One Main Version:
* (1982) - Apparition (3:04), Traumstadt I (3:04), Traumstadt I CD (0:01 - 3:07)
All mixes start cleanly. All mixes fade out end with the sudden explosion which begins "Strychnine Chaser." On the Traumstadt I CD, the package lists this song at the end of side one, but it actually begins side two.
Instruments: Drum kit, bass guitar, synth organ, second quiet synth organ, single vocal track with delay effect, plinky keyboard with delay, indecipherable vocoder voice during the first song break, quiet electric guitar.
Sounds a Lot Like:
The vocoder voice during the first song break sounds like the one that appears in the 1983 version of "Love Puppets," without the drum machine.
What It's About:
The scathing narrator describes the behaviour of the people in a "Powder Crowd," a party where everybody is flippant, superficial, self-obsessed, and on drugs.
Lyrics:
Did I ever tell you 'bout your eyes?
Big black saucers, dark and angry,
angel's eyes!
Or maybe it's the speed.
Read you like a paper,
wafer-thin but beautiful
as you stretch to catch your image
on the mirror wall!
Powder crowd.
Powder crowd.
And do you--?
Who are all these people?
You don't fool me with your false concern
turn a fraction sideways,
they all fall over!
Fawning in the snow.
Tell a joke and you don't care
'cause somewhere in the distance,
glasses raised, fists are shaking,
someone taking things too far
in the Powder Crowd.
Powder crowd.
Do you think...?
Who are all these people in the Powder Crowd?
? guards in our direction
quickly lose their interest,
wrapped up in themselves...
how typical!
You say you're an actress,
sure you really dress the part
and the party swings around you
and you know it!
Yes you know it!
In the powder crowd.
Wednesday, September 28, 2011
I'm in the Drill
One Main Version:
* (1982) - Apparition (3:38), Traumstadt I (3:33), Traumstadt I CD (11:24-15:08)
All mixes start cleanly. All mixes fade out, though on the Traumstadt I CD a brief snippet of "Powder Crowd" is heard after a long pause.
Instruments: Electric guitar, bass guitar, drum kit, string synth with phaser effect, single vocal track with delay, violin.
What It's About:
A man is tormented by a playful voice which endlessly urges him to find its source. Eventually he is put in an institution, but the voices continue.
Lyrics:
A bracing river cries hell to chance applause
like the TV chatters on the other side of the door.
And Mike mumbles in the sand on the cold deserted moors,
whispers nagged and tormented...but what he heard he never saw.
Here boy, near boy, there boy,
you're getting warmer all the time boy,
climb boy, find boy,
scrape around you'll find me in the drill boy,
kneel boy, down boy,
now I'm on the table in your tea boy, see boy,
it's me, boy, it's me.
He rigged up microphones, invited 'round his friends
who agreed they heard the words but couldn't comprehend.
And the fear switched to obsession, he'd sit at home and spend
all his time, would speak it clearly...without end.
Bad boy, mad boy, sad boy,
you'll find me lurking in the drawer boy,
poor boy, store boy,
reams of ribbons crawling 'cross the floor boy,
raw boy, claw boy,
? in the lights boy, bright boy, fights boy.
Keep on looking, keep on looking--
BOY!
Gave him a private ward,
with flowers rich blue red and orange
early in the spring,
and nurse would hum the latest hit tunes.
She busted all the vases,
she bumped in the syringe,
and doctor told him he was lucky,
and how in darker ages
poor old Joan of Arc was singed.
They never heard a word about the matter
of the bedsprings, of the ceiling,
of the lampshade, of the teasmade.
* (1982) - Apparition (3:38), Traumstadt I (3:33), Traumstadt I CD (11:24-15:08)
All mixes start cleanly. All mixes fade out, though on the Traumstadt I CD a brief snippet of "Powder Crowd" is heard after a long pause.
Instruments: Electric guitar, bass guitar, drum kit, string synth with phaser effect, single vocal track with delay, violin.
What It's About:
A man is tormented by a playful voice which endlessly urges him to find its source. Eventually he is put in an institution, but the voices continue.
Lyrics:
A bracing river cries hell to chance applause
like the TV chatters on the other side of the door.
And Mike mumbles in the sand on the cold deserted moors,
whispers nagged and tormented...but what he heard he never saw.
Here boy, near boy, there boy,
you're getting warmer all the time boy,
climb boy, find boy,
scrape around you'll find me in the drill boy,
kneel boy, down boy,
now I'm on the table in your tea boy, see boy,
it's me, boy, it's me.
He rigged up microphones, invited 'round his friends
who agreed they heard the words but couldn't comprehend.
