{
  "prompt": "Genre: Piano-driven Pop-Rap with Synth-Pop and Emo undertones; BPM: 125; Key: F# Major; Rhythm: Driving 4/4 programmed hip-hop beat; syncopated hi-hats; strong snare backbeat on 2 & 4; kick drum provides the pulse; Instruments: Bright digital piano; felt hammer action, Deep sine-wave sub; anchors harmony, Wide stereo synth pad; slow attack/release, TR-style drum machine; punchy kick, tight snare; Vocals: Dual Male vocals; high-tenor with sharp rhythmic rap and strained singing; smoother baritone for melodic hooks; crisp rhythmic ad-libs; light reverb/delay; Mood: The silence in a car after a fight, streetlights blurring through rain on the windshield, knowing you said something you can't take back; Highlight: The half-beat of silence after the pre-chorus's final strained vocal, just before the main piano riff and full drum kit crash in for the explosive chorus hook.",
  "lyrics": "[intro]\n(Sound-Design: Phone dialing SFX, line noise, call hangs up)\n(Hook-DNA: Rhythmic-Pattern: syncopated 16th-note piano line; Pitch-Anchor: arpeggiates down to the root of each chord; Repetition-Structure: 2-bar motif repeats constantly)\n(Melody-Contour: Repetitive, arch-shaped arpeggio)\n(Melody-Rhythm: Constant eighth-note pulse, driving and insistent)\n(Inst: Filtered digital piano riff)\n(Chords: Bmaj7 - G#m7 - Emaj7 - F#)\n(Mix: High-Fidelity, Pristine Radio-Ready Mix with expensive analogue warmth and silky smooth high-end. Piano and lead vocals occupy the center channel. Bass is mono and foundational. Wide stereo image for pads and effects. Heavy parallel compression on drums for punch. Vocals have tailored delays and reverbs.)\nYe love is pain\nTo all my brokenhearted people\nOne's old a flame\nScream my name\nAnd I'm so sick of love songs\nYe I hate damn love song\nMemento of ours\n\n[verse]\n(Inst: Full programmed beat enters; punchy kick, sharp snare. Sub-bass follows piano root notes. Piano riff continues.)\n(Vocal-Perf: Aggressive, percussive rap delivery. High-tenor, pushing the rhythm forward.)\n(Melody-Rhythm: Vocal flow syncopates heavily against the straight beat, emphasizing off-beats.)\n(Chords: Bmaj7 - G#m7 - Emaj7 - F#)\n늦은 밤 비가 내려와\n널 데려와\n젖은 기억 끝에 뒤척여 나\n너 없이 잘 살 수 있다고\n다짐 해봐도 어쩔 수 없다고\n못하는 술도 마시고\n속타는 맘 밤새 채워봐도\n싫어 너 없는 하루는 길어 빌어\n제발 잊게 해달라고\n\n[pre-chorus]\n(Inst: Hi-hats simplify, creating space. Subtle synth pad swells underneath.)\n(Vocal-Perf: Shifts from rap to strained, emotional singing. Dynamics build into the chorus.)\n(Melody-Contour: Ascending stepwise motion, building melodic tension.)\n너 없는 내겐 웃음이 보이지 않아\n눈물조차 고이지 않아\n더는 살고 싶지 않아\n엿같애 열받게\n니 생각에 돌아버릴것 같애\n보고 싶은데 볼 수가 없대\n모두 끝났대\nI'll be right there\n\n[chorus]\n(Hook-DNA: Rhythmic-Pattern: \"I'm so sorry but I love you\" starts on upbeat of 4, mostly straight eighths; Pitch-Anchor: Main hook melody circles the 3rd and 5th, resolving to the tonic on \"you\"; Repetition-Structure: A-B pattern, with A being the English hook and B the Korean response.)\n(Melody-Harmonic-Tension: Melody hits the major 7th over the tonic I chord on \"sorry\" creating sharp tension before resolving stepwise down.)\n(Inst: All elements at full energy. Wide synth pads, driving drums, piano riff.)\n(Vocal-Perf: Powerful, belted lead vocal with layered background harmonies providing emphasis.)\n(Mix: Stereo field widens. Drum bus compression adds punch. Vocal reverb tail is more prominent.)\n(Chords: Bmaj7 - G#m7 - Emaj7 - F#)\nI'm so sorry but I love you\n다 거짓말 이야 몰랐어\n이제야 알았어\n네가 필요해\nI'm so sorry but I love you\n날카로운 말\n홧김에 나도 모르게\n널 떠나보냈지만\n\n[verse]\n(Inst: Beat maintains energy, piano riff is constant anchor.)\n(Vocal-Perf: Second rapper/vocalist enters, slightly deeper tone but maintaining rhythmic intensity.)\n(Melody-Rhythm: New syncopated patterns distinguish it from the first verse.)\n(Chords: Bmaj7 - G#m7 - Emaj7 - F#)\n그댈 위해서 불러왔던\n내 모든 걸 다 바친 노래\n사람들은 모르겠죠\n난 혼자 그 아무도 아무도 몰래\n그래 내가 했던 말은 거짓말\n홀로 남겨진 외톨이\n그 속에 헤매는 내 꼴이\n주머니 속에 꼬깃꼬깃\n접어둔 이별을 향한 쪽지\n\n[bridge]\n(Melody-Harmonic-Tension: Rap phrases end on non-chord tones, creating a feeling of being unmoored. The final sung line resolves strongly to the tonic, setting up the final chorus.)\n(Inst: Drums drop to a half-time feel. Piano switches from riff to sustained block chords. New atmospheric pad enters.)\n(Vocal-Perf: Introspective rap, lower dynamics, more conversational flow. Builds into a final, sung plea.)\n(Chords: Emaj7 - F# - Bmaj7 - G#m7)\n넌 어딨나요 널 부르는 습관도\n난 달라질래\n이젠 다 웃어넘길게\n\n[chorus]\n(Hook-DNA: Rhythmic-Pattern: \"I'm so sorry but I love you\" starts on upbeat of 4, mostly straight eighths; Pitch-Anchor: Main hook melody circles the 3rd and 5th, resolving to the tonic on \"you\"; Repetition-Structure: A-B pattern, with A being the English hook and B the Korean response.)\n(Melody-Harmonic-Tension: Melody hits the major 7th over the tonic I chord on \"sorry\" creating sharp tension before resolving stepwise down.)\n(Inst: Maximum energy. Synth lead doubles vocal melody. Ad-lib vocal layers added.)\n(Vocal-Perf: Most desperate and powerful vocal take. Heavy use of background ad-libs and shouts.)\n(Mix: All faders pushed. Mix is dense, loud, and emotionally charged. Heavy bus compression.)\n(Chords: Bmaj7 - G#m7 - Emaj7 - F#)\nI'm so sorry but I love you\n다 거짓말 이야 몰랐어\n이제야 알았어\n네가 필요해\nI'm so sorry but I love you\n날카로운 말\n홧김에 나도 모르게\n널 떠나보냈지만\n\n[outro]\n(Inst: Drums and bass cut out, leaving only the piano riff and a fading synth pad.)\n(Vocal-Perf: Final sung lines are soft, almost a whisper. Full of regret.)\n(Sound-Design: Final piano chord has a long, lush reverb tail that fades into silence.)\n(Transition: Decrescendo to silence.)\nI'm so sorry but I love you\n나를 떠나\n천천히 잊어줄래\n내가 아파할 수 있게",
  "song_id": "02_Lies_20260418",
  "_meta": {
    "provider": "google",
    "model": "gemini-2.5-pro",
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    "generated_at": "2026-04-18T22:43:34.324295+08:00"
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