MUSIC
Released Oct 2025
DAYS SPENT
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“Days Spent” was the first song I fully produced and recorded at Sonic Ranch.
I had already spent years there helping other people make records—watching, listening and absorbing everything I could. I learned how decisions get made inside a session and how a song changes when it moves from an idea into something people can actually hear. But learning beside other artists was different from sitting down and making a record that had to carry my own name.
“Days Spent” was the moment all of that knowledge had to become instinct.
The song is about a habit I was trying to break: believing I could change people or control a situation if I explained myself better, tried harder or waited a little longer. I would become frustrated when reality refused to become what I thought it could be. Eventually, I had to understand that constantly fighting what something is does not make it different—it only keeps you trapped inside the fight.
Letting go is not the same as saying that everything was okay. Acceptance is not approval. It is seeing people, circumstances and yourself clearly enough to stop negotiating with reality.
That idea also shaped my experience producing the song. I had to stop second-guessing every choice and trust what I had learned. Instead of waiting for someone else to tell me what the record needed, I had to listen closely enough to answer that question myself.
“Days Spent” is important to me because it marks two kinds of release at once: releasing the need to change what I could not control, and finally allowing everything I had learned at Sonic Ranch to become part of my own voice.
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V1
All the faces and all the changes,
I’ve lived too many different lives.
Give me patience and judge me gently,
I know, I fucked up once or twice.
Pre
But im just trying to piece together
All my little thoughts.
I know you want to keep me forever
But I need to let go, I need to let go
CH
All my days you know,
I’ve spent them wrecking my brains
and trying to change them.
I should just have walked away
I should’ve just let go I need to let go
V1
Hold me closer,
Accept it’s over
It’s dissapointment season anyway
Pre
And im just trying to piece together
All my little thoughts (little thoughts)
I know you want to keep me forever
But I need to let go, I need to let go
CH
All my days you know,
I’ve spent them wrecking my brains
and trying to change them.
I should just have walked away
I should’ve just let go, I need to let go
Oh Oh what is wrong with me?
( what is wrong? )
Oh oh, oh oh
Should have just let go I need to let go
Bridge
It hurts to let the voices go,
They’re part of me,
they’re all I know,
It hurts to let the voices go,
They’re part of me,
they’re all I know,
Should have just let go I need to let go
CH
All my days you know,
I’ve spent them wrecking my brains
and trying to change them.
I should just have walked away
I should’ve just let go, I need to let go
Oh Oh what is wrong with me?
( what is wrong? )
Oh oh, oh oh
Should have just let go I need to let go
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Written, Composed, Produced, & Performed by: Natalia Chernitsky
Drum Programming: Diego Cruz & Natalia Chernitsky.
Mixed by: Victor Gaspar.
Mastered by: Chris Gheringer.
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SONGS INSIDE MY WORLD :)
This is a collection of songs I return to—the ones that shift something in me, spark an idea or make an ordinary moment feel cinematic. I share new discoveries on Instagram and keep adding favorites here.
Tell me what you’ve been listening to—and why it stays with you, I might just add it to my playlist!
Released August 7, 2026
FLY TO L.A.
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“Fly To L.A.” came from a relationship that felt cinematic before I understood what was actually happening.
Someone from Norway flew to Los Angeles and told me he loved me. I did not ask him to fly here. That distinction matters because the central line—“Fly to L.A., tell me that you love me”—can sound like a romantic request, but it is also a stunned question: you flew all this way, you told me you loved me, so why am I scared?
When I showed him an early version of the song, he asked why I thought I was afraid for him to love me. The real answer was more complicated than simply being scared of intimacy. I had reached a point where I no longer completely trusted my own judgment. I wanted to believe that I had grown into someone who knew whom to choose. What frightened me was not love itself—it was the possibility of being loved in the wrong way again and mistaking intensity for safety.
He knew my history and the things that made it difficult for me to trust. Still, the relationship began to feel like a fantasy we were both participating in without fully considering what it would leave behind. The grand gesture was real, but so was the discomfort underneath it.
The production follows that realization. The song begins softly, inside the fantasy, and gradually becomes more crowded and unstable. There are more than eighty vocal layers. As the layers grow, the questions stop sounding like one private thought and become a room full of voices demanding an answer I already knew but needed to hear more loudly.