And the fear switched to obsession, he'd sit at home and spend
all his time, would speak it clearly...without end.
Bad boy, mad boy, sad boy,
you'll find me lurking in the drawer boy,
poor boy, store boy,
reams of ribbons crawling 'cross the floor boy,
raw boy, claw boy,
? in the lights boy, bright boy, fights boy.
Keep on looking, keep on looking--
BOY!
Gave him a private ward,
with flowers rich blue red and orange
early in the spring,
and nurse would hum the latest hit tunes.
She busted all the vases,
she bumped in the syringe,
and doctor told him he was lucky,
and how in darker ages
poor old Joan of Arc was singed.
They never heard a word about the matter
of the bedsprings, of the ceiling,
of the lampshade, of the teasmade.
The Blessing
Two Main Versions:
* "Pulsing Keyboard Version" (1982) - Apparition (3:10), Traumstadt I (3:10), Traumstadt I CD (8:09 - 11:23)
All mixes fade in from "Spontaneous Human Combustion." The first section uses the "pulsing keyboard" sound which is the structure of so many early songs, then fades into a chant, then a very slow and atmospheric "reprise." All mixes cut off suddenly after a brief burst of building delay feedback.
Instruments: Pulsing keyboard for melody and rhythm, synth chords, two vocal tracks (with occasional delay feedback), Latin chant (with vocoded version in other speaker), slow electric guitar (with short delay), windy synth white noise.
* "Pink Box Version" (1991) - Legendary Pink Box (4:00) unavailable elsewhere
Starts abruptly, and not much different from the original in tone. Lyrically, he "craves attention" instead of "shows affection," and you are instructed to "take it proud" instead of "take it loud." The first section is based around the tremolo organ synth, which -- after a reverb-drenched "Smash the wall!" turns into a quiet collage of keyboard tinkles and backwards guitar. The Latin chant is not used.
Instruments: Bass synth, tremolo organ synth for rhythm, single, single vocal track, backwards electric guitar, tinkling keyboard sounds,
What It's About:
The listener is told to enjoy the sexual attentions of a disturbing god/demon creature, and to view it as a form of "blessing."
Lyrics (adapted from the Cloud Zero Archive):
Don't worry dear, he likes you
it's the way he shows affection.
And don't you think those rolling eyes are cute?
He dances well you must admit
the power of those hands!
Touching here. Touching there.
Touching places you don't know yourself.
Lie back, enjoy it!
Its a clean thing, a holy blessing.
A holy blessing!
Feel the spirit burning deep inside
sliding in and out, in and out.
Take it willing, take it loud,
smash the walls of Jericho!
Smash the walls of Jericho!
Smash the wall, smash the wall...
(noctem quietam et finem perfectum concedat nobis dominus omnipotens, Amen...)
* "Pulsing Keyboard Version" (1982) - Apparition (3:10), Traumstadt I (3:10), Traumstadt I CD (8:09 - 11:23)
All mixes fade in from "Spontaneous Human Combustion." The first section uses the "pulsing keyboard" sound which is the structure of so many early songs, then fades into a chant, then a very slow and atmospheric "reprise." All mixes cut off suddenly after a brief burst of building delay feedback.
Instruments: Pulsing keyboard for melody and rhythm, synth chords, two vocal tracks (with occasional delay feedback), Latin chant (with vocoded version in other speaker), slow electric guitar (with short delay), windy synth white noise.
* "Pink Box Version" (1991) - Legendary Pink Box (4:00) unavailable elsewhere
Starts abruptly, and not much different from the original in tone. Lyrically, he "craves attention" instead of "shows affection," and you are instructed to "take it proud" instead of "take it loud." The first section is based around the tremolo organ synth, which -- after a reverb-drenched "Smash the wall!" turns into a quiet collage of keyboard tinkles and backwards guitar. The Latin chant is not used.
Instruments: Bass synth, tremolo organ synth for rhythm, single, single vocal track, backwards electric guitar, tinkling keyboard sounds,
What It's About:
The listener is told to enjoy the sexual attentions of a disturbing god/demon creature, and to view it as a form of "blessing."
Lyrics (adapted from the Cloud Zero Archive):
Don't worry dear, he likes you
it's the way he shows affection.
And don't you think those rolling eyes are cute?
He dances well you must admit
the power of those hands!
Touching here. Touching there.
Touching places you don't know yourself.
Lie back, enjoy it!
Its a clean thing, a holy blessing.
A holy blessing!
Feel the spirit burning deep inside
sliding in and out, in and out.
Take it willing, take it loud,
smash the walls of Jericho!
Smash the walls of Jericho!
Smash the wall, smash the wall...
