Me, Myself & Why (FULL ALBUM)

Epic gospel-punk anthem with lo-fi grit and cinematic space, Slow-mid tempo (~82 BPM), Mix should sound like a half-broken tape deck in a cathedral—warm hiss, tape saturation, room noise, breath, Female lead delivers a cracked, breathless sermon-song—half spoken, half sung—with punk-angel choirs shouting back in call-and-response, Big reverb, heavy compression, wide stereo spread; leave breathing room between lines for tension, Let guitars distort and bloom, drums hit like thunder, bass fuzzed and roomy, Build from organ drone and handclaps to a wall of feedback and choir exhale, an ecstatic release that feels holy and unhinged, End abruptly on silence, faint organ and dripping water fading into the dark

Experimental art-punk sermon led by a Japanese female vocalist with expressive, half-spoken, half-sung phrasing — tense, emotional, theatrical like Talking Heads meets Kate Bush and Patti Smith, Tempo around 108 BPM, steady post-punk bassline and dry live drums building hypnotic momentum, Layer minimalist guitar stabs and angular rhythms under airy harmonium or harpsichord lines, with occasional glockenspiel accents like holy chimes breaking through the noise, Mood shifts from detached observation to ecstatic confession — sacred and profane in the same breath, Dynamic arc: quiet introspection → rhythmic sermon groove → euphoric outro chant, Production style raw and analog, slightly lo-fi, echoing 1980s art-rock but with modern bite, End on a layered mantra vocal repeating “we’re already gone” as the instruments dissolve into harmonic shimmer

Epic art-pop ballad that begins intimate and ascends into sacred grandeur, Wurlitzer electric piano opens alone, tremolo and tape-worn, playing ambiguous Lydian harmonies, A low drone hums beneath; distant bells mark time, Gradually a full choir enters—male and female voices in layered triads and open fifths—chantlike at first, then blooming into gospel-scale crescendos, Strings tremble and brass surges like divine thunder, Percussion builds from soft brushed toms to slow, heavy hits that feel ritualistic, almost taiko-like, The production glows with analog warmth, shimmering reverb, and expanding stereo space, Melody emotional and soaring, Japanese lyrics sung with conviction and tenderness, Final refrain modulates upward again and again, ending unresolved in luminous silence, Tone: Dark Souls × Elden Ring × J-pop epiphany—tragic, radiant, eternal

Slow-burning desert folk song with Mexican percussion and gospel undertones, Japanese Female vocals—intimate, parched, and confessional, like a prayer whispered in the Arizona heat, Tempo around 80 BPM, Instrumentation: slide guitar, upright bass, dry shaker and maraca rhythm, soft cajón or conga pulse, subtle organ drone, distant choir hum, The sound feels sunbaked and cinematic, caught between sin and redemption, Refrains “oh oh oh, cleanse me slow” and “oh oh oh, forgive me slow” repeat like weary mantras, Mood: slow moral burn, desert shimmer, late-summer heat, and hangover grace, Style blend of Sharon Van Etten, Calexico, Weyes Blood, and early Neko Case—organic, lo-fi, and vividly Southwestern

Art-rock gospel revival ballad with tambourine, slide guitar, hand claps, and upright bass, Slow 6/8 swing, earthy and spacious, Japanese female vocal, intimate but commanding, half-sermon half-confession, echoing through an abandoned church, The mood begins reflective, with brushed drums and murmured harmonies, then swells into a smoky, ecstatic crescendo of layered voices, claps, and reverb-washed slide guitar, Think riot grrl indie queen meets Jeff Buckley in a Southern Gothic chapel—holy ruin and warm humanity, Emotional arc: doubt → revelation → tenderness, Atmosphere of candlelight, cracked pews, faith reclaimed through sound

Rowdy punk Irish wake anthem, fiddle, tin whistle, bodhrán, and electric guitars tuned a half-step down like early Green Day, Tempo around 118 BPM in a loose 6/8 swing, The song feels like the last toast of the night — raucous, nostalgic, a little drunk but full of heart, Lead Japanese female vocal is raw, emotional, slightly slurred but melodic; harmony gang vocals join on refrains and outro, Acoustic strumming drives the verses, electric guitars crash in on choruses, Mix should feel like a crowded pub—handclaps, stomped floorboards, clinking glasses, Fiddle carries counter-melodies, tin whistle trades call-and-response with voice, Mood: bittersweet celebration, humor masking heartbreak, Think Flogging Molly meets Dookie-era Green Day, with warmth and ragged joy

