Another masterpiece from Achaziyah’s F12 has been unearthed! The sonic character of this piece best resembles that of a 90’s Parisian disco house banger with Indian influences. Picture this song being played during a Louis Vouitton premiere runway show in the heart of Paris—“Don’t Go” is a proud hybrid of lifestyles, consisting of influences from the music Parisian boutiques, 90’s disco house, Dennis Ferrer, and South Asian folk music.
You have nothing. Think of a predicament where all you had was your dignity, and your ideals were the only things you had to your name. It’s time to go, balls out, for what you believe in.
The song title, “Don’t Go” references the moral fiber that you have worked so hard to shape and develop—you don’t want to lose the gem you’ve struggled for years to mold, so you break out into a mode of self-preservation in order to save yourself. Nothing and no one else matter other than the salvation of the essence of your own being.
The first five seconds lead into the exposition of the situation at hand—the point where the shit hits the fan. At 0:35, the pulse is picked up; the hallmark tempo symbolizes the person’s conscious return to what they know best, for the sake of their own survival. The track builds with a proliferation of 90’s disco styled strings and ethereal atmospheres until 1:37, when the piece bleeds into a monologue. At 1:37, the lead synthesizer is the voice of reason, expressing everything that this person has done in order to maintain their core beliefs and to “keep cool” in the faces of peril, struggle, and loss. A solstice of emotions occurs from 2:40 to 2:57; this is the breaking point that vindicates all the reasons for this song. The bass drops and distant echoes formulate melodic contrasts that give the listeners an idea of the emotional eruption this person is now experiencing.
We then transition to another passage of feeling at 3:13. This period is a regenerative period, where the melody collaborates with the bass to form a canvas on which the percussive ad-libs serve as the first-aid kit that heals the wounds suffered by the protagonist of the song until 5:04, when the song is stripped bare naked, where a time is best characterized by the silence in between the background melodic pulse and the organ riffs. The song gradually builds into another regenerative period that looks back on the experiences we’ve been through so far in the song, and then leads to the superior emotional eruption that starts at 5:36, and lasts until 6:24, when the energy has peaked and lapsed into an Indian chant that lasts until 6:40. The initial pulse is picked back up at 6:40, but of course it’s intensified, resembling the fight that the protagonist has and is using to preserve themselves in the midst of war. At 7:43, the energy starts to transfer into the bassline, and the bass starts to ad-lib. The bass drops like it did in the first emotional eruption of the piece, characterizing a reflective period that most likely is akin to a moment when someone thinks about a perilous situation they endured and either laughs about it in retrospect, or does something else that trivializes what was then most serious. Energy is increased at 8:16 (the original refrain expressed at 6:40) until the beat dissolves at 8:32 for the final exposition of feeling. At 9:03, the protagonist is speaking of their perils in a completely different state of mind—a state of stability, strength, and solidity. At 9:19, a reduced form of the Indian chant (first expressed at 6:40) is introduced, and the final sentences are being said. It’s time to call this experience a lesson learned.