precision-musician

[precision-musician]

Final Performance

For my final performance, I wanted to give off the feeling of being transported to a different time and place that wasn’t within our own world. I’ve always viewed the music I create as a means of escaping this reality and I wanted my live performance to reflect this. I spent approximately eight hours creating three different separate AMVs (anime music videos) that I felt would reflect the mood and aesthetic of the three songs I performed, these being Ghost in the Shell for a futuristic cyberpunk dream aesthetic, Junji Ito for a more dark, morbid, and gritty aesthetic, and Cowboy Bebop for a fast-paced action-packed aesthetic. I also wanted the lights on the stage to be as dim as possible so that there would be less emphasis on me playing the music and more emphasis on the audio and the visuals. I also brought a 4.7-meter strip of fairy lights to wrap around the table I was performing on, but I unfortunately forgot to put them up. I also bought a streetwear hoodie and streetwear trousers to add to the aesthetic of a dystopian cyberpunk future and I kept my face hidden as much as I could. To add to this dystopian future aesthetic, I recorded my own voice and vocoded it with some extra effects from my synth underneath so that I didn’t have to say anything myself during the performance, giving the illusion that it was an A.I running the whole performance and I was just its puppet. I’ve always been intrigued by performers who hide their identity such as Daft Punk, Slipknot, Buckethead, Deadmau5, etc. and wanted to do this in my own performance to add to the sense of uncertainty and mystery.

The performance went well except for a couple of things. Firstly, I forgot to play my intro track after the disclaimer played. To cover this up, I just looped the beginning of my first song Stasis a couple of times until the visuals came on and it was time to launch into the whole song. I then remembered to play the interlude tracks with the robot voice between each song and at the end for the outro.

Secondly, the visuals went out of sync with the music. I had spent a lot of time making sure that the visuals I created were in sync with the music I was performing, dropping out and coming back in again when the music did. This worked as intended until the beginning of my second song Ultra Violence where the visuals cutout all together due to a technical issue. At this point, I stopped focusing on the visuals and focused entirely on performing my music and just going with the flow. This was the right thing to do as I knew that I was the only one who would be put off by the visuals going out of sync and the audience probably didn’t even realise as they would mainly be focusing on my performance.

You can see my final performance below:

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Developed Performance

I believe this developed performance went very well. We were very tight as a band and you can see Ed and I looking at each other a lot, smiling and having fun but also following each other to make sure we’re completely in time and know when to switch to the different sections of the songs. Ed and I got feedback from our last performance which was to try and be a bit more lively on stage and I think you can really see that in this performance as we are both standing up and moving around a lot more than we did in our previous performance. I also got the feedback to turn my bass up louder so you could hear it better in the mix and you can definitely hear it a lot clearer in this performance than the previous performances we did.

You can see our performance here:

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Audio Visuals

For this task, I worked with Ed. The two songs Ed wanted to perform were his own original songs entitled The World Through Your Eyes and Bravado Desperado. The World Through Your Eyes was more of an upbeat and happy go lucky song so the visuals we put together for it included a lot of shots of nature in the sunlight but during the autumn to get this very aesthetic glow and warmth from the oranges and browns of the leaves and the sun. 

The song Bravado Desperado had more of a western country feeling to it so for the visuals for that song, we got a lot of pictures of the countryside from the West of America as well as photos of cowboy towns and paintings of cowboys. These images fit the aesthetic of the song perfectly and complimented the song nicely. You can find the two videos below:

Our audio visual performance went well. Ed and I had several rehearsals before the performance so it was very tight and I think you can see that we’re both having a lot of fun. The visuals worked really well with the live performance and brought the whole thing together nicely. Ed had a bit of trouble with his guitar and microphone but we handled it very professionally, got it sorted quickly, and continued with the performance without any further errors or issues.

You can see our audio visual performance here:

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Stage Plot

Below you can find the tech spec we put together for both the performance with myself, Lucy, and Ed, as well as the tech spec I put together for my own personal performance:

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Visual Identity - Exploring Aesthetics

My moodboard is a mashup of quite a few aesthetics. Because I have a lot of different interests, both in music and in general, I found it hard to focus on just one single aesthetic and as such, my moodboard has a lot of different themes going on. I believe the main aesthetic that shines through is the feeling of wanting to escape to a different place; not to a different country but to a different reality altogether. This sums up the way I write my music and why I write the music I do: I write music that makes you feel like you’re in a different time and space altogether and I believe this longing for an escape shines through in my moodboard.

