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Wired For Fenvian Child (YouTube Music, Spotify, YouTube Music, Amazon, Deezer, Tidal and 150+ stores)
Title: You Call It The Crush
(Verse 1)
Steel plate skin and a slow descent
Knew the vector, knew just where I went
No mission brief, no golden rule
Just built these walls to keep my cool
The pressure makes the porthole sigh
Not a crack, just a lullaby
Learned to love the way it sings
The weight of all these underwater things
(Pre-Chorus)
Black on black on black below
Only way to learn is go
Where the light can't pay the toll
To buy a piece of my own soul
(Chorus)
You call it the crush
This velvet, quiet rush
But the silence is my sound design
This Mariana heart is mine
You call it the crush
Honey, I call it Tuesday
Living in the deep end in my own way
Breathing water just fine
(Verse 2)
Eleven thousand meters down
Wear the deep like a jewel in my crown
No sun to burn my tired eyes
Just bioluminescent lies
They're beautiful, the things you find
When you leave the hurried world behind
I collect the beautiful wreckage
Memorize its broken message
(Pre-Chorus)
Black on black on black below
Only way to truly know
Where the light can't pay the toll
To take back all the things they stole
(Chorus)
You call it the crush
This velvet, quiet rush
But the silence is my sound design
This Mariana heart is mine
You call it the crush
Honey, I call it Tuesday
Living in the deep end in my own way
Breathing water just fine
(Bridge)
I engineered the slow ascent
Recalibrating every vent
The surface light feels violent now
Gotta teach my lungs just how
To breathe the air that feels too thin
For the kind of shape I'm in
Came back up with different blood
Forged inside the patient flood
(Chorus)
And you call it the crush
This velvet, quiet rush
But the silence is my sound design
Yeah, this Mariana heart is mine
You call it the crush
Honey, I call it Tuesday
Living in the deep end in my own way
Breathing water just fine
(Outro)
Breathing water…
Just fine…
This heart is mine…
This heart is mine…
About The Song
"You Call It The Crush" transforms a technological achievement—a deep-sea lander exploring the Mariana Trench—into a potent metaphor for human resilience. The song channels the cool, bass-driven, confessional style of artists like Billie Eilish to explore the internal world of someone who has become acclimated to immense emotional pressure. It’s not about the trauma itself, but about the quiet strength and strange comfort found in survival. The 'trench' is a personal battle—depression, a toxic environment, immense grief—and the narrator is the 'lander,' engineered not by choice but by necessity to withstand the depths. They descend, collect the hard-won 'samples' of truth from the darkness, and resurface changed. The song's central hook, "You call it the crush / Honey, I call it Tuesday," is a declaration of this new normal, a quiet anthem for anyone who has learned to function, and even thrive, in an environment that would break others.
Production Notes
Genre: Alt-Pop / Dark Funk
Influence: Billie Eilish, Portishead, Glass Animals
Overall Vibe: A deep, groovy, and atmospheric track that feels both menacing and confident. The production should feel spacious and submerged.
Vocals:
• Mic: Neumann TLM 102 or similar warm condenser. Get extremely close to the mic to capture every breath and subtle nuance.
• Chain: Light compression on the way in (LA-2A style). In the mix, use a de-esser heavily but naturally. Layer the main vocal with two whispered harmonies panned hard left and right, low in the mix, almost subconscious. During the chorus, add a slightly distorted harmony layer buried underneath to give it grit.
• Performance: The delivery is key. It's not lazy, it's deliberate. A relaxed, almost spoken-word confidence in the verses. The chorus delivery should be rhythmic and locked into the bass groove, with a hint of a smirk.
Instrumentation:
• Bass: The star of the show. A deep, round, slightly driven Fender P-Bass sound. The bassline should be syncopated and hypnotic, providing the main rhythmic and melodic movement of the song. Let it be the loudest thing in the mix besides the lead vocal.
• Drums: A minimal, tight beat. A muffled kick, a sharp cross-stick snare sound, and closed hi-hats. Think TR-808 samples but played with a live, slightly behind-the-beat feel. The kick should lock in with the bassline perfectly. No big cymbal crashes until the final chorus for impact.
• Keys/Synth: A submerged-sounding Rhodes piano or a heavily filtered synth pad provides the harmonic bed. Use a recurring, simple 3-note motif that echoes the "descent." Maybe a subtle arpeggiator with a bubbly, watery texture (like a Roland Juno) comes in during the second half of the track, panned around the listener's head.
Arrangement & Mix:
• The intro starts with just the bassline and a filtered vocal effect.
• The verses are sparse: bass, minimal drums, and the close-mic'd lead vocal.
• The pre-chorus can build with the introduction of the submerged synth pad and whispered vocal layers.
• The chorus is where the beat feels most solid, but it never becomes a full-on "banger." The energy is in the groove and the confident vocal, not volume.
• Mix Automation: Automate reverb and delay throws on the last word of certain vocal lines, making them feel like they're sinking into the "deep." During the bridge ("recalibrating"), use a subtle filter sweep on the entire mix, as if rising to the surface.
• The outro strips everything away again, leaving just the bassline, the main vocal, and the whispered harmonies fading into nothing.
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