One main version:
* (1982) - Premonition (5:42), Ancient Daze (6:17)
The song crossfades in from the Full Band Version of "Voices" -- obscuring the first line of lyrics -- and crossfades out into "Premonition 1." On "Ancient Daze" the song fades in and out to silence but still contains thirty seconds of those tracks. Near the end of the song the tape is deliberately slowed down, then sped up slightly.
On "Ancient Daze" the sound quality is terrible. It sounds like it was recorded in a room from a stereo speaker playing the song. It appears to be monophonic and has been given a cathedral reverb.
Instruments: Drum machine; gentle electric guitar; bass guitar; single vocal track; occasional comments and laughter by band members; whistling; quiet snippets of sometimes unidentifiable backwards music (including "Film of the Book," "Hanging Gardens," and the chatter from the Full Band Version of "Louder After Six.")
What It's About:
The narrator has been persecuted since childhood for reasons that he doesn't understand, though we get the sense that he's more than a little "odd." He has retreated to a cupboard and found love and affinity with a houseplant.
Lyrics (adapted from the Cloud-Zero archive):
Winston was the [?]
but my Aunt [?]
He'd spit in my face and I'd smile back
so he hit me with a shoe.
And though Aunt Grace would spank him
he'd creep back with a file and try to
slowly saw my legs off!
Mess up my pajamas.
[?] 'bout my comics.
Pull my hair and kick my chair, oh yeah,
you know he really was a charmer.
Never understood the reasons
why he picked on me.
I'm just a guy with funny eyes
who's looking for a little peace.
(He's a fruitcake)
Winston was a loonie,
should have been locked away.
But it's me they think who's crazy,
turn decent people gray.
And my nurse won't stop complaining,
won't stop whining to her friends,
"Why don't they put him in a home?
Give him an infection.
Give him an injection.
Why not put him in an airplane
and press the button marked ejection?"
Really don't know why the lady
saves her knives for me.
But if she tries to jab me now...
I'll kill her with my scream.
AHHHH!
You'll find me in the cupboard,
there's a padlock on the phone.
And the potted plants hum lullabies
while I nibble on a bone.
But we get along like lovers,
can be such a touching scene,
the kind that makes you cry at movies!
[?] towers,
pull my heartstrings, raise my powers,
though he reads beneath my sleeves
the people beckoned and I'll flower.
The plant, it feels the same way
started learning how to meet.
Drops a petal, shakes a stem,
gently blows a kiss.
Drops a petal, shakes a stem.
Why You Should Care:
The chord progression and melody were also used during the "do you think that they'll lock us away" section of the Full Band Version of "Red Castles."
Showing posts with label Ancient Daze. Show all posts
Showing posts with label Ancient Daze. Show all posts
Saturday, May 17, 2008
Tuesday, May 13, 2008
Amphitheatre
Two main versions:
* "Stoned Obituary Version" (1981) - Chemical Playschool 2 (5:09), Ancient Daze (4:59), Ancient Daze CD-R (5:00)
On Ancient Daze the song fades in suddenly, almost cutting off the first words (the CD-R version fades in even faster). On both releases there is a tape glitch fifty seconds in, causing the sound to flicker back and forth. Unlike the Funky Version there are no choruses. During the final few seconds the keyboards start playing chaotically.
The chord progression and melody for this song is identical to "Stoned Obituary" (except for the 1980 Version of that song).
AKA "Amphitheatre 1."
Instruments: Sequenced keyboard bassline; rotor effect over synth and audio samples providing the rhythm; organ chords; two vocal tracks, one of which comes and goes throughout; bell-like keyboard melody that sometimes becomes white noise; single-pattern drum machine begins alternating at 1:50; vocoder voice during the middle portion saying "sing while you may"; high-pitched synth melody starting at 3:10.
* "Funky Version" (1982) - Premonition (3:35), Under Triple Moons (3:37)
This version has a more typical song structure than the original. On both releases, the song crossfades in from the end of the previous ("Submerged"), almost cutting off the first words. Frequently the tracks are fed through a sharp digital reverb. The word "nicotine" is added after "not too clean," and the line "and the rain beats down on the amphitheatre" is added as a chorus between every second verse. The "it's really very cute" line has been removed, as have the "much too heavy," "much too large," and "sing while you may" lines.
The verse about flying as been reworked as follows:
But I can fly, I can fly.
If I could just see their faces
as I glide between the planets,
playing I spy from a cloud.
Subsequent lines about rain and freedom have been removed. On Premonition it fades into the following song ("Voices"), but on Under Triple Moons it is abruptly faded out beforehand.
