Say What
Tempera.Md Lyrics
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Promised myself today to stay sober too
Another drunken afternoon in early October
Reality of addiction personal deregulation
Acceptance in my failure time and time again
Comfortable in my self destruction the joys of rock bottom... what can I say?
The carnage my distressed soul is whole
Intoxication my salvation escape my pain
A band-aid to mask my shame and suffering
Personal torment hell bent on my endgame
Numb my pain with alcohol and tasty weed
Drank half a bottle of Shackleton pain within
Numbed my nerves torture inside infinite
Don't know how to stop my endless suffering
Running from that ugly demon that haunts me
Temptation with no redemption none to be had
Only emptiness exists my soul co exists so sad
A smile on my face but what internally?
Pain results in a suffering soul externally
Acceptance in my failure time and time again
Comfortable in my self destruction the joys of rock bottom... what can I say?
The carnage my distressed soul is whole
Just stressed I'm depressed that's all that's all
Peace through my grief this isn't enough said
Have I lost my mind or am I fucked in the head?
A pattern in this matter tasty whiskey is fine
The glass half full with deceit delusion and lies
The lyrics in "Say What" by Tempera.Md paint a poignant picture of someone struggling with addiction and the emotional turmoil that comes with it. The opening lines depict a recurring cycle of alcoholism on a Sunday afternoon, with the singer acknowledging their promise to stay sober but ultimately succumbing to another bout of drunkenness in early October. The theme of personal deregulation due to addiction is prevalent, highlighting the harsh reality of battling with substance abuse.
The lyrics delve into the acceptance of repeated failure and self-destructive behavior, with the singer finding a twisted sense of comfort in hitting rock bottom. Despite the chaos within their distressed soul, there is a sense of resignation and familiarity with their state of mind. The lines "Just stressed I'm depressed that's all" hint at a deeper emotional struggle underlying the surface level of substance abuse.
The portrayal of intoxication as a means of salvation and escape from pain is explored in the subsequent verses, with alcohol and weed serving as temporary coping mechanisms for inner torment. The internal strife and desperation to numb the pain are vividly described, with the singer grappling with the unrelenting suffering that drives them to seek solace in substances.
The constant battle with temptation and the absence of redemption underscore the emptiness and sadness that pervades the singer's soul. Despite wearing a facade of a smile, there is a deep-seated pain and suffering that cannot be ignored. The recurring theme of acceptance of failure and self-destruction reflects a sense of resignation to their circumstances, questioning whether the temporary relief provided by alcohol is worth the ongoing torment and deceit that accompanies it. Ultimately, the lyrics convey a raw and introspective exploration of addiction, despair, and the internal struggles faced by the individual in finding peace amidst their grief and self-destructive patterns.
Lyrics © O/B/O DistroKid
Written by: Matt Ritchie
Lyrics Licensed & Provided by LyricFind
Björn Johansson
Dear Cecile. I will first of all praise your skills, though I saw you portrait. I loved that. 😀.
At present time, I use watercolor on cold pressed cotton paper, and have only used guache titanium white for small highligt spots. The paper white is not bleached, and needs some extra sometimes. I was close to buy a tube of white tempera, but did not. I happen to have at least one kilo of titanium white dry pigment, though I used to make my own oil paint for windows and such.
Even so, I have plenty of dry pigments saved from the time I was using egg/linseed-oil tempera for decorations in the 80-ths and 90-ths. It was furnitures, wall edging flowers and such.
I never tried painting at paper, so there was always a priming layer underneith, either by dried plain egg/oil-tempera at wood, or pigmented such layers. Even acrylate is working.
It dries quickly, so you can place layers over that, quite in a minute. However it takes months to harden, but then it was time to polishing with hard brushes, and it got a feeling of leather, and very resistant at anything, even outdoors. It is wonderful to touch.
That sort of tempera was made of all the egg, beaten some, and filtered though a nylon stocking, to get rid of skin, and other thick things. The same amount of cooked linseed oil, and some drops of turpentine as conservator. Then the double amount of water was added, and stored in a glass jar after been shaken up. Usable at once, but a bit better after a day in the fridge.
It would stay for weeks, or months in the fridge. Just shake it, and the egg will emulge the water and oil. super simple, and any pigments can be used.
Well it can smell a bit during the hardening process, when the oil and eggs oxidizes, that reminds of "bad farts", but just for some days.
In your case, I will suggest plain egg tempera, as a media, before you apply the paint, and it will be a bit slower, and more mixable at the painting. I would not choose paper in the first hand, but I may have one hint. Make classic egg tempera, by separating just the yolks without skin, and mix it with good water. Cover a good watercolor paper at both sides with the mixture, and let it dry and mature for some days. It would warp otherwise. Or use "hide-glue" as such with gesso-making to impregnate the good paper. Both sides covering is of necessity, or it will warp heavily.
In Sweden we call such animal glues from bones, and hides as "drag-glue", though they shrinks hard when they dries. Super for joining woods, though they stick fast, and closes the gap themself.
It is the only glue for classic violin-makers, for example. It would surely appreciate tempera paint, as well as tints and other, but mind its strengths.