Cache Olson and I moved between Pro Tools and FL Studio, teaching each other as we worked. We used my TR-08, and the chorus toms move through an unusual 5/4 pattern that keeps the pulse slightly off balance. Writing with people who spoke different languages also changed the song: someone would suggest an idea, and I would realize there was a phrase or feeling in Spanish that held it differently.
That bilingual movement became part of how the song thinks. English and Spanish do not simply translate each other; they reveal different sides of the same fear.
“Fly To L.A.” does not resolve that fear neatly. It stays inside the moment when something can be romantic and overwhelming, sincere and unsustainable, beautiful and still wrong for you. Sometimes the questions become loud because a quieter part of you has known the answer all along.
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V1
Nothing stays the same and the change is loud
Isn’t that what I wanted?
I cant really tell whats mine to have
I forget what i wanted
Pre
Dime por que siento
miedo de caer?
Por qué estás tan cerca y lejos de tener
(translation)
Tell me why I feel afraid of falling
Why are you so close yet far from holding?
Nothing feels the same and the change is loud
Isn’t that what I wanted?
CHFly to LA
Tell me that you love me
Why am I scared?
Is this too early?
Say that you’re here only to hold me
Why am I scared for you to love me?
(oohooh love me, why am I scared?)
V2Tuve tanto tiempo de pensar
pero no entiendo nada
(translation)
I had so much time to think
But i still don’t understand anything
Maybe I’m not supposed to understand
Feelings floating up they’re surfacing
PREDime por qué siento miedo de volar
Quemaría mis alas? Too close to the sun
(translation)
Tell me why I feel afraid of flying
Would I burn my wings?
CH
Fly to LA
Tell me that you love me
Why am I scared?
Is this too early?
Say that you’re here only to hold me
Why am I scared for you to love me?
Bridge
Why am I scared?
oohooh
Why am I scared?
CH
Fly to LA
Tell me that you love me
Why am I scared?
Is this too early?
Say that you’re here only to hold me
Why am I scared for you to love me?
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Production + Composition: Cache Olson & Natalia Chernitsky
Lyrics: Natalia Chernitsky, Dillon Turman, & Safiyah Hernandez.
Mixed by: Ettore Grenci
Mastered by: Ohad Nissim
DANCE ARCADE
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“Dance Arcade” began after I quit Sonic Ranch and moved back home.
I had spent years surrounded by people making records, learning how music was written, produced and finished. But after leaving, I became deeply depressed. Even with everything I had learned, I felt unable to create anything of my own.
One night, I decided to make the problem smaller. I told myself I did not need to finish an album or even a full-length song. I only had to finish one minute of music—and I gave myself two nights to do it.
That limitation gave me somewhere to begin.
I had recently bought a collection of Pocket Operator drum machines, and their size helped inspire the tiny scale of the project. I would make a beat, listen to it while in the car or walking my dog, and write as I moved. As soon as an idea felt solid, I would run back to the studio and record it before I could overthink it.
The experiment eventually became an entire one-minute EP. I will release the complete project when I feel emotionally ready, but “Dance Arcade” is the first part of that world I allowed other people to hear.
The one-minute format also reflects how quickly music and entertainment move now. Songs arrive, disappear and are replaced almost immediately. Everything competes for an attention span that seems to get shorter every day. Instead of pretending that pressure did not exist, I wanted to use it as part of the form: how much could I build, say and make someone feel before the minute ended?
So the project became three things at once. It was a way back into music after a period when creating felt impossible. It was a response to the speed of the industry and the way we consume art. And it was proof to myself that I could still take an idea from beginning to end—even if I had to begin with something very small.
“Dance Arcade” is only one minute long, but finishing it in two nights (8hrs total) changed something in me. It reminded me that I was still capable of making music. I did not need to return with something enormous. I only needed to finish one minute—and let that minute lead me somewhere else.
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I’m gonna dance, ‘till I bleed
‘Till I bleed.
Voy a bailar,
Ya es muy tarde ‘pa olvidarte
Ya es muy tarde
I’m gonna dance
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Written, Composed, Produced, Engineered, Mixed and Performed by: Natalia Chernitsky
Released Oct 2024