(noctem quietam et finem perfectum concedat nobis dominus omnipotens, Amen...)
Tuesday, September 27, 2011
Spontaneous Human Combustion
One Main Version:
* (1982) - Apparition (1:24), Traumstadt I (1:24), Traumstadt I CD (6:41 - 8:10)
All mixes start with more source recordings (this time from a pub maybe), crossfading with an instrumental track, then fading out into "The Blessing."
Instruments: Bass guitar, live drum kit, fast electric guitar.
* (1982) - Apparition (1:24), Traumstadt I (1:24), Traumstadt I CD (6:41 - 8:10)
All mixes start with more source recordings (this time from a pub maybe), crossfading with an instrumental track, then fading out into "The Blessing."
Instruments: Bass guitar, live drum kit, fast electric guitar.
Pay To Be Alone
One Main Version:
* (1982) - Apparition (2:28), Traumstadt I (2:25), Traumstadt I CD (4:11 - 6:41)
All mixes fade in from the previous song ("God Speed"), and all mixes end abruptly.
Instruments: High-pitched organ keyboard, rhythmic sequenced synth with filter, two vocal tracks (sometimes with a sped up and slowed down delay), church organ synth in one speaker.
What It's About:
A woman hides from the outside world, but she can't escape the endless tide of bills.
Lyrics:
How many fingers can you see?
Is it just a blur?
Is the sun a dying spark,
a sheet of mist,
a yellow blister?
Never feel its heat these days,
stay in from the cold.
Watch the TV,
you're feeling rather old.
She sold the chairs,
she sold the carpets,
kept the curtains and the chains.
Keep the world outside,
slept with tide of letters with black borders
each one orders her to pay...pay...pay...and pay...pay...
...to be alone.
* (1982) - Apparition (2:28), Traumstadt I (2:25), Traumstadt I CD (4:11 - 6:41)
All mixes fade in from the previous song ("God Speed"), and all mixes end abruptly.
Instruments: High-pitched organ keyboard, rhythmic sequenced synth with filter, two vocal tracks (sometimes with a sped up and slowed down delay), church organ synth in one speaker.
What It's About:
A woman hides from the outside world, but she can't escape the endless tide of bills.
Lyrics:
How many fingers can you see?
Is it just a blur?
Is the sun a dying spark,
a sheet of mist,
a yellow blister?
Never feel its heat these days,
stay in from the cold.
Watch the TV,
you're feeling rather old.
She sold the chairs,
she sold the carpets,
kept the curtains and the chains.
Keep the world outside,
slept with tide of letters with black borders
each one orders her to pay...pay...pay...and pay...pay...
...to be alone.
Saturday, September 24, 2011
God Speed
Two Main Versions:
* "Pinball Version" (1982) - Apparition (4:06), Traumstadt I (4:04), Traumstadt I CD (0:01 - 4:10)
The Apparition and Traumstadt I cassette mixes start abruptly with the sound of a coin dropping into a pinball machine, whereas the Traumstadt I CD mix fades in a few seconds later.
The middle of the song is drowned in white noise and synth bomb-sounds, separating the two more sequenced sections of the song.
Instruments: Source recording of people playing a pinball machine ending with heavy delay feedback, distorted drum machine pattern, farty synth melody, additional noodly synth, two vocal tracks, sequenced white noise, synth bomb-type sounds, television samples.
* "Pink Box Version" (1991) - Legendary Pink Box (4:00) unavailable elsewhere
Fades in. Not much different from the original version in tone or lyrics, though the "noisy bomb" middle section is represented by chaotic distorted bass and the television samples are quieter and drenched in delay. It ends abruptly.
Instruments: Vibrato bass, drum machine, single vocal track, ominous synth pad chords, synth chimes, synth sirens, thin wobbling synth sound, temple block and gong sounds, television samples with heavy delay feedback, distorted bass guitar, high-pitched electric guitar during the second half, white noise synth, thin ascending/descending synth effect from "Close Your Eyes, You Can Be a Space Captain," violin with heavy oscillating filter.
What It's About:
It's a description of a businessman who is dependent on cocaine.
The samples in the middle of the song seem to be related to television viewing...coupled with the simultaneous lyrics about "what's on" (in the "Pinball Version") this might be reflecting a cocaine addict who watches late-night TV because he can't sleep, though that's stretching it a bit.
Lyrics:
Change.
?
(Woman laughs)
Oh no!
Tie on crooked, fingers fumble,
starts to mumble, almost numb.
The crumbs left on the razor blade
are telling tales of deals that left him penniless!
A nest of grudges. Wondering why
he just can't kick the habit.
He tries and tries, it gets him by
at parties in the supermarket.