I would suggest, to keep it well diluted, and don't heat it over 60C anytime, and go from both sides.
However, I would rather suggest board coated by gesso, as the masters of tempera have used since the 1200-ds.
Please excuse my home-made english, but see me as a friend if you want.
scoiataeli
I have tried temperas as a child - from Koh-i-Noor, they are affordable and usually given to children to play with. Haven’t had much success with them as 5 years old though 😂 but I would like to revisit them. It seems to me that they behave like acrylics but with matt finish.
Cecile Yadro
Didn't know this brand had tempera. I would say it's between gouache and acrylic, but closer to acrylic. You can watch my last video where I paint a portrait with tempera to have a better feeling of it.
Ana M
@Cecile Yadro Interesting and thoughtful review. I think you should check out tempera without egg - that's the one used in schools (we used Aero - Slovenian brand, but now we also have Koh-i-noor available in stores) and you shouldn't have problems/rushing to clean your brushes. I would love to hear your thoughts when comparing this kind of tempera to gouache. I think that tempera (without egg) is also known as poster colors and it is used in Japan in animation studios.
Björn Johansson
Dear Cecile. I will first of all praise your skills, though I saw you portrait. I loved that. 😀.
At present time, I use watercolor on cold pressed cotton paper, and have only used guache titanium white for small highligt spots. The paper white is not bleached, and needs some extra sometimes. I was close to buy a tube of white tempera, but did not. I happen to have at least one kilo of titanium white dry pigment, though I used to make my own oil paint for windows and such.
Even so, I have plenty of dry pigments saved from the time I was using egg/linseed-oil tempera for decorations in the 80-ths and 90-ths. It was furnitures, wall edging flowers and such.
I never tried painting at paper, so there was always a priming layer underneith, either by dried plain egg/oil-tempera at wood, or pigmented such layers. Even acrylate is working.
It dries quickly, so you can place layers over that, quite in a minute. However it takes months to harden, but then it was time to polishing with hard brushes, and it got a feeling of leather, and very resistant at anything, even outdoors. It is wonderful to touch.
That sort of tempera was made of all the egg, beaten some, and filtered though a nylon stocking, to get rid of skin, and other thick things. The same amount of cooked linseed oil, and some drops of turpentine as conservator. Then the double amount of water was added, and stored in a glass jar after been shaken up. Usable at once, but a bit better after a day in the fridge.
It would stay for weeks, or months in the fridge. Just shake it, and the egg will emulge the water and oil. super simple, and any pigments can be used.
Well it can smell a bit during the hardening process, when the oil and eggs oxidizes, that reminds of "bad farts", but just for some days.
In your case, I will suggest plain egg tempera, as a media, before you apply the paint, and it will be a bit slower, and more mixable at the painting. I would not choose paper in the first hand, but I may have one hint. Make classic egg tempera, by separating just the yolks without skin, and mix it with good water. Cover a good watercolor paper at both sides with the mixture, and let it dry and mature for some days. It would warp otherwise. Or use "hide-glue" as such with gesso-making to impregnate the good paper. Both sides covering is of necessity, or it will warp heavily.
In Sweden we call such animal glues from bones, and hides as "drag-glue", though they shrinks hard when they dries. Super for joining woods, though they stick fast, and closes the gap themself.
It is the only glue for classic violin-makers, for example. It would surely appreciate tempera paint, as well as tints and other, but mind its strengths.
I would suggest, to keep it well diluted, and don't heat it over 60C anytime, and go from both sides.
However, I would rather suggest board coated by gesso, as the masters of tempera have used since the 1200-ds.
Please excuse my home-made english, but see me as a friend if you want.
Cecile Yadro
Dear Björn, thanks a lot for your long message. I can tell you are certainly an expert with tempera, and I'm not! I just wanted to test it and see how it's different from gouache painting. I think this is too complicated for me. I'll make more tries with gesso under the tempera and see how it behaves.
Thanks again!
Rufa Mae B. Ociones
So Tempera is like water color with a slight twist or difference. It’s a dry pigment that is mixed with water but holds lesser pigment and is much transparent than oil. This is great for our school projects.
Cecile Yadro
I would say it's more like gouache than watercolor.
Colleen McChesney
Ohh wow. I have never tried or used temperas at all. I don’t think they would work well with our 🥵 climate here. I struggle with gouache & watercolors drying pretty fast as it is. Gorgeous looking colors and a beautiful portrait that you made. Thanks for sharing this wonderful information with us. 😊
Cecile Yadro
Thank your for your comment. yes, tempera is drying very fast, so it wouldn't be convenient for you!
Pchy kins
I'm not a super expert on tempera, especially those that come out of tubes, since the real ones are mixed from yolk and powder pigments...But, one thing I'm really really sure of about tempera painting is that pigments must be in "wash" form. It needs to be made into transparent consistency and is usually painted from dark to light and NOT TO BE TREATED AS A GOUACHE that is opaque. The form is made from layers and layers of paint thru glazing technique.
Though these pigments come out of tubes, thsese still needs the yolk + water + vinegar mix as a medium in order to achieve the transparency. :)