading in the rearview?
(Verse 2)
I found a land bridge out of loneliness
Straight to the sun-bleached coast of your address
Felt like a discovery, a world to claim
The shortest crossing to the province of your name
But islands can be prisons, bridges can collapse
You're a legend marking monsters on my maps
A territory of temporary relief
Just a peninsula jutting out from my own grief.
(Pre-Chorus)
And I look for patterns in the blend
Try to see where you start and my instincts end
They call it an atlas, structured and designed
All I know is the cartography of my own mind.
(Chorus)
So we navigate the isobars of doubt
Measure the pressure every time you’re out
Is this a continent we're founding, fresh and new
Or just that far shore of you
Fading in the rearview?
(Bridge)
Burn the atlas, scrap the charts
This isn't science, it’s a collision of two hearts
I'm done projecting futures, I'm done drawing lines
I'm giving up the compass, looking for a sign
Stop trying to name it, stop trying to pin it down
Let the tidal wave just pull me 'til I drown
In whatever this is, whatever this might be
Stop the mapping, just... navigate with me.
(Outro)
That far shore of you...
(In the rearview)
Is it a continent?
Or just the coast...
Of you...
(Fading now...)
About The Song
This song translates a scientific breakthrough—the mapping of the brain's 'emotion atlas'—into a deeply personal metaphor for the uncertainty of a new relationship. Influenced by the atmospheric, intimate-yet-grand scale of artists like Billie Eilish, it uses the clinical language of cartography ('latitudes', 'isobars', 'peninsula') to explore a fundamentally chaotic human experience. The core of the song is the narrator’s struggle: are they discovering a new world with this person, or are they simply mistaking a temporary 'bridge' out of loneliness for a permanent destination? It's about the very human attempt to rationalize and map something that defies logic, capturing that fragile moment before a relationship is defined, where it could become everything or recede into nothing more than a 'far shore' in the memory.
Production Notes
Vocals: Close-mic'd with a Neumann TLM 102 for a dry, intimate, and modern feel. The verses should be delivered in an almost conversational, syncopated rhythm. The chorus vocal should open up slightly, with layered, breathy harmonies panned wide. For the bridge, the lead vocal should get more desperate and louder, introducing a touch of natural rasp and subtle saturation. The outro vocals should be heavily processed with delay and reverb throws, creating a sense of distance and decay.
Instrumentation: The song should open with a simple, filtered synth arpeggio (like a sonar) and a deep sub-bass pulse that defines the rhythm. The verse beat is minimal—a quiet kick and a filtered hi-hat pattern. The chorus introduces a full, clean 808-style beat with a powerful sub and a crisp snare. The track is built on atmospheric pads and a single, mournful lead synth that plays a simple counter-melody in the chorus. Avoid clutter; space is the key instrument.
Arrangement & Mix: The arrangement should embody the song's dynamic journey from internal thought to emotional outburst. Start sparse and small, making the listener lean in. The chorus should feel like a sudden drop into deep water, with the sub-bass and wider stereo field creating impact. Automate a high-pass filter on the master during the verses to make the chorus drop feel even bigger. The bridge should feel like a system overload, building in intensity before cutting almost everything for the sparse, fading outro.
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