I SEE GOD IN YOU Concept

Hello :-)

Thank you so much for listening to my new album. This is the most of myself I've ever put into a piece of work - I wanted to tell a very personal and heartfelt story about my life, and this is the perfect avenue for that. It feels so good to get this all out and let my streams of consciousness, shower lullabies and assorted wailings string together into a cohesive story about what love means to me.

The purpose of this album is to tell the story of a passionate relationship that slowly becomes a dangerous weapon. Each song is meant to chronologically display different points of said relationship, from "my" perspective and sometimes from the perspective of a friend, a watchful guardian, and the lover themself.

The purpose of this album is to tell a story through a series of streams of consciousness taken from key moments and turning points in a relationship as passion ramps up in intensity.

The purpose of this album is to interrogate how it feels to be a little bit crazy about love, and to feel yourself be consumed by it; to see God in someone, perhaps bolstered by your own delusions, themself catalyzed by past instillations by partners and authority figures.

The album art is also meant to mimic a phone's gallery chronologically displaying candid bits of life, and how it feels to look back on captured little bursts of passion, healing nature and warmth.

I encourage you to draw your own meanings from each song and from the album as a whole. It is all up for interpretation - this is simply a guideline to where my head was at when recording each song and how it fits into the narrative structure and sequence. Everybody loves differently - your interpretations are encouraged to align with how you do, if that is how you choose to ingest a narrative. I love you. Thank you for listening. <3



"YOU'RE LIKE THE BEACH TO ME" showcases a tender seed being planted by a potential love and causing feelings to rise, letting warm dreams and imagination overshadow the mechanical and cold nature of a person that can be hinted at early on.

"WOULD YOU?" is about a lingering uncertainty, from the perspective of all involved and adjacent. It looks like the start of something beautiful, but each party is having trouble shaking off a different feeling.

"HIGH CHARITY" is the first confirmation of mutual feelings, the budding of a relationship, the alarm bells going off in each of your heads that this is real. For maybe the only time you will know each other, this is the most pure part where only love was felt, even if through rose-tinted glasses

"CONVERGE" is a coy, slight backpedaling of feelings from the perspective of the lover - an intentional move to drive you to act in retaliation and win them over again, over and over again, becoming a sort of basis of the relationship.

"WRETCHED" is where the cold nature starts to rear its head, and rage begins to disguise itself as love, veiled as worry. Also from the lover's perspective, it displays a disarray and aggression growing in their communication, physicality and actions.

"GG" is about a gut-wrenching feeling of worry and emptiness in the face of losing someone, no matter the implications of staying with them. Finding yourself on the floor, pulled in every direction, regretting standing up for yourself if this is the result, wondering how you could have been better, more docile, and feeling like you can't reveal these feelings to anyone close to you out of shame. A token of coming to terms with your sincerity.

"9999999" is about coming to terms with how your heart operates and how you show love, growing into the nature of your heart. Loving without condition and being uncompromisingly sincere, even when it causes pain - pain that is being currently deeply felt and acted upon as you plead that you can change. This is met with an ultimaitum from the lover - "I'll make you feel, and you'll never feel it again. Goodbye."

"EFFIGY (A THOUSAND BUGS ON A TREE)" is about being left with only tokens of past love, and hope that it will return, as you ironically advertise your patience, whether or not you realize the disingenuity of it. You see only the beauty of it, but everyone else sees the swarm of emotions that is overtaking you and causing you to withdraw and act erratically, unintentionally wearing instability plainly for all to see as you start to realize the true nature of your past experience.

"MODERN EMPATHY" is about being found in a broken and vulnerable state by a person with intentions unclear to you, but being so hurt and in need of an analog to the kind of love you've become accustomed to that you let the allure draw you back in. You're blind to all the signs of danger in the face of what feels like empathy and warmth, while disconnecting your mind from your body as it is used.

"WHEEL" is about finding warmth inbetween times of great pain and distress. It is a very bare recollection of the events of a night during the most passionate and tumultuous point of a relationship, bookended with cries of hope.

"GENESIS (FIRM GRIP)" is about completely losing yourself to a point of mentally regressing, coerced into total submission. In these moments, you see multiple people in this one person, and you see multiple people and iterations of yourself in the mirror's reflection of you.

"I SEE GOD IN YOU" is a culmination of all of these experiences, a template of how your relationships begin, and an inkling of new feelings arising. With all you have experienced and learned, overcome and lost, you feel yourself starting to become ready again as you begin to see God in another. Love makes you sort of crazy, but you're coming to grips with how your heart beats, and this new passion is laced with fear and caution, but most importantly, determination.

"DJ Khaled Is My Father" is a cover of my favorite song by Corbin, that I felt perfectly fit the narrative of this album. It is such a touching and heartfelt song, and I tried to capture a small amount of that essence in my rendition of it. The original song is my favorite song to sing, and the song I sing to warm up my voice whenever I plan to sing anything.