Genre-bending glam-punk rock opera in two acts, Start with a dreamy 3/4 waltz: jangly guitar, upright piano, soft drums, glockenspiel sparkle — like a lonely Disney princess waltzing in her bedroom mirror, Japanese female vocal is tender, a little self-mocking, slightly nasal, recorded close and dry --she is the ingenue, Halfway through (“sometimes when i’m feeling low”), shift into full rock-opera mode: drums crash, electric guitars swell, choir shouts, feedback hums under Broadway lights, Keep the beat driving but theatrical — think Hedwig and the Angry Inch meets Jesus Christ Superstar with Mitski’s confessional edge, Vocals become bold, wounded, defiant, By the end, the arrangement should sound triumphant and messy, like a punk choir taking over the stage, Add faint crowd ambience and reverb tail to suggest live performance

melancholy afrobeats fusion with baroque pop instrumentation, Japanese female vocal, soft, clear, intimate tone, harpsichord and soft bass set a syncopated rhythm, airy percussion and woodblocks weave through a bittersweet groove, tempo 108 bpm, emotional yet graceful — grief disguised as dance, cinematic art-pop arrangement with layered harmonies and faint choral echoes, verses are soft and confessional, refrains bloom with call-and-response warmth, sound palette mixes afrobeat pulse, classical ornamentation, and kate bush-style emotional clarity, production warm and organic with analog reverb, light strings, and hand-played percussion, atmosphere: candlelit, rain outside, the singer half-smiling through heartbreak, tone: reflective, elegant, spiritual, human

Japanese female lead vocal, A bilingual punk-alt-pop song, Starts with slow toms and organ drone under distant crowd chants, like a back-alley sermon, Grows into a gritty bass-and-snare groove with lo-fi guitars, sharp attitude, and gang shouts, Tempo lifts into a raw chant chorus, Mid-section turns confessional: half-spoken “Summer of ’94” memory over warm organ and heartbeat kick, evoking a midnight tent revival singalong—voices rising, tambourine shimmer, echo of faith and doubt, Bridge drops to soft guitar and intimate whisper, gentle but defiant, Feedback swells ignite a frenzied instrumental freak-out with horns, claps, reversed chants, exploding into a joyous 150 BPM street-party groove, Ends with a lone voice, reverb bloom, and whispered “ラクガキガキども…” fading into silence, Style: Japanese alt-punk revival, emotional, cinematic, rebellious yet tender

A darkly tender indie lullaby drenched in exhaustion and gallows humor, Slow, swaying indie lullaby (≈70 BPM), Minimalist lo-fi mix with brushed drums, upright bass, and soft Wurlitzer or detuned electric piano, Voice is tired, intimate, half-spoken—fragile but steady, Atmosphere feels like late-night tape hiss, dim bedroom light, quiet heartbreak, Add faint viola drones and a heartbeat kick mid-song, Let everything feel human and weary, drifting between reality and dream, Genre tags: indie folk noir, lo-fi lullaby, surreal confession, Production feels lo-fi but cinematic, like it’s echoing through a bedroom at 3 a, m, Add faint reverb and tape hiss, Mid-song, introduce ghostly harmonies and a faint heartbeat kick, The bridge should drift into dreamlike disassociation before returning to a single voice and metronome pulse, End on silence after “a reliable metronome, ” Genre tags: indie folk noir, lo-fi lullaby, surreal confession

A rapturous southern-baptist-style sermon dressed in punk attire, Heavy, pounding, tribal drums like a possessed heartbeat, Feedback guitar drones as the Japanese female preacher with soft clear but loud voice cries through a blown-out mic — “I say rejoice! I say rejoice!” — half-sung, half-shouted, ecstatic and unholy, Call-and-response shouts, handclaps, and tambourine echo like ghosts in a burning church, The rhythm breaks into seizure-like convulsions, then collapses into a haunted hush for “but the maggots, ” eerie and spacious, reverb curling like smoke, Suddenly it detonates into lo-fi garage chaos — frantic drums, blown-out bass, a feverish rant that God and the Devil are both deadbeat derelicts, The mix frays at the edges, pure cathartic noise, then snaps back to eerie stillness before ending in a final head-on-the-table punk slam, (Emotion: ecstatic, blasphemous, possessed, holy ruin, )