Makes him whole,
and if he tries to bait him he'll
lash back and smash the windows in the High Street!
Beats the world up when he's buzzing, bursting out.
Lamps are flashing, bells are ringing. Give 'em hell.
Give 'em hell!
Hellzapoppin'! Pillzapoppin'!
EYES.
(Do you have a ? with what you watch on TV?)
(Sure, what channel do you watch on TV?)
What's new?
What's new?
(? what you watch where you want it, with the brightest--)
(Did you try that scene?)
(Yes, ?)
(Do you have a ? with what you watch on TV?)
(Do you have a ? with what you watch on TV?)
Amphetamine eyes. Belladonna blast.
He's fresher than tomorrow night,
he'll fight for his own way and
play Svengali to the ladies.
He's persuasive.
Jabber, jabber, faster, faster.
Feels the tingle in his nose,
white tornado's in his brain.
He 's sane when all the lights are green
and everyone's agreeing.
Turn a deaf ear and he'll scream and scream!
And kick out for attention.
He's important, he's impatient
and he wants to get there fast.
God speed, God speed.
God speed.
(confident, 45, pop and cautious, and not too malaprop. 'Cause that's how our (?) we don't want to confuse the lot and (?) what's this got to do with our channel?)
* "Pinball Version" (1982) - Apparition (4:06), Traumstadt I (4:04), Traumstadt I CD (0:01 - 4:10)
The Apparition and Traumstadt I cassette mixes start abruptly with the sound of a coin dropping into a pinball machine, whereas the Traumstadt I CD mix fades in a few seconds later.
The middle of the song is drowned in white noise and synth bomb-sounds, separating the two more sequenced sections of the song.
Instruments: Source recording of people playing a pinball machine ending with heavy delay feedback, distorted drum machine pattern, farty synth melody, additional noodly synth, two vocal tracks, sequenced white noise, synth bomb-type sounds, television samples.
* "Pink Box Version" (1991) - Legendary Pink Box (4:00) unavailable elsewhere
Fades in. Not much different from the original version in tone or lyrics, though the "noisy bomb" middle section is represented by chaotic distorted bass and the television samples are quieter and drenched in delay. It ends abruptly.
Instruments: Vibrato bass, drum machine, single vocal track, ominous synth pad chords, synth chimes, synth sirens, thin wobbling synth sound, temple block and gong sounds, television samples with heavy delay feedback, distorted bass guitar, high-pitched electric guitar during the second half, white noise synth, thin ascending/descending synth effect from "Close Your Eyes, You Can Be a Space Captain," violin with heavy oscillating filter.
What It's About:
It's a description of a businessman who is dependent on cocaine.
The samples in the middle of the song seem to be related to television viewing...coupled with the simultaneous lyrics about "what's on" (in the "Pinball Version") this might be reflecting a cocaine addict who watches late-night TV because he can't sleep, though that's stretching it a bit.
Lyrics:
Change.
?
(Woman laughs)
Oh no!
Tie on crooked, fingers fumble,
starts to mumble, almost numb.
The crumbs left on the razor blade
are telling tales of deals that left him penniless!
A nest of grudges. Wondering why
he just can't kick the habit.
He tries and tries, it gets him by
at parties in the supermarket.
Makes him whole,
and if he tries to bait him he'll
lash back and smash the windows in the High Street!
Beats the world up when he's buzzing, bursting out.
Lamps are flashing, bells are ringing. Give 'em hell.
Give 'em hell!
Hellzapoppin'! Pillzapoppin'!
EYES.
(Do you have a ? with what you watch on TV?)
(Sure, what channel do you watch on TV?)
What's new?
What's new?
(? what you watch where you want it, with the brightest--)
(Did you try that scene?)
(Yes, ?)
(Do you have a ? with what you watch on TV?)
(Do you have a ? with what you watch on TV?)
Amphetamine eyes. Belladonna blast.
He's fresher than tomorrow night,
he'll fight for his own way and
play Svengali to the ladies.
He's persuasive.
Jabber, jabber, faster, faster.
Feels the tingle in his nose,
white tornado's in his brain.
He 's sane when all the lights are green
and everyone's agreeing.
Turn a deaf ear and he'll scream and scream!
And kick out for attention.
He's important, he's impatient
and he wants to get there fast.
God speed, God speed.
God speed.
(confident, 45, pop and cautious, and not too malaprop. 'Cause that's how our (?) we don't want to confuse the lot and (?) what's this got to do with our channel?)