You can find my moodboard here:

https://www.pinterest.co.uk/FuzzyKtulu/artist-aesthetics/

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Sofar Sound/Tiny Desk

Analysis of Tiny Desk performances: 

In-class performance evaluation:

For our performance, we did a rendition of High and Dry by Radiohead. I played bass, Ed played guitar, Ellie played violin, and Lucy and Brandan did the vocals. We had several rehearsals before the in-class performance and everyone practiced their parts in their spare time as well so the actual performance went very smoothly. To make it more simplistic, Ed played the simple chords and I came up with my own bass line which mimicked the original guitar melody so there was a lot more high end instead of low end. Ellie did a violin solo instead of their being a guitar solos and all of this together with Brandan and Lucy’s vocals gave it a really nice aesthetic sound.

You can see our performance here:

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Music Performance - Sector Maps

Sector map for the band Knocked Loose:

Sector map for myself (Fuzzy):

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Songwriting and Context - Cowriting for Another Musical Artist

For the final brief of this module, we were split into groups and told we have to cowrite an original song for a musical artist that has features in the UK or US top ten charts in the past 5 years. I was put with Anya, Brandan, and Ellie. Ellie and I worked on the musical arrangement whilst Anya and Brandan worked on the melody and lyrics. I played bass and Ellie played piano.

We decided to write our song for Lewis Capaldi and started to write a song with his usual structure: pre-chorus, chorus, verse, pre-chorus, chorus, bridge, chorus. Lewis Capaldi usually writes slow pop ballads that centre on the theme of lost love and heartbreak so we knew we had to write music that would convey this and that the lyrics would have to fit. Anya and Brandan already had some lyrics that they had written before that they showed each other and then it was just a case of making the lyrics and melody fit with the music Ellie and I were writing.

The second session we got together, Ellie was unfortunately ill. We had the chords that we had written in the previous session and got to work trying to make the lyrics and melody fit. However, we quickly learnt that the chords Ellie and I had come up with didn’t fit the lyrics or melody so we decided to scrap the chords and come up with new ones. The new chords that we used are as follows:

Verse: bm, d, g x2 

Pre-chorus: bm, d ,bm, a, d, g, bm, a 

Chorus: bm, a, d, g x2 

Bridge: g,bm, a

Because of the way the new chords fit together, we needed to come up with four extra lines to fill out the chorus which Brandan quickly came up with. We also decided that we should extend the bridge to make it go round four times with the first two times being slow and quiet and the second two times being bigger, louder, and fuller. I think this worked really well. 

Anya was having a hard time putting together the melody at the same time as playing the piano so we asked Josh to come in as a session musician to play for us whilst we recorded a demo. We told Josh the chords and the timings and he immediately got to work learning it so that Anya could feel more comfortable only having to sing. The lyrics are as follows:

Verse

When was it that you fell out of love with me 

Was it the last time you walked down my street

Maybe if you were honest in the first place 

You would be stood right here next to me

Chorus

Couldn’t see a chance of change wanted to clear my name and do it all over again 

I now have myself to blame no longer feel the same I think I’m going insane

Verse 2

I don’t know how do you always get to know 

When it’s finally time to let go

Was the love you gave me even real? 

Or was it only just for show?

Chorus

Couldn’t see a chance of change wanted to clear my name and do it all over again 

I now have myself to blame no longer feel the same I think I’m going insane

Didn’t see a chance of change wanted to clear my name and do it all over again 

I now have myself to blame no longer feel the same I think I’m going insane

Bridge

So can you tell me? 

Did you get me? 

Did you see me? 

Did you love me?

x4

Chorus

Couldn’t see a chance of change wanted to clear my name and do it all over again 

I now have myself to blame no longer feel the same I think I’m going insane

Couldn’t see a chance of change wanted to clear my name and do it all over again 

I now have myself to blame no longer feel the same I think I’m going insane

After we had finished writing and recording the demo for our song, we can to the conclusion that it felt more like a Shawn Mendes song than a Lewis Capaldi song and decided to change our target artist to Shawn Mendes. I am happy with how the song turned out and how we managed to continue the writing and recording process without Ellie, even though we had very limited time to do it in. 

