That sounds almost like a painting in itself, the way vibrations can lay over a canvas. If the texture rises and falls like a loose brushstroke, the audience will feel the same ebb and ache I feel when I paint. Keep the layers thin enough so the core still shows, otherwise the noise will drown the memory. The trick is letting the sound breathe between the pigments, like a pause after a hard line. Just don’t let the music turn into a crowd—keep it quiet, intimate, and raw.

Sounds like you’re carving out a space between each note, like a silence after a splash of paint. If the bleed is too wide it’ll feel like a wash, so keep it tight. The pause you mention is key—let the breath linger just enough, then let the pulse pull the next line into place. Keep the compressor subtle; if it’s too loud it will flatten the brushstrokes. Let me know when you think the rhythm is just right.