Stockholm artist GERD introduces Truth To Be Told. A tension-led entry point where instinct, identity shift, and unresolved emotion move inside one continuous system.
For GERD, Truth To Be Told starts with imbalance. A quiet shift before any visible break. Instinct leads, not logic, with ambiguity left to carry the weight.
Ahead of More Water Than Anything, the track holds where identity blurs and clarity slips—softness and tension running in parallel through a gradual build and close, intimate vocal.
It stays inside the moment where something feels off, not yet broken.
I like when something feels fragile it’s a beautiful thing to build and release tension underneath.
What was the first idea or feeling that shaped Truth To Be Told?
It started with a feeling of something not being right anymore.
Like trying to stay in something that already felt off.
It didn’t have a clear ending, more like that moment when something inside you shifts, even before anything actually changes.
We made the track to fit, so you can almost feel yourself being lifted out in the ending.
How did you balance instinct vs overthinking in the writing?
I think I tried not to balance it too much.
If something felt right, I followed it, even if it didn’t make sense yet.
I was less interested in understanding it, and more in staying inside it.
How did you decide what to reveal versus leave unresolved?
I didn’t really decide.
I think I trust that not everything needs to be explained. Especially in this song.Some things feel more honest when they’re left a bit open. And I’ve been working on notoverthinking and trying to ”clean up” my creative process.
How personal is the identity loss running through the track?
It’s very personal, but not in a literal way.
It’s more the feeling of not recognising yourself in something anymore.
Like you’ve slowly moved away from who you were without noticing. My favorite lyrical part ofthe song is ”I used to sparkle in a room”, I feel like it explains a feeling of not knowing why, butstill being able to feel it so strongly, that you’re not yourself.
How did you approach the contrast between softness and tension?
I like when something feels fragile it’s a beautiful thing to build and release tension underneath. It creates something that you can almost step into.
So it was about letting both exist at the same time, not resolving it too quickly.Keeping that push and pull throughout the song.
What role does the key change play in the song’s emotional shift?
It became a way of lifting the song.
Almost like moving up from under the surface, step by step.
Each shift opens something a bit more, and makes it harder to go back.
How important is ambiguity in your songwriting?
It’s very important for this song.
I think emotions aren’t always clear, so I don’t want the songs to be either.
I like when something can exist without being fully understood.
How does this track set the tone for More Water Than Anything?
It sits right in that space the album moves in.
That moment before something breaks, where you’re still inside it but already feel it changing. Thealbum title came from when I was watching a documentary about the human body. It was such a realization, we built a whole complex emotional world, but we’re mostly made of something so simple as water. It almost became a bit absurd.
What’s changed most in your creative approach for this cycle?
I’ve stopped trying to make things so perfect.
I’m more interested in what feels raw and human now, even if it’s a bit messy.
How did you structure the arrangement to balance layered atmospheres with clarity?
We let things build gradually, instead of filling everything at once.
So even if there are layers, there’s always space for the main feeling to come through.
What mixing choices kept the vocal intimate within a dense soundscape?
We tried to keep the vocal very close and present, almost like it’s inside your head in the beginningand then let it build.
Even when the production grows, the vocal stays quite exposed, so the emotion doesn’t get lost.
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