Friday, September 23, 2011
Atomic Roses (album)
The Legendary Pink Dots, C30, 1982
- Of All the Girls... - also on Traumstadt I
- What's Next? - also on Traumstadt I
- Playschool - also on Traumstadt I
- Sex - also on Traumstadt I
- Closet Kings - also on Traumstadt I, Four In One, and Legendary Pink Box
- Spiritus - also on Traumstadt I
- Hauptbahnhof - "1982 Version" also on Traumstadt I and Legendary Pink Box
- The Wrong Impedance - also on Traumstadt I
- Passing Thought - also on Traumstadt I
- Atomic Roses #1 - "Two-Part Pulsing Keyboard Version" also on Traumstadt I
- Ideal Home - "Ka-Spel Version" also on Chemical Playschool 1 and Traumstadt I
- Atomic Roses #2 - "Two-Part Pulsing Keyboard Version" also on Traumstadt I
- Other than "Ideal Home," this consists entirely of new songs (with the obligatory mutilated samples from older songs throughout), though both "Sex" and "The Wrong Impedance" share commonalities with older songs.
- Most songs end with sudden bursts of feedback delay, and many feature this effect throughout as well.
- All songs were subsequently compiled on Traumstadt I with the "Apparition" tape.
Thursday, September 22, 2011
Atomic Roses (song)
Three main versions:
* "Two-Part Pulsing Keyboard Version" (1982) - Atomic Roses (4:32, 2:50), Traumstadt I (4:32, 2:50), Traumstadt I CD (9:55 - 14:22, 18:10 - 20:53)
Divided into two parts which are separated by "Ideal Home." Part one starts cleanly, ending fades into "Ideal Home."
Part two starts with the "scented parcels" line. It fades in cleanly and is much faster than part one. It fades out into a 1:50 suffix (a slowed-down version of "Fin," followed by the clicky tremolo/choir track that appeared throughout "Hauptbahnhof"), eventually fading out to end the tape (the Traumstadt I CD mix fades out earlier and misses a quiet squeaky sound at the end of the other mixes).
Instruments: Pulsing detuned keyboard playing chords, noodling bass synth, quiet synth playing occasional notes which don't always match, high-pitched jazzy synth comes and goes (at one point with a female voice saying something indecipherable), second pulsing keyboard fades in and out (sometimes with flange), single vocal track.
* "One-Part 1984 Version" (1984) - Laugh China Doll (5:55)
Much more polished than the first version, with a lot of variation. The lyrics haven't changed significantly. Has two basic parts; in this case the "second part" starts with "and a figure cut the wire." The repeated lyrics "Go LIGHTLY!" are added to the end.
Instruments: Drum machine which sometimes changes patterns during choruses, sequenced keyboard melody, woodwind synth chords, sax-like synth chords punctuating the verses, single vocal track. In the second segment: white noise synth, organ chords, keyboard bells, second (and maybe third) vocal track, martial drum machine drenched in reverb, high-pitched synth effects.
* "Two-Part 1995 Version" (1995) - Textures of Illumina CD (11:49, 8:17), Globus and Decibel (11:49, 8:20)
AKA "Atomic Roses 1995 Pt. 1 - After" and "Atomic Roses 1995 Pt. 2 - Before."
Part one is very similar to the One-Part 1984 version, but much slower and with a rhythm track similar to "Memories of Dr. Bliss" (and "A Crack in Melancholy Time"). This time the song is divided into three segments; the quiet second part begins with the "she laughed" line, followed by a brief return to the first part's instrumentation. The third segment begins with a sample of a preacher saying, "a new day is coming," followed by the "scented parcels" line, then a sound collage of vocals and noises which fade into part two.
Part two fades in from part one, and is mainly a collage of sounds. The first segment features spoken narration about a witch and her victim. The track fades out cleanly.
Instruments for Part One: Metallic percussion loop, lush synth chords with resonant filter sometimes applied, lush synth bass, single vocal track with occasional delay effect, low-frequency pulsing noises, sounds of panicking crowds. Second segment: calliope organ, single vocal track with delay effect, quiet synth drip noises. Third segment: Heavily processed vocal track, heavily filtered synth chords, synth "radio tuning" sounds, burbling synth sounds, quacking distorted synth, indecipherable statement by Ka-Spel, tremolo screaming and voice, sustained high-pitched drone, various loops (indecipherable dialog, crunching machinery)
Instruments for Part Two: Rhythmic thumping, vocal drone, modulated oscillators, single vocal track with phaser effect, ethereal synth pad, pulsing synth sound, heavily distorted synth or guitar, grinding synth machinery, brief backwards female telephone voice speaking Dutch, creaking noises,
What It's About:
Presumably the "atomic roses" are an apocalyptic nuclear weapon of some kind, and the song presents them as being worshiped to some extent. As the last resistance disappears, a woman infiltrates the compound and either activates the roses or summons earthly revenge (it's difficult to tell), destroying everything.