Instruments: Single-pattern drum machine; two keyboard basslines; organ chords; two vocal tracks; flashing synth effects; crowd samples; tinkly synth effects; synth percussion accents;
What It's About:
In a frenzied Roman amphitheatre during the reign of Caesar, Christians are being killed in the arena as the narrator looks upon (and sometimes participates in) various grisly scenes, including a fight over a severed hand. He wonders about the morality of the situation but is most annoyed at the enthusiasm of the crowd. Eventually it's revealed that the narrator was one of the Christian victims, now looking down at the crowd as they get drenched by a sudden rainstorm. Some of his references are anachronistic (car crashes and guns, for example).
Plus, I don't believe Caesar fed Christians to lions.
Lyrics (adapted from the Cloud-Zero archive):
Found a hand in the sand
where they covered up the remnants.
Not enough to show the Joneses
but should look good on our wall.
Not too clean.
Clearly never saw a nail-file.
Still the others tried to claim it
but I just swept past them all.
Hear them sing, feel them swing.
Aren't you trembling with excitement?
Can't stop my pulse from racing
when I'm faced with scenes like this.
Caesar lives. The empire lives.
Must be twenty fires burning.
If the guard would loose the lions,
I'd surely die in bliss.
Do you like my cross, as it
sparkles in the white light?
Cut in solid silver, swinging round my neck,
it's really very cute.
Thousands died on them,
millions died for one.
Impressive as the stake, gun,
the thumbscrew, or the rack.
But you can't sling a stake 'round your neck.
It's much too heavy.
It's much too large.
Sing while you may.
Standing here, sipping beer,
aren't we being rather tasteless?
I'm ravenous with hunger.
Can't we simply sneak back home?
Harmless fools, gaping ghouls.
Have they never seen a car crash?
It's [?] and it's raining.
Not a freaks' night out in Rome.
Gazing down at the ground
where the flies mill round my carcass.
Teach you how to be a martyr
To raise interest from a crowd.
But I don't care.
'Cos I can fly.
Fly, fly through the air.
Play "I spy" from a cloud.
I spy on the crowd.
Down, down in the amphitheatre.
The rain beats down on the amphitheatre.
They're getting very wet, so upset.
The rain beats down on the amphitheatre.
Down, down below me,
but I'm free.
Free from the world.
I love the amphitheatre.
Down, down. Down, down.
Why You Should Care:
"Amphitheatre Shuffle" is sort of a hyperactive extract from the Stoned Obituary Version, without the lyrics.
The words "sing while you may" from the Stoned Obituary Version should be familiar to anybody reading this...
* "Stoned Obituary Version" (1981) - Chemical Playschool 2 (5:09), Ancient Daze (4:59), Ancient Daze CD-R (5:00)
On Ancient Daze the song fades in suddenly, almost cutting off the first words (the CD-R version fades in even faster). On both releases there is a tape glitch fifty seconds in, causing the sound to flicker back and forth. Unlike the Funky Version there are no choruses. During the final few seconds the keyboards start playing chaotically.
The chord progression and melody for this song is identical to "Stoned Obituary" (except for the 1980 Version of that song).
AKA "Amphitheatre 1."
Instruments: Sequenced keyboard bassline; rotor effect over synth and audio samples providing the rhythm; organ chords; two vocal tracks, one of which comes and goes throughout; bell-like keyboard melody that sometimes becomes white noise; single-pattern drum machine begins alternating at 1:50; vocoder voice during the middle portion saying "sing while you may"; high-pitched synth melody starting at 3:10.
* "Funky Version" (1982) - Premonition (3:35), Under Triple Moons (3:37)
This version has a more typical song structure than the original. On both releases, the song crossfades in from the end of the previous ("Submerged"), almost cutting off the first words. Frequently the tracks are fed through a sharp digital reverb. The word "nicotine" is added after "not too clean," and the line "and the rain beats down on the amphitheatre" is added as a chorus between every second verse. The "it's really very cute" line has been removed, as have the "much too heavy," "much too large," and "sing while you may" lines.
The verse about flying as been reworked as follows:
But I can fly, I can fly.
If I could just see their faces
as I glide between the planets,
playing I spy from a cloud.
Subsequent lines about rain and freedom have been removed. On Premonition it fades into the following song ("Voices"), but on Under Triple Moons it is abruptly faded out beforehand.