You can listen to the song here

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Songwriting and Context - Song for a Specialty Market

This task was all about writing a song for a specialty market. We had three specialty markets to choose from:

Christmas

Comedy

Children

For my song, I choose to primarily do a Christmas song but overlap it with some hints of comedy as well. I decided I didn’t want to do a full blown traditional happy Christmas song as I’m not the biggest fan of Christmas songs. Because of this, I took a lot of inspiration from The Pogues “Fairytale of New York”.

I started the writing process by coming up with a chord structure on guitar, deciding on C F C G for the verses and F G C at the end of the verses. The chords for the middle eight are F C F C D G D G.

After I had gotten the basic chord structure for the song written, I started to think about lyrics. Like I said before, I wanted it to have a “Fairytale of New York” vibe but also have that comedic element to it as well. I thought a lot about how I feel about Christmas and how my family celebrates it in a way which means the least stress for everyone as we all want to have a nice relaxing time instead of being too stressed out to enjoy it. This gave me the idea of treating Christmas like a normal day and I decided to write about that. I also thought it would be good to have two people singing it, one male voice and one female voice so I got my mum to sing it with me. 

I initially recorded the guitar using an electric guitar with a clean tone but it didn’t sound right and sounded too twangy so I decided to re-record it using the acoustic guitar I had used to write it. I think this really adds to the theme of the track because it’s meant to be a simple song about not having to put too much effort into stuff. I then added bells to keep the rhythm and make it sounds more Christmassy. You can listen to the song here

The lyrics are as follows:

Verse 1

C

I'm sick of adverts on TV

      F

And carols on the radio

C

I hate tacky Christmas trees

      G

And freezing rain instead of snow

C

We're not making any plans

      F

Cos life and death are holding hands

C                                                    G

We're going to take a stand if that's okay

     F                         G            C

And treat it just like any other day

Verse 2

C

There’s no point in telling me

       F

Support your local businesses 

C

When topping up the meter key 

    G

Is how we measure our success 

C

There’s a Christmas song stuck in my head

      F

Our bank account is in the red

C                                                    G

We’re gonna stay in bed if that’s okay

    F                         G              C

And treat it just like any other day

Middle Eight

F

There's an advent calendar

C

Hanging on the wall

F

A faded nativity

          C

From 1994

    D

A cruel reminder

             G

Behind every cardboard door

           D

Of the broken promises

              G

Made to every kid that's poor

Verse 3

C

We’re not buying any gifts 

      F

Or sending any Christmas cards

C

We’ll message everyone by text

   G

Cos money’s tight and times are hard

C

It doesn’t mean we love you less

    F

We just don’t need the added stress

C                                                      G

Life’s a mess and we need to find a way

   F                         G              C

Of getting through another Christmas day

   F                         G              C

Of getting through another Christmas day

[precision-musician]

Songwriting and Context - Sentric Songwriting Brief

For this task, we had to write a song which fit a specific brief we were given. The brief we were given was to write a song for a global sports brand to use in an upcoming women’s sporting event. Because of this, our lyrics had to be centred around female strength and empowerment, and we were also told to try and use different styles of music from around the world in our songwriting process.

To start the songwriting process, I wanted to come up with a really strong drum beat and bass line in 4/4 at 127bpm as this was around the same bpm Run the World (Girls) by Beyoncé and The Future is Female by Madame Gandhi use, both of which I listened to for inspiration. I wanted the song to be relatively simple so it would mainly be focusing on the lyrics, but still be complex enough to be groovy and catchy, and get stuck in the listener’s head.  I also added multiple whistle sounds to emphasise the end of parts and simulate the sound of a whistle during a sporting event to suit the sports theme.    

When it came to the vocals, I needed a woman to sing it as it would be more fitting for a female empowerment song so I got my mum to sing. I took a lot of inspiration from The Future is Female and directed her to sing in a more hushed and laid back tone and also rap the verses, and wrote the lyrics to all be about how women are strong and powerful. The lyrics are as follows:

