Embers in the Glass
- The Autistic Lens
- Dec 27, 2025
- 5 min read
A record about staying
I didn’t make this album because I wanted to.
I made it because something in me was breaking faster than I could explain it, and the only way I know how to keep myself here when that happens is to build something honest enough to hold the weight.
Embers in the Glass is not a diary. It’s not a highlight reel. It’s not a redemption arc. It’s what came out of me while my nervous system was on fire, while love collapsed into questions, while systems I was supposed to trust kept mistaking survival for malfunction.
It’s an album about panic.
About psychosis.
About heartbreak that doesn’t just hurt emotionally, but rewires the body.
About what happens when tenderness becomes dangerous, and when staying kind starts to feel like a liability.
And it’s also about what comes after that.
Not healing as triumph.
Not closure as applause.
But staying.
Breathing.
Choosing not to disappear.
The broadcast
The album opens with “The End”, because that’s where it started for me.
Not with a single catastrophe, but with the slow realization that something essential had already collapsed. Not a meteor. Not a villain. Just a thousand small compromises that taught us to confuse harm with help, neglect with efficiency, silence with peace.
That song isn’t about despair. It’s about clarity. About seeing that the world doesn’t usually end in flames — it ends in paperwork, in policies, in quiet decisions that no one wants to take responsibility for. It’s the sound of someone realizing that being human is becoming conditional.
That realization doesn’t stay abstract for long.
Denial as routine
“Nothing Is Wrong (Breaking)” is the sound of depression disguised as productivity. The ritual of repeating “I’m fine” until it almost works. Wake up. Check the phone. Take the meds. Drink water. Go to work. Smile correctly. Look away at the right moments.
It’s the song that lived in my body long before I knew it was a song. The mantra you use to keep the panic from blooming. The lullaby you sing to yourself so you don’t have to feel the grief underneath.
But denial has a shelf life.
Eventually, tenderness starts to die.
When love becomes a wound
“Tenderness Is Dying” was written from the place where love stops feeling like shelter and starts feeling like exposure. Where intimacy is fast and intoxicating — and then suddenly gone. Where you are praised, desired, welcomed… and then quietly erased.
It’s not about one person. It’s about a pattern. About what happens when care is treated as a resource to be extracted, not a responsibility to be held. About learning, too late, that being open doesn’t mean being safe.
That song is angry. It’s exhausted. And it’s also the beginning of boundaries.
Because once you name the wound, you start to see the shape of what caused it.
Naming the pattern
“Demon in Angel Wings” isn’t about monsters. It’s about humans.
About the fact that the most damaging harm often comes wrapped in good intentions, sacred language, or beautiful promises. About the moment when the mask slips and you realize the thing hurting you was never supernatural — it was practiced.
That song is where moral clarity enters the album. Not vengeance. Not punishment. Just the quiet, terrifying recognition that some people choose harm and call it love.
Seeing that changes you.
The body breaks too
By the time “Glitch in the Soul” arrives, the album has moved fully into the body. Because the body keeps score whether we want it to or not.
That song came out of living in a system where symptoms become forms, forms become files, and files become judgments. Where your heart rate, your breath, your pain are all tracked — but rarely believed. Where being functional is rewarded even when it’s killing you.
It’s a song about masking competence while unraveling internally. About being told you’re fine because you can still perform. About realizing that survival itself has become a kind of labor.
That’s where the question starts to form:
Am I going insane — or am I finally seeing something clearly?
The mirror opens
The album answers that question twice.
“Mirror Into the Abyss (Sanity)” is the last coherent moment. The part of the spiral where you can still narrate what’s happening. Where you’re asking for help, trying to reason with the fear, still able to say, Something is wrong.
It’s followed by “PLEASE HOLD,” which is the sound of attachment panic colliding with a world that keeps disappearing. Of love that opens fast and closes without warning. Of “seen” with no reply. Of trying to explain your needs without being punished for having them.
That song is claustrophobic on purpose. It’s the feeling of being evaluated while you’re still bleeding. Of wondering whether you’re safe or just quiet. Loved or just useful.
From there, the album locks into hypervigilance.
When survival becomes identity
“Safe Mode Saint” is what happens when the watchtower moves inside your chest. When you’re monitoring your tone, your timing, your intensity, your humanity — constantly. When you become both the guard and the prisoner.
That song is not random madness. It’s patterned. Learned. Logical, in the way trauma often is. The paranoia isn’t belief — it’s sensation. A nervous system that has been punished for existing too loudly deciding that being watched is safer than being surprised.
And then the floor disappears.
The rupture
“Mirror Into the Abyss (Insanity)” is the peak of the album. The moment where narration fails and the loop takes over. Where time stutters. Where the ground is never there when you reach for it.
That song isn’t written to be dramatic. It’s written to be accurate. Psychosis doesn’t feel like chaos — it feels like certainty without footing. Like every thought makes sense until you try to stand on it.
It’s the sound of someone breaking and knowing it.
And then, finally, the truth arrives.
Aftermath
“Nothing Is Wrong (Broken)” is the mantra flipped inside out. The moment where denial can no longer hold. Where the carousel turns into a funeral march. Where you realize you cannot lullaby a burning world and call it moving on.
It’s an ugly song. It’s supposed to be.
Because pretending stops here.
Rest is not surrender
The last four tracks are where the album changes shape.
“Carry the Night” is not about hope. It’s about permission. Permission to be unfinished. Permission to rest without apologizing. Permission to stop fixing everything at once.
It’s the song that says: you don’t have to shine tonight. Staying is enough.
From there, “Loving Fast, Loving Safely” lays out new vows. Not walls. Not bitterness. Standards. Clarity. The refusal to confuse intensity with intimacy, chemistry with commitment.
That song is where I stop giving away keys just to prove I’m not afraid.
Dawn, not fireworks
“Carry the Dawn” and “Embers” close the album the way it needed to be closed: quietly.
Not with victory.
Not with resolution.
But with stubborn warmth.
These songs are about choosing care when the world makes it expensive. About refusing to let systems,