The "Pt. 2 - Before" song seems totally unrelated to the "standard" version. It's about a man who gains new perceptions after being blinded by a witch, who subsequently becomes his lover.
Lyrics for Standard Versions (adapted from the Laugh China Doll lyric sheet):
Fingers flexed, an eyelash flickered,
someone's wicked joke.
Could hear him choking on his laughter
as the limbs twitched in the smoke.
But it was just a spasm jive,
'cause the only sign of life
was in the cruel and icy light
of atomic roses.
Atomic roses. Atomic roses.
Glow brightly in the night.
Metal petals of a dozen beacons,
beaming in the dark
to mark the last resistance, the final protest,
didn't leave a spark.
Even pilgrims kept their distance,
vizors clamped, and itching blisters.
Shrank in lead suits from the kiss of
atomic roses.
Atomic roses. Atomic roses.
Glow brightly in the night.
And a figure cut the wire,
padded barefoot through the fields,
kneeled as klaxons barked in anger,
guards appeared at windowsills.
Tore their hair in disbelief
as a young girl danced beneath,
bouquet clutched between her teeth
of atomic roses.
Atomic roses. Atomic roses.
Glow brightly in the night.
She laughed as thorns grew from her fingers,
pollen gathered in her hair.
And when she sang, the bees responded,
perfume lingered in the air.
Sprinkled seeds, summoned thunder,
drank the rain and watched in wonder
as around her sprang a hundred
atomic roses.
Roses.
Scented parcels rode on breezes,
dropped in deserts, dripped on lawns,
lost in cities, laced the rivers,
brought a new light to the dawn.
With it, sickness flowed,
crept insidious and slow,
leaving just the afterglow
of atomic roses.
Atomic roses. Atomic roses.
Glowed brightly in the night.
Lyrics for Atomic Roses 1995 Pt. 2 - Before:
This colourblind witch pulled my eyes out from their sockets, fed them to a sheep, threw me a stick, and locked the room as she left. And now it's been a week, but the colours are returning. Mutating. Colours I've never DREAMED of. And the daily dish pushed through a flap in the door isn't as plain as it first seemed. I've tasted the fruit of Eden. I've sampled spices from far away planets. And when I'm lonely SHE comes and makes me glad to be alive. And we lie together in the evening sun as it dissolves into a million dancing fireflies, on a pool as blue as her eyes. And I could fly away from here, but you see, I LIKE it here. And here I shall stay until the colours themselves are blind.
* "Two-Part Pulsing Keyboard Version" (1982) - Atomic Roses (4:32, 2:50), Traumstadt I (4:32, 2:50), Traumstadt I CD (9:55 - 14:22, 18:10 - 20:53)
Divided into two parts which are separated by "Ideal Home." Part one starts cleanly, ending fades into "Ideal Home."
Part two starts with the "scented parcels" line. It fades in cleanly and is much faster than part one. It fades out into a 1:50 suffix (a slowed-down version of "Fin," followed by the clicky tremolo/choir track that appeared throughout "Hauptbahnhof"), eventually fading out to end the tape (the Traumstadt I CD mix fades out earlier and misses a quiet squeaky sound at the end of the other mixes).
Instruments: Pulsing detuned keyboard playing chords, noodling bass synth, quiet synth playing occasional notes which don't always match, high-pitched jazzy synth comes and goes (at one point with a female voice saying something indecipherable), second pulsing keyboard fades in and out (sometimes with flange), single vocal track.
* "One-Part 1984 Version" (1984) - Laugh China Doll (5:55)
Much more polished than the first version, with a lot of variation. The lyrics haven't changed significantly. Has two basic parts; in this case the "second part" starts with "and a figure cut the wire." The repeated lyrics "Go LIGHTLY!" are added to the end.
Instruments: Drum machine which sometimes changes patterns during choruses, sequenced keyboard melody, woodwind synth chords, sax-like synth chords punctuating the verses, single vocal track. In the second segment: white noise synth, organ chords, keyboard bells, second (and maybe third) vocal track, martial drum machine drenched in reverb, high-pitched synth effects.
* "Two-Part 1995 Version" (1995) - Textures of Illumina CD (11:49, 8:17), Globus and Decibel (11:49, 8:20)
AKA "Atomic Roses 1995 Pt. 1 - After" and "Atomic Roses 1995 Pt. 2 - Before."
Part one is very similar to the One-Part 1984 version, but much slower and with a rhythm track similar to "Memories of Dr. Bliss" (and "A Crack in Melancholy Time"). This time the song is divided into three segments; the quiet second part begins with the "she laughed" line, followed by a brief return to the first part's instrumentation. The third segment begins with a sample of a preacher saying, "a new day is coming," followed by the "scented parcels" line, then a sound collage of vocals and noises which fade into part two.