Intro

Work your body

Love your body

Take your body 

Push your body to the max

Verse 1

Girls and women everywhere 

It’s time to shine

Your time is here

Girls and women around the world

It’s time to shine

Our time is now

We have the audacity

We have the mental capacity 

To win, stronger than we’ve ever been

Our choice

Hey girl working on your fitness

Hey girl big steps little steps

Hey girl you’re gonna be the very best

Hey girl

Chorus

Work your body to the max

Push your body to the max

Take your body to the max

Love your body

Work your body to the max

Push your body to the max

Take your body to the max

Love your body

Verse 2

We have the agility

We have the technical ability

To win, stronger than we’ve ever been

Our choice

Hey girl working on your fitness

Hey girl big steps little steps

Hey girl you’re gonna be the very best

Hey girl

Verse 3

We’ve got the motivation

It’s time for celebration

We’re here to represent the nation

Our choice

Hey girl working on your fitness

Hey girl big steps little steps

Hey girl you’re gonna be the very best

Hey girl

Outro

Work your body

Love your body

Take your body

Push your body to the max

Girls and women everywhere

It’s time to shine

Your time is here

Girls and women around the world

It’s time to shine

Our time is now

You can listen to my song here

[precision-musician]

Songwriting and Context - Original Song in my Chosen Genre

For this task, we had to pick three songs that we were currently listening to and analyse them, looking at the different sections of each song and making notes on the production, instruments, atmosphere, theme, etc. The three songs I chose were:

Dragonaut by Sleep

Greenthumb by Bongzilla

Vinum Sabbathi by Electric Wizard

You can find my analyse sheet here

I decided that I wanted to write a song in the genre of stoner rock/metal and took a lot of inspiration from Sleep’s Dragonaut. The first thing I did when writing my song was come up with a really catchy riff that I would use as the main hook of the song; this hook ended up being the intro and the chorus, although there aren’t any lyrics for the chorus. The song is in C# standard tuning.

Much like Sleep’s Dragonaut, I wanted the verse to be very melodic and give the impression of a great journey taking place, so I tried to make the bass and guitar sound very chuggy and made it sound like you’re plodding along. This is also reflected in the lyrics being about a pilgrimage of sorts across a vast land with the goal of getting to a certain promised land.

The middle eight is my favourite part of the song and I feel it really brings the whole thing together; when you think it’s going to go into the verse riff again, it changes completely and has this real groove about it. I also put a guitar solo in this part, all completely improvised around the pentatonic scale during recording to give it more feeling and make it sound more authentic and less rehearsed. 

I went for a vocal style which was raspy and dry as I feel it fit the mood and style of the song a lot better than doing normal clean vocals. The lyrics for the song are:

Verse 1

Walk towards the twisted lands

Death reached out his bony hands

He said come with me and you shall see

Fields and fields of lush green weed 

Verse 2

We walked for miles and miles and miles

Through the fire and the blood red isles

Shagorath did hear me weep 

Pulls me back up to my feet

Verse 3

Now my eyes did see at last

The ever promised gloried land

Going forward, I would definitely want to add drums to it as I feel the song could greatly benefit from having them; the song sounds a bit bare bones as is. 

You can listen to my song here

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What are your three greatest strengths as a songwriter?

1. Use my emotions well

2. Write good bass lines

3. Love writing lyrics

What three songwriting skills would you most like to improve?

1. Be more comfortable and confident working in a variety of different genres

2. Melody writing could improve

3. Don’t procrastinate as much

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Songwriting and Context Week 5 - 28/10/2021

This lecture was a guest lecture. The guest was a man named Phil Morris who is the head of sync at Sentric Music, a music publisher who specialise in emerging songwriters and artists. Sentric Music is based in Liverpool and was founded in 2005 as a third year university project. Their goal is to make music publishing more accessible and they currently hold over two million copyrights.

We first looked at music publishing and what they actually do. This included:

• About the songs themselves and not the recordings

• Creation of copyrights and protection of intellectual property 

• Most important income stream for emerging songwriters and artists.

Copyright takes effect as soon as a song is written down or recorded in someway, whether it is chords and lyrics written on a piece of paper or a voice note on a phone.

Each territory around the world has a PRO (Performing Rights Organisation). In the UK, we have the PRS (Performing Right Society).

There are three main ways that money generated from a publishing copyright:

1. Performance Royalties

2. Mechanical Royalties

3. Synchronisation

Performance royalties are pretty much what they say they are: royalties an artist is paid every time their song is performed somewhere. A performance is deemed as both a live performance of a song or a recording of their song being played. 

Radio royalties for a four minute song:

BBC Radio 1 - £43.92

BBC 2 - £91.08

BBC 6Music - £19.56

BBC 1Xtra- £13.04

BBC Asian Network - £17.96

BBC Radio Norfolk - £1.28

There are two types of radio stations: census and sample stations. Census stations are stations that records the amount of times a song is played on their station and then they pass this information on to the PRS. Sample stations are smaller local radio stations which perform a sample every quarter instead of recording every single time a song is played.

