[Intro — warped Rhodes suspended in tape haze; warm sub sustains beneath distant reversed guitar; percussion barely present] [Female lead — every word fully SUNG and pitched; smooth legato throughout; extremely unhurried; late entrances, long notes, gentle slides; phrases drift across measures; never spoken] Keep this off the record... I’m not fully here yet... [long atmospheric space] Good... [sung softly on a descending melodic note] [Verse 1 — sparse late kick; dry rim widely spaced; warm bass guitar sustains after selected phrases] I get less careful... The later it gets... Words lose their manners... I lose my defense... You ask one question... I answer too true... Then spend the next minute... Pretending I didn’t... [drums disappear] You heard me... That’s enough... [Pre-Chorus — percussion nearly vanishes; sub, Rhodes and distant guitar harmonics remain; melody stretches beyond the bar lines] Morning can have... The polished version... Right now... You get what slipped through... [Chorus — deep sub widens; faint broken shuffle sits far behind the lead; every phrase stays smooth and connected; “I’m half awake” is sung as one legato thought, with “awake” blooming into a long sustained vowel] I’m half awake... Don’t hold me to perfect sentences... I’m half awake... Everything comes out without permission... If I say too much... Leave it exactly where it landed... I’m half awake... No corrections yet... [Post-Chorus — beat nearly disappears; distant sung harmony blooms softly behind the lead] No corrections... Yet... [Verse 2 — long warm bass notes; faint shuffle appears only between phrases; muted guitar harmonics drift wide] I sound different... When I stop rehearsing... Less convincing... More certain... You caught a word... I normally bury... Held it up... Like you found something rare... [Rhodes and sub alone] Put it back... I was using that... [Pre-Chorus — sub stretches beneath the lines; Rhodes gently detunes; lead enters late] Morning can have... The polished version... Right now... You get what slipped through... [Chorus — deeper sustained low end; soft sung tones drift through the empty spaces; no clipped hook phrasing] I’m half awake... Don’t hold me to perfect sentences... I’m half awake... Everything comes out without permission... If I say too much... Leave it exactly where it landed... I’m half awake... No corrections yet... [Bridge — all drums vanish; only sustained sub, drifting Rhodes, reversed guitar haze and clean melodic female lead] [Every phrase remains clearly SUNG on pitch, fluid and connected] I said what I said... Maybe... [sing the next line as one long descending melody; “awake” stretches and falls gently] I’m half awake... [stretch only the sustained sung vowel into distant pitched echoes and blurred harmonies; no rhythmic chopping, no repeated chant] Don’t make it clearer... It sounded better... Before we understood it... [HALF-BEAT SILENCE] [sub returns first; Rhodes follows; sparse late kick gradually eases back into the atmosphere] [Final Chorus — deepest sustained bass; very sparse drums; lead drifts farther across measures; airy harmonies bloom only at phrase endings] I’m half awake... Don’t hold me to perfect sentences... I’m half awake... Everything comes out without permission... If I say too much... Leave it exactly where it landed... I’m half awake... No corrections... [melody rises gently and hangs] Yet... [Outro — drums dissolve; warm sub, warped Rhodes, tape haze and distant guitar remain; lead nearly free of the pulse] Keep this off the record... [long atmospheric pause] Actually... [sung on one suspended note] [cut before resolution]