Part two fades in from part one, and is mainly a collage of sounds. The first segment features spoken narration about a witch and her victim. The track fades out cleanly.
Instruments for Part One: Metallic percussion loop, lush synth chords with resonant filter sometimes applied, lush synth bass, single vocal track with occasional delay effect, low-frequency pulsing noises, sounds of panicking crowds. Second segment: calliope organ, single vocal track with delay effect, quiet synth drip noises. Third segment: Heavily processed vocal track, heavily filtered synth chords, synth "radio tuning" sounds, burbling synth sounds, quacking distorted synth, indecipherable statement by Ka-Spel, tremolo screaming and voice, sustained high-pitched drone, various loops (indecipherable dialog, crunching machinery)
Instruments for Part Two: Rhythmic thumping, vocal drone, modulated oscillators, single vocal track with phaser effect, ethereal synth pad, pulsing synth sound, heavily distorted synth or guitar, grinding synth machinery, brief backwards female telephone voice speaking Dutch, creaking noises,
What It's About:
Presumably the "atomic roses" are an apocalyptic nuclear weapon of some kind, and the song presents them as being worshiped to some extent. As the last resistance disappears, a woman infiltrates the compound and either activates the roses or summons earthly revenge (it's difficult to tell), destroying everything.
The "Pt. 2 - Before" song seems totally unrelated to the "standard" version. It's about a man who gains new perceptions after being blinded by a witch, who subsequently becomes his lover.
Lyrics for Standard Versions (adapted from the Laugh China Doll lyric sheet):
Fingers flexed, an eyelash flickered,
someone's wicked joke.
Could hear him choking on his laughter
as the limbs twitched in the smoke.
But it was just a spasm jive,
'cause the only sign of life
was in the cruel and icy light
of atomic roses.
Atomic roses. Atomic roses.
Glow brightly in the night.
Metal petals of a dozen beacons,
beaming in the dark
to mark the last resistance, the final protest,
didn't leave a spark.
Even pilgrims kept their distance,
vizors clamped, and itching blisters.
Shrank in lead suits from the kiss of
atomic roses.
Atomic roses. Atomic roses.
Glow brightly in the night.
And a figure cut the wire,
padded barefoot through the fields,
kneeled as klaxons barked in anger,
guards appeared at windowsills.
Tore their hair in disbelief
as a young girl danced beneath,
bouquet clutched between her teeth
of atomic roses.
Atomic roses. Atomic roses.
Glow brightly in the night.
She laughed as thorns grew from her fingers,
pollen gathered in her hair.
And when she sang, the bees responded,
perfume lingered in the air.
Sprinkled seeds, summoned thunder,
drank the rain and watched in wonder
as around her sprang a hundred
atomic roses.
Roses.
Scented parcels rode on breezes,
dropped in deserts, dripped on lawns,
lost in cities, laced the rivers,
brought a new light to the dawn.
With it, sickness flowed,
crept insidious and slow,
leaving just the afterglow
of atomic roses.
Atomic roses. Atomic roses.
Glowed brightly in the night.
Lyrics for Atomic Roses 1995 Pt. 2 - Before:
This colourblind witch pulled my eyes out from their sockets, fed them to a sheep, threw me a stick, and locked the room as she left. And now it's been a week, but the colours are returning. Mutating. Colours I've never DREAMED of. And the daily dish pushed through a flap in the door isn't as plain as it first seemed. I've tasted the fruit of Eden. I've sampled spices from far away planets. And when I'm lonely SHE comes and makes me glad to be alive. And we lie together in the evening sun as it dissolves into a million dancing fireflies, on a pool as blue as her eyes. And I could fly away from here, but you see, I LIKE it here. And here I shall stay until the colours themselves are blind.
Sunday, September 18, 2011
Passing Thought
One main version:
* (1982) - Atomic Roses (2:02), Traumstadt I (2:02), Traumstadt I CD (7:54 - 9:56)
This song is between "The Wrong Impedance" and "Atomic Roses #1," but it consists of several different segments. It's possible that "Passing Thought" is actually only the brief Sally Graves spoken-word section at the end, and that the noisy stuff before that is really a suffix for "The Wrong Impedance." I've chosen to lump these sections together as "Passing Thought."
All mixes fade in from "The Wrong Impedance" and fade out cleanly. Included are backwards tracks from the Stoned Obituary version of "Amphitheatre," and from "Onward," an ominous bass synth snippet with drum machine that hasn't appeared elsewhere, extremely sped up vocals which don't seem to come from any other song (and are impossible to decipher).