TV Royalties:

BBC One - £90.28

BBC Two - 23.24

ITV1 - 121.22

ITV2 - £4.91

Channel 4 - £23.85

Live Show Royalties: 

Small Venue - £5

Barfly - £61.44

Norwich Arts Centre - 389.09

Glasgow Concert Hall - £570.24

O2 Arena - £4608

Stadium - £8030

Live show royalties are also dependant on the amount of tickets sold and also the length of the set.

Mechanical royalties come in to play whenever music is replicated or reproduced. Examples of this would be vinyl, CDs, cassette tapes, streaming, and downloads. 

When a label wants to release music, they must pay a license fee to the MCPS (Mechanical-Copyright Protection Society).

Mechanical royalties are an essential stream of income for artists who sell a lot of records.

Synchronisation is the act of placing music over a visual image. This relates to TV shows, movies, games, adverts, and promos. 

In order for a song to be used in a advert, movie, or game, the copyrights for the master and the publishing must be cleared first. The fee paid to use the song is dependant on a variety of factors such as territory, length of the license, and profile of the artist. Because of this, there is no average figure for a sync license and can range from a couple hundred pounds to a couple hundred thousand pounds. The artist also gets PRS money from performance royalties every time an advert using their music is played as well.

In order for a song to be used in a TV show, the copyright must be registered with PRS, MCPS, and PPL (Phonographic Performance Limited). Once a TV station and broadcaster have registered they can use the music without getting permission again. The artists will then receive royalties from each society during the next available distribution. Also subject to performance royalties.

At the end of the guest lecture, we were given nine steps to land a sync deal:

1. Wait until the product is ready

2. Have an instrumental version of the song ready as well

3. Make sure all of the metadata is correct when filling in forms

4. Know who represents the copyrights for the song

5. Approach the right people

6. FIRST IMPRESSIONS MATTER A LOT

7. Sell yourself properly

8. Be very patient

9. Once you’ve got the deal, MILK IT

This lecture was incredibly interesting and very helpful as it gave me an insight into a side of the music industry that I had absolutely no prior knowledge of at all.

We were also given a special brief provided by the guest lecture Phil Morris which can be seen below:

“Our client is a major sportswear brand that is seeking music that is both powerful and inspiring, with an insistent driving rhythm to soundtrack an online advert for a major female sporting competition. The song should contain lyrics pertaining to empowerment, specifically, female empowerment but more broadly to champion its competitors. Genre-wise we're working within hip hop and electronic, but open to tracks that crossover as well; maybe soulful bvs, or defiant guitar riffs, or gospel piano. We are looking for a song that incorporates a touch of global/afro/latin music-influence to speak to the international nature of their competing athletes. The ideal track would preferably have female vocals.”

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Songwriting and Context Week 4 - 21/10/2021

I was ill for this session but apparently it was mainly a listening session. This means that everyone brought in their songs that they had written from the previous week’s task and everyone listened to them and provided feedback. It’s a shame I wasn’t here for this session as it would have been very interesting to listen to what everyone had come up with. However, I did have the pleasure of listening to Lucy’s song.

Lucy’s song was made up of an acoustic guitar, bass guitar, and vocals. She had chosen to use a Mitski song for her base and wrote a two minute forty four second song that comprised of just three verses. I really enjoyed her song, and it reminded me a lot of the minimalistic task we were given at the start of the semester. This worked in the song’s favour as it felt like a very raw emotional song and the simplicity of it really added to this. Lucy also has an incredible voice that I could just listen to for hours on end which made the whole piece a treat to listen to. 

Apparently there was no real task given to us this week except to look over the feedback everyone had been provided and adjust the songs accordingly to make them better.

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Songwriting and Context Week 3 - 14/10/2021

In this lecture, we looked at what the core components of songs are and how they are structured. To put this into context, we looked at how different forms of media are structured and discussed that a novel is normally divided up into chapters and a play is divided up into acts and scenes within those acts. Another example would be movies and how a conventional movie will have a plot and a narrative and certain things will happen at certain times within the running of the movie.

