Whispers Between Words

I've been writing poetry since I was twelve. Notebooks full of observations about silence and connection, about the spaces between words where meaning lives. The problem with poetry, though, is that almost no one reads it. Even people who claim to love it rarely sit down with a collection. It's a truth that stung for years—all these examinations of life, carefully crafted, largely unread.

Music offered something different. A way to make these observations accessible. To translate what I'd been examining through words into something people might actually encounter. Not because music is better than poetry, but because people listen to music in moments they'd never open a poetry book—while driving, while working, while moving through their lives.

Whispers Between Words is my first attempt at this translation. Every track began as a poem, an observation, a question I was wrestling with. Then came the work of finding the sonic space where these ideas could breathe—where electronic textures could carry emotional weight, where layered harmonies could suggest complexity, where rhythm could mirror the patterns of human connection.

Socrates said "the unexamined life is not worth living." I've never stopped examining. This album is what happens when those examinations find a new form.

Electronic pop became the vehicle for these ideas almost by necessity. The genre allows for layering—sounds building on sounds, harmonies weaving through harmonies, creating spaces where multiple truths can exist simultaneously. Just as human relationships contain multitudes, so too could these songs.

Most tracks begin with something intimate—a simple piano line, a single vocal, a bare emotional core. Then they build. Synth textures drift in like thoughts accumulating. Drums enter when emotion needs structure. Harmonies layer when complexity demands acknowledgment. The production mirrors how relationships develop: starting simple, growing intricate, revealing depth over time.

The tempos range from contemplative (72 BPM for "In Her Eyes") to more driving (120 BPM for "Prayer"), but most sit in that middle range—walking pace, heartbeat rhythm, the speed of actual human connection. Not club music, not meditation. Something in between, where life actually happens.