Get Used To Me

Get Used To Me delves into the chaotic and often contradictory nature of modern romance, mental health, and emotional dependency. Through its hyperpop lens, the track explores the friction between desiring independence and craving intense connection. The explicit narrative follows a speaker dealing with a partner who is emotionally distant or has chosen to pull away, highlighted by the realization, "you said you wanna stand tall, girl, I think you said it all." Implicitly, the song touches upon feelings of inadequacy, the coping mechanism of escapism, and the chaotic internal state of someone unable to let go.

The contrasting statements throughout the lyrics—such as wanting the person to leave but simultaneously needing them—illustrate a deeply fractured state of mind where love, resentment, and anxiety coexist. The central message revolves around the painful process of accepting someone's departure while grappling with one's own lingering attachments, highlighting how heartbreak can cause emotional regression and frantic desperation.

A frantic, emotional monologue is delivered by a speaker grappling with the sudden distance in a once-close relationship. The protagonist begins with a plea for escapism, suggesting abandoning their current life to go on a spontaneous holiday, proposing to skip familiar places like Montreal and fly far away to Marseille. This geographical displacement serves as a desperate attempt to reset the connection and avoid the reality of their unraveling romance. However, the illusion is immediately shattered by the partner's assertions. The partner has declared their independence, stating they are no longer involved, that they went out on their own, and that they wish to 'stand tall' without the speaker. The protagonist internalizes this painful rejection, repeating the realization that the partner has 'said it all,' leaving no room for misinterpretation.

Despite understanding the finality of the situation, the speaker regresses into a state of vulnerable dependency. They express a desire to 'grow up,' acknowledging their own emotional immaturity, yet simultaneously beg the partner to 'sing a song' and 'show up' so they can party until dawn. This juxtaposition highlights a coping mechanism rooted in distraction and denial. The title phrase, 'get used to me,' acts as both a defensive demand and a desperate plea for the partner to accept their chaotic, flawed nature.

As the narrative progresses, the tone shifts from pleading to accusatory. The speaker confronts the partner's perceived hypocrisy and lack of effort, stating, 'you don't get sh*t done' and accusing them of shooting 'the last gun,' a metaphor for dealing the final, fatal blow to their relationship. They mock the partner's attempt to run away from their problems. Yet, this anger is fleeting and quickly dissolves back into profound sadness and self-blame. The climax of the story is marked by raw, contradictory confessions. The speaker admits, 'that's on me, I don't know, I miss you,' taking the burden of the failure onto themselves. In a deeply poignant display of toxic attachment, they ask the partner to 'go somewhere else' because the proximity hurts, but immediately follow it with 'I need you.' The narrative concludes with this unresolved emotional gridlock, as the speaker begs the partner to be their 'one of one,' entirely unable to let go of the bond they desperately need to survive.

Get Used To Me was officially released on February 24, 2026, as a single by Sorisa, a musical alias for the talented songwriter and vocalist Sebastian Pena-Guzman. The track was released under Sorisa Entertainment Inc. and distributed under an exclusive license to Atlantic Recording Corporation. Sebastian Pena-Guzman collaborated closely with producers and co-writers Arthur Pavlov Vyacheslavovich and Shevchenko Nikolay Alexsandrovich to craft the song's distinctive sound. The creative process involved blending emo-rap lyrical sensibilities with the high-energy, distorted hallmarks of the internet-born hyperpop and glitchcore movements. The track quickly found its footing in online subcultures, heavily promoted and embraced by platforms like Bitekivibes, which paired the song with anime aesthetics (AMVs), further cementing its place within the digital music landscape.

The song features a relatively loose, conversational rhyme scheme that occasionally tightens into AABB or monorhyme patterns during its more confrontational verses (e.g., done / gun / run). Sorisa frequently uses perfect end-rhymes such as Montreal / tall / all to give the fragmented, anxious thoughts a sense of melodic cohesion. Rhythmically, the track is highly syncopated and fast-paced, driving forward with a frantic energy typical of the glitchcore aesthetic. The interplay between the stuttering, hesitant lyrical delivery—such as the purposefully glitchy "get used— g-get used—"—and the relentless, driving electronic beat emphasizes a feeling of digital and mental breakdown. The pulsing meter effectively traps the listener in the same cyclical, breathless anxiety experienced by the protagonist.

Sorisa employs a rich array of literary and musical stylistic techniques that define the hyperpop genre. Literarily, the track utilizes extreme repetition (such as the looping of "said it all" and the title phrase) to simulate an obsessive, racing mind unable to process rejection. The lyrics also rely on striking juxtaposition and paradox—most notably in the lines, "can you go somewhere else? I need you"—to highlight the deep internal conflict of the speaker. Musically, the song features rapid tempo shifts, heavily quantized electronic beats, and aggressive, blown-out 808 basses. The vocal delivery is heavily treated with autotune and pitch-shifting, creating a digital, almost non-human texture that blurs the line between organic emotion and artificial chaos. This deliberate "glitching" effect mirrors the emotional breakdown described in the text.

Released in early 2026, Get Used To Me serves as a strong example of the continued evolution of the hyperpop and glitchcore movements. It demonstrates how modern internet-era artists utilize chaotic, boundary-pushing electronic music as a vehicle for raw, emo-adjacent expression. The track quickly found a dedicated audience within online subcultures, particularly in the Anime Music Video (AMV) community and via underground electronic curation channels like Bitekivibes. Its fast-paced, highly emotive qualities make it a perfect soundtrack for high-energy visual edits. The song solidifies Sorisa's place in the digital music sphere, bridging the gap between niche internet experimentalism and emotionally resonant, accessible pop structures.

The lyrics of Get Used To Me are rich with geographical and combative metaphors that illustrate emotional distance. The opening lines, "skip Montreal, might as well fly to Marseille," symbolize a desperate urge for physical escapism—the speaker equates vast geographical distance with the potential for emotional healing and starting anew. The imagery of shooting "the last gun" serves as a poignant metaphor for the final, irreversible betrayal that effectively killed the relationship. Furthermore, the recurring plea to "grow up" acts as a symbolic realization of the speaker's own emotional immaturity, while the chaotic, glitch-heavy hyperpop production itself functions as a sonic metaphor for a mind overwhelmed by anxiety, dysregulation, and the frantic inability to let go.

The phrase "get used to me" is the song's central motif and acts as a defiant, albeit insecure, defense mechanism against the partner's rejection. The repetition of "you said it all" serves as a painful, echoing reminder of the relationship's end, constantly circling in the speaker's mind like a broken record. Additionally, the vulnerable hook, "that's on me, I don't know, I miss you," recurs to ground the song's otherwise chaotic digital energy in a moment of raw, unpolished human emotion. By repeating these specific lines, the song mirrors the obsessive nature of heartbreak, where the mind continuously returns to the same core feelings of inadequacy, longing, and unresolved tension.