We then moved in to look at what the common sections of a commercial pop song are and how they are usually divided up into sections like this:

Intro

Verse

Pre-Chorus

Chorus

Bridge 

Outro

Post Chorus

Coda

Middle Eight

Breakdown

After this, we listened to some of the songs that people had put in the collaborative playlist on Spotify and discussed the structure and instrumentation of these songs. It was interesting to listen to what other people had chosen to put on the playlist and their reflection on their own writing styles. 

We were then given our task for the week which was to choose one of the songs that we had added to the playlist and write and record our own song using the same structure.

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Songwriting and Context Week 2 - 07/10/2021

In this session we looked at how we listen to music as well as what makes a song memorable. This includes listening for different elements such as tempo, melodies, harmonies, lyrics, structure, form, and dynamics. We also talked a lot about keeping an open mind when listening to music which we might not necessarily listen to or enjoy ourselves as well as respecting the artists and providing critical feedback in a polite and respectful manner. 

We then listened to everyone’s minimalistic songs that we had to do for the task from the week before. Everyone did really good songs and all of them except a couple fit to the brief which was set. After we listened to my song, this was some feedback that was given to me by Lucy Parish: 

“This track felt very raw and emotional, both lyrically and instrumentally. It was compared to a Daniel Johnston style of music which I agreed with, the spoken word nature of the song and the simplistic guitar. Also the lyrical content itself. I think that building this further and maybe adding a drop would be good. Tyler is a very versatile musician however I believe his preferred genre is heavier rock / metal. Using the acoustic as an intro leading to a beat drop in a metal song.”

It was nice to hear that everyone really liked my song, and I talked about how I like to write lyrics and music which convey my current mood because it feels like a sort of therapy to me; I feel like people are less likely to judge or worry about me if I talk about my mental health in the form of a song instead of talking about it directly. 

After we had finished listening to everyone’s songs and giving feedback, we were given our task for next week which was to add three songs to a collaborative playlist on Spotify and fill in a document with the different elements  that we had discussed in the lecture that our chosen songs contained.

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Songwriting and Context Week 1 - 30/09/2021

This first session back was mainly just an overview of the module. We were told that over the course of the module, we will be creating a portfolio of songs we have written ourselves over a large variety of different genres to help expand our talents and capabilities as songwriters. This will include writing songs to fit industry standard briefs, co-writing with other musicians, writing lyrics, and writing for other artists. We also looked at the assignment for this module which is to produce original songs responding to set task briefs throughout the course of the module and document this process in our process-folios. 

After we had finished our course introduction, we then looked at what defines a song as well as what a genre is and what sub genres are. This sparked a lively debate within the class as different students put forward their ideas as to what makes a song, whether it is simply sounds we hear in everyday life or if it has to have some sort of beat, rhythm, or melody. I believe that whilst everything we hear wouldn’t be classed as a “song”, all sounds have the ability to be taken and moulded into a song using different techniques such as recording and sampling.

Towards the end of the session, we looked at two minimalistic songs: Know by Nick Drake and Rang Tang Ring Toon by Mountain Man. These songs were very minimalistic in style, with Know being the same four notes repeated on a guitar and accompanied by vocals and humming, and Rang Tang Ring Toon being only two notes repeated on a guitar and accompanied by vocals.

This led into our task for the week which was to create our own minimalist song. Our songs had to be between one and two minutes in length and we were only allowed to use one string on a stringed instrument or one finger on a piano. This meant that there was a larger emphasis on coming up with a strong vocal melody.  

For my minimalistic song, I went along the lines of Nick Drake’s Know but used an electric guitar with a clean tone instead of an acoustic guitar. In the same way that Know had minimal lyrics and a lot of humming, my own song had twelve lines for the first half and then the second half was me humming along with the guitar. I also recorded the ambient sound of me plugging my guitar in and switching the amp on at the start and the sound of me switching the amp off and unplugging the guitar at the end, as well as a sigh at the beginning before the guitar comes in. There is also quite a lot of background noise which I decided to leave in. I think this added to the overall tone of the song as it is meant to be a sad depressing song about being fed up of feeling alone.

Below is the link to my Soundcloud where you can hear the song as well as the lyrics:

I’m sick to death

Of all these fake friends

That make me want to cry

I’m tired of living

This same old life

It makes me want to die

When everything’s the same

And nothing seems to change

I’m stuck here with my fears

Time passes slow

People come and go

But no one dares get near

Sick to Death (demo)