OK. I don't know who said that the music and the lyrics didn't match moods, but I guess it depends on the headspace you're in. The swinging, bass-dominated backup seems really dark to me and seems to reflect the emotional tenor of the lyrics. It's all in the POV. I liked very much the way you structured this, and I did note the way that you added background touches in the production to make each section a little different from the previous one. I think the song covers tough emotional ground and the musical approach enhances the message.

It’s been a long day already
And it’s only nine o’clock
You told me first thing this morning
That you wanted to have a talk

So we talked and talked and talked and talked
Until we couldn’t talk anymore
We discussed the same old things
That we’ve talked about before

‘Cause nothing ever changes
Everything stays the same
And when I wake up tomorrow
It’ll be just like yesterday

It’s been a long night already
And it’s only 7 p.m.
I’m driving home from work and I know
Soon I’ll see your face again

And we’ll talk and talk and talk and talk
And we’ll probably talk some more
We’ll discuss the same old things
That we’ve talked about before

But nothing ever changes
Everything stays the same
And when we wake up tomorrow
It’ll be just like yesterday

Change can be unsettling
Can rip up your reality
Can tie you up or set you free
Or turn your world around

Time can be a friend or foe
Can teach you what you need to know
Can take you where you want to go
Or run you to the ground

It's time to make some changes
So things don't stay the same
So when we wake up tomorrow
It won't be  just like yesterday.

Words and Music by Leisah Woldoff

Just Like Yesterday

Le Bal Des Folles

You Fool

Comment déposer les pensées limitantes là où elles sont et regarder à l’horizon, loin devant...
Il y a quelques chose de fragile là dedans, de tâtonnant, et en même temps une force phénoménale à pouvoir se détacher et se délester.
Marée montante c’est une mue vers un soi plus vrai, plus aligné. Une quête vers un devenir libéré de ce qu’on s’impose à soi-même sans s’écouter vraiment.
Marée montante c’est la puissance de l’eau qui soigne et guérit, créatrice de vie et de rêve. C’est se laisser submerger par la vie et garder la foi.
Marée montante c’est se rendre à soi-même.
Dans le clip j’ai imaginé représenter tout cela à travers une histoire sous marine. Un homme et une femme qui se cherchent, l’une espère une véritable rencontre, l’autre est animé par la passion qui peut se révéler destructrice. La scène se déroule en pleine nature sauvage. Elle guide la protagoniste dans sa quête. Elle la porte et l’accompagne. 
Je voulais qu’on ressente la puissance de la nature et les réponses qu’elle peut nous apporter lors de notre quête spirituelle. Dans mon histoire Ophélie ne se noie pas. 
Elle ressort grandit et libérée.

MARÉE MONTANTE

Ta bouche résonne 
La marée montante 
Tes lèvres frissonnent 
La houle entêtante
La marée montante 
Et la vague à l’âme 
La houle entêtante 
Et la vie qui rame

J’ai caressé l’espoir de nous revoir 
J’ai conservé la raison d’y croire

Et la vague à l’âme 
Vogue sur les eaux 
Et la vie qui rame 
Vole sur ta peau
Vogue sur les eaux 
L’écume de tes yeux 
Vole sur ta peau
Le flot de tes cheveux

J’ai, insensé, l’espoir de nous revoir 
J’ai effleuré, la raison d’y croire
L’écume de tes yeux 
La marée montante
Le flot de tes cheveux 
La houle entêtante
L’écume de tes yeux 
Ta bouche résonne 
Le flot de tes cheveux 
Tes lèvres frissonnent

Il a neigé sur l’espoir de nous revoir 
Elle a chaviré, la raison d’y croire

Musique 
Texte : Nyna loren
Voix : Nyna Loren
Violon, alto : Nyna Loren
Violoncelle : Aurélien Ferrette
Contrebasse : Arno Jouffroy
Tambour chamanique : Nyna Loren
Percussions : Lionel Thomas et Arno Jouffroy
Arrangements : Nyna Loren
Réalisation/production musicale : Nyna Loren et Lionel Thomas
Mixage : Lionel Thomas
Mastering : Lionel Thomas

Merci à Romain David pour les tambours chamaniques

Marée Montante

From the album "Ver Sacrum"
“Throughout history, this expression has been used to describe various ritual group expulsions and the deduction of colonies, particularly with regard to people getting back to nature.
For example, the Italian town of Nocera was founded in the 7th Century BC by inhabitants from Camerinum, who left their ancestral homeland during a so-called Ver Sacrum.
In ancient Rome, during times of calamities such as pandemics, earthquakes, wars, or plagues, they used to devote children born in spring – from the 1st of March to the 30th of April – to the gods Jupiter and Mars. Then, when they turned 20 or 21, these children were required to leave the community to begin new settlements”
________________________________________
Sounding like some long lost, sacred canon, Ver Sacrum – the new album from Bruno Sanfilippo – marks something of a departure for the Barcelona-based pianist and composer. Far more orchestral in nature, there’s a spiritual, quasi-religious force to these pieces; strings swoop and soar, maudlin organs plough slowly, sorrowfully forward, while several sopranos add to the ecclesiastical air. But there’s hope and joy here too, and a childlike playfulness – playing these tensions against each other is what makes Ver Sacrum such an intense, rewarding listen. Inspired and informed by the ancient custom of ritualised expulsions of the same name, one can find the whole spectrum of humanity within these nine pieces: sorrow, loss, love, rebirth, change, hope, and the indefatigable human spirit. It’s what gives this music its power. Derek Robertson, journalist and music writer: Guardian, Independent, NME, VICE, Timeout, The Quietus, The Face.

Just Like Yesterday

LWPhx

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