“On My Way” — out now

March 27, 2026 · sauvachi

“On My Way” is out now. It is the most forward-facing thing in the catalog, and it was written during the flattest stretch of the year, which I have come to think is not a coincidence.

Writing forward from a standstill

There is a persistent idea that songs are reports — that you write what you are feeling as you feel it. Some are. But a lot of the most convincing music is aspirational rather than descriptive: you write the thing you are trying to talk yourself into.

This is that. Nothing in the weeks around it felt like momentum. The song is not lying about that, exactly; it is arguing with it. Which is why the production leans forward — a rhythm that pushes slightly ahead, a vocal that lands early rather than sitting back — while the words are considerably less certain than the arrangement is.

The build

• Everything enters early. There is no long introduction to earn: the first eight bars contain most of the elements you will hear.
• What changes over the song is density, not material. The same parts, more of them, arranged tighter.
• The vocal doubles only in the last section. Held back that long, doubling reads as a lift rather than a texture.
• No breakdown. It was written with one and it dragged.

Tempo is a mood, not a setting

The demo was slower by a noticeable margin, and every single thing wrong with it was fixed by speeding it up — which is not how it is supposed to work. Tempo gets treated as a technical parameter you settle early and leave alone, but it is closer to a key change in what it does to a song's meaning. The same words at 90 and at 100 are two different statements: one is resigned, the other is impatient.

The practical version of this: before you rewrite a section that is not working, try the whole track five BPM either side. It costs a minute and it solves a surprising proportion of arrangement problems that look like writing problems.

Where it sits in the catalog

Between the close, compressed tracks and the more open ones. If you want the version of this energy with the brakes on, “Autumn Leaves” is the closest neighbour; if you want it with the brakes removed entirely, that is “money gene”.

It is also the track I would point a new listener at first. Not because it is the best one, but because it is the most representative — everything I tend to do is in it, and none of it is hidden behind a production choice you have to acclimatise to.

Listen

All the links are on the release card below, and it is in the player on this site. The catalog page has everything else in one place.