Instruments: (In the final section) Sally Graves vocals and flute.
Lyrics:
My greatest fear being fear.
Having lost hope, I'm losing respect for life and its offerings,
decaying surroundings that I once loved,
numbness, oblivion, dispassionate.
Void.
* (1982) - Atomic Roses (2:02), Traumstadt I (2:02), Traumstadt I CD (7:54 - 9:56)
This song is between "The Wrong Impedance" and "Atomic Roses #1," but it consists of several different segments. It's possible that "Passing Thought" is actually only the brief Sally Graves spoken-word section at the end, and that the noisy stuff before that is really a suffix for "The Wrong Impedance." I've chosen to lump these sections together as "Passing Thought."
All mixes fade in from "The Wrong Impedance" and fade out cleanly. Included are backwards tracks from the Stoned Obituary version of "Amphitheatre," and from "Onward," an ominous bass synth snippet with drum machine that hasn't appeared elsewhere, extremely sped up vocals which don't seem to come from any other song (and are impossible to decipher).
Instruments: (In the final section) Sally Graves vocals and flute.
Lyrics:
My greatest fear being fear.
Having lost hope, I'm losing respect for life and its offerings,
decaying surroundings that I once loved,
numbness, oblivion, dispassionate.
Void.
Wrong Impedance, The
One main version:
* (1982) - Atomic Roses (3:35), Traumstadt I (3:35), Traumstadt I CD (4:26 - 8:00)
All mixes fade in from "Hauptbahnhof" (with the first few lyrics cut off as usual) and fade out into a collection of experiments that is probably "Passing Thought."
Instruments: Pulsing organ chords, pulsing high-pitched synth with descending pitch, somewhat random melody played on keyboard, two vocal tracks, occasional heavy delay with distortion
Sounds a Lot Like:
"Louder After Six," because this is the same backing track with new lyrics.
What It's About:
A mismatched husband and wife live unhappily together. Presumably, their circuit has too much resistance.
Lyrics:
...pictures on the TV,
heavy breather on the phone.
Mary screams that it's disgusting,
how she hates it on her own.
So I tell her I'll protect her.
She says she'd rather be alone.
We tolerate each other.
It's hard.
So practical on birthdays,
Mary splashed out on a grill,
said "It's time you fixed the furniture
'cause this bomb site makes me ill."
I just dive beneath the headphones,
see I haven't got the will.
We tolerate each other.
Mary's tidy, I'm not.
Nighttime's just the worst of all,
she wears a full-length sack.
Little hole to push her head through,
and we lie there back to back.
And I dream about a wild affair
but I know I'll never act.
We tolerate each other.
? explosion.
There's one now!
Now I know I'm not a Brando
'cause I don't like margarine.
When I try to be romantic
it just ends up in a scene,
so we live our separate lives but
tell the others we're a team.
We tolerate each other.
It's so hard (but it's hard).
Just not suited.
Tolerate each other.
* (1982) - Atomic Roses (3:35), Traumstadt I (3:35), Traumstadt I CD (4:26 - 8:00)
All mixes fade in from "Hauptbahnhof" (with the first few lyrics cut off as usual) and fade out into a collection of experiments that is probably "Passing Thought."
Instruments: Pulsing organ chords, pulsing high-pitched synth with descending pitch, somewhat random melody played on keyboard, two vocal tracks, occasional heavy delay with distortion
Sounds a Lot Like:
"Louder After Six," because this is the same backing track with new lyrics.
What It's About:
A mismatched husband and wife live unhappily together. Presumably, their circuit has too much resistance.
Lyrics:
...pictures on the TV,
heavy breather on the phone.
Mary screams that it's disgusting,
how she hates it on her own.
So I tell her I'll protect her.
She says she'd rather be alone.
We tolerate each other.
It's hard.
So practical on birthdays,
Mary splashed out on a grill,
said "It's time you fixed the furniture
'cause this bomb site makes me ill."
I just dive beneath the headphones,
see I haven't got the will.
We tolerate each other.
Mary's tidy, I'm not.
Nighttime's just the worst of all,
she wears a full-length sack.
Little hole to push her head through,
and we lie there back to back.
And I dream about a wild affair
but I know I'll never act.
We tolerate each other.
? explosion.
There's one now!
Now I know I'm not a Brando
'cause I don't like margarine.
When I try to be romantic
it just ends up in a scene,
so we live our separate lives but
tell the others we're a team.
We tolerate each other.
It's so hard (but it's hard).
Just not suited.
Tolerate each other.
Subscribe to:
Posts (Atom)
