IU 아이유 - 내 손을 잡아 Hold My Hand [Orchestra ver.] (KIMJAESEUNG remix)

ONCE AGAIN cover

S.M. THE BALLAD Vol.2 - Set Me Free - 태연 (Taeyeon)

One phrase turned into an entire universe.
The truth is, when I think of Venus — the goddess, the painting, the mythology — I don’t think marble or gold or dramatic shadows. I think pastels.
Soft peach skin.
Aquamarine water.
Blush pink horizons.
Bodies rendered in light, not in weight.
That delicate wash of color that Botticelli used to make a figure feel both divine and completely human.

So when I wrote the line “heaven and hell in pastels” in Gossamer Greens, it wasn’t metaphorical — it was instinctive. That’s how Venus has always lived in my mind. That’s how beauty lives in my mind. In those colors. In that softness.

And then life happened — love happened — and suddenly pastels weren’t just colors anymore. They were feelings. They were healing. They were the shades I found myself returning to as I rebuilt, as we grew, as something gentle started rising from the ashes of everything I’d survived.

Pastels became the language of love and of my love:
the softening after the burn,
the tenderness after the storm,
the way two people can hold both chaos and calm and still choose to meet in the middle.

So when I took that candid photo of us and instinctively placed it into The Birth of Venus, it finally made sense:
I wasn’t copying a painting —
I was recasting it.
Reimagining that moment of creation in the palette that has always felt like truth to me.

That’s why this song exists.
That’s why this album is called Heaven & Hell in Pastels.
Because pastels aren’t just an aesthetic here —
they’re the color of rebirth,
of bodies and beauty and becoming,
of the way love emerges from the water not as something perfect,
but as something tender.
Something new.
Something pastel.

This is my reinterpretation of Venus —
not as a goddess rising from a shell,
but as a feeling rising from the dark,
a body remembered in color,
a love reborn in softness.

This is The Birth of Pastels —
and it’s as literal as it is mythic.

The Birth Pastels

After The Tide Goes Out" is a stunning, cinematic ballad that uses the metaphors of the sea and tide to explore the beauty of abandonment and surrender.

退潮之后
[Verse 1]
I wrote your name into the waves
Every retreating wave takes a piece of me
After you left, the tide never came back
Only dry footprints left on the sand
[Pre-Chorus]
The sea stays silent for me
Even the wind doesn’t dare speak
[Chorus]
After the tide goes out
I see the shadow you left behind
Bleached white by the sun
And I can never pick it up again
After the tide goes out
I stand in the deepest wave
If the sea never returns
Then let it leave me here
At least I’m still in the same place
[Verse 2]
The day you left, the surface was terrifyingly calm
But I heard my heartbeat shatter under the water
Only later did I understand
Calm is an illusion
Low tide is the deepest embrace
[Bridge]
If falling in love is high tide
Then parting is low tide
I’d rather be forgotten by the waves
Than stand on a dry shore
Pretending you’re still here
[Final Chorus]
After the tide goes out
I finally learn to let go
Let the sea carry me away
Let the waves tear me apart
After the tide goes out
I hear you beneath the water
Softly saying
“Come back
We’ve always been together”
--------------------------------------------------

**《退潮之後》**是一首透過海洋的意象，描繪了分離與絕望之美的史詩級作品。

樂曲以Solo Felt Piano的溫柔觸鍵和遠處的浪聲開場，立刻將聽眾帶入孤獨且脆弱的私密空間。女聲Alto以極貼近的顫抖低語訴說著被遺棄的痛苦，將名字寫入每一道退去的浪裡。

當音樂爆發成宏大的管弦樂高潮，女聲Alto以飽滿的胸腔音呼喊著「退潮之後」的絕望與覺悟：當海不再回返，便唯有選擇留在原地，讓自己被海的沉默所擁抱。這段音樂旅程是從極致的脆弱到最終的自我犧牲，尋求在水底的碎裂中獲得永恆的連結。

退潮之后 (After the Tide Goes Out)

[160513 Yu Huiyeol's Sketchbook Ep. 319 CUT]
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Time Lapse - 태연 (SONG COVER)

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