Overall, this track feels like the listener is being followed or watched at all times. I was inspired by what Slowthai and Denzel Curry did with their song ‘Psycho.’ Their use of strings and industrial sounds create a kind of ambient horror core soundscape and I went for a similar feel. I sampled several dialogue scenes from Alfred Hitchcock’s masterpiece “Psycho,” and based some of the music and timing around those lines. I decided not just to sample sounds but also used effects such as Micheal Norris’ spectral plugins to create white noise along with reverb, delay, and distortion to give the track an anxious edge.

‍Bars 1-18 Watching 1 Watching 2  
0:00-0:34
The song starts out with high strings and a sample from Alfred Hitchcock's “Psycho.” Distorted drums and percussion sounds come in slowly, and tension builds until the end of the section. A lot is going on and it’s pretty much right in your face.
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Bars 19-30 0:35-0:57
The distorted drums and samples, come in stronger and start more of a beat with a pulse. The dialogue continues with movie projector samples and dispersed white noise, rhythmic layers, and strings. I chopped up a few string samples and repeat them rhythmically with delay. A synth bass sound comes in and fills out the bottom.
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Bars 31-48 0:58-1:29
In this section, the drum beat mostly stops to make more space to focus on the sampled dialogue, and then in the next section, everything comes back in.

I also used a moving filter on a long sample of bubbling cauldron. I used clips of white noise and distorted sounds including scissors and some sparse drum hits.

Bars 49-69 1:30-2:05
Now it is just the filtered bubbling, with some white noise and dialogue samples coming and going throughout. Toward the end of the section I bring back the synth bass with longer held out notes this time through.
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Bars 70-86 2:06-2:39
It starts out empty, and then all of a sudden, the cycle continues, starting with film projector sample. This section moving forward is a lot like the first half but with no dialogue samples. It slowly builds with lots of cuts and chopping sound bites and pieces of samples spliced together. Near the end of this section, crazy distortion and chaos continues and the beat and textures change overtime.
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Bars 87-98 2:40-3:01
The synth bass come back in again, and then the drums get louder now, extremely intense. What almost sound like washing machines come in to make the whole thing more dramatic and pulsing. This time through I added a drum layer with a self oscillating feedbacking delay.

‍Bars 99-103 3:02-3:09
After the drums, bass and projector samples stop, I continue the white noise and string samples, and fade in the bubbling cauldron. These continue along with the delay from the previous section’s drums until I automate the feedback suddenly to zero and cut all of the clips at the same time for a sudden ending.