Instruments: Single-pattern drum machine; two keyboard basslines; organ chords; two vocal tracks; flashing synth effects; crowd samples; tinkly synth effects; synth percussion accents;
What It's About:
In a frenzied Roman amphitheatre during the reign of Caesar, Christians are being killed in the arena as the narrator looks upon (and sometimes participates in) various grisly scenes, including a fight over a severed hand. He wonders about the morality of the situation but is most annoyed at the enthusiasm of the crowd. Eventually it's revealed that the narrator was one of the Christian victims, now looking down at the crowd as they get drenched by a sudden rainstorm. Some of his references are anachronistic (car crashes and guns, for example).
Plus, I don't believe Caesar fed Christians to lions.
Lyrics (adapted from the Cloud-Zero archive):
Found a hand in the sand
where they covered up the remnants.
Not enough to show the Joneses
but should look good on our wall.
Not too clean.
Clearly never saw a nail-file.
Still the others tried to claim it
but I just swept past them all.
Hear them sing, feel them swing.
Aren't you trembling with excitement?
Can't stop my pulse from racing
when I'm faced with scenes like this.
Caesar lives. The empire lives.
Must be twenty fires burning.
If the guard would loose the lions,
I'd surely die in bliss.
Do you like my cross, as it
sparkles in the white light?
Cut in solid silver, swinging round my neck,
it's really very cute.
Thousands died on them,
millions died for one.
Impressive as the stake, gun,
the thumbscrew, or the rack.
But you can't sling a stake 'round your neck.
It's much too heavy.
It's much too large.
Sing while you may.
Standing here, sipping beer,
aren't we being rather tasteless?
I'm ravenous with hunger.
Can't we simply sneak back home?
Harmless fools, gaping ghouls.
Have they never seen a car crash?
It's [?] and it's raining.
Not a freaks' night out in Rome.
Gazing down at the ground
where the flies mill round my carcass.
Teach you how to be a martyr
To raise interest from a crowd.
But I don't care.
'Cos I can fly.
Fly, fly through the air.
Play "I spy" from a cloud.
I spy on the crowd.
Down, down in the amphitheatre.
The rain beats down on the amphitheatre.
They're getting very wet, so upset.
The rain beats down on the amphitheatre.
Down, down below me,
but I'm free.
Free from the world.
I love the amphitheatre.
Down, down. Down, down.
Why You Should Care:
"Amphitheatre Shuffle" is sort of a hyperactive extract from the Stoned Obituary Version, without the lyrics.
The words "sing while you may" from the Stoned Obituary Version should be familiar to anybody reading this...
Saturday, May 10, 2008
Louder After 6
Two main versions:
* "Throbbing Keyboard Version" (1981) - Chemical Playschool 1 (4:42), Ancient Daze (4:21), Ancient Daze CD-R (4:26)
Called "Louder after Six #1" on some versions of Chemical Playschool.
All mixes start with a recording of somebody dialing a telephone, followed by a dial tone. The song begins suddenly. In the middle of the song you can barely hear a recording of the "at the sound of the tone, the time is..." operator, as well as a dial tone, and then somebody attacking their telephone. The Ancient Daze mixes fade out, whereas the Chemical Playschool mix stops suddenly with the sound of a receiver hanging up.
Instruments: Choppy organ chords in a rhythm; obnoxious rhythmic synth which modulates strangely; two vocal tracks.
* "Jolly Version" (1982) - Brighter Now (5:07)
At 2:33 the drums are played backwards for a bar.
Instruments: Single drum machine pattern that occasionally switches to a breakdown; occasional synth effects; another organ providing accents during the middle portion; bass guitar; organ chords and melody; electric guitar; single vocal track that sounds like it's coming through a telephone during one verse; two sped-up vocal tracks near the end.
Sounds a Lot Like:
"The Wrong Impedance," which uses new lyrics with nearly identical backing tracks.
Lyrics (adapted from the Cloud-Zero archive):
A click says you're connected and a buzz says that you're heard.
Fingers slide across a panel. They're recording every word.
Try to talk about the weather, don't say anything absurd
'Cause their tapping the phone again... insane!
Invitations from the Kremlin, interference on the line.
Dial a friend to find some comfort; stroke her nicely and she'll tell the time.
And a voice checks in the distance "Christ, it's nearly half past nine!"
Tapping the phone again - what a pain!
Give away a little secret and it ends up in the file
numbered EK5320. In the archives for a while.
They're taking notes, flicking switches, feeding programs, reading dials.
They're tapping the phone again - nice!
And the bill lands on the doormat, calls to Moscow, calls to Mars.
You'd call the cavalry to save you, but you can't afford the charge.
Cut the wires! Axe the pylons! Such fun to sabotage.
Attack your phone again.
Take a cleaver to your receiver. Attack your phone.
Take the pliers to the wires. Attack your phone.
Attack attack attack attack attack
Why you should care:
The "can't afford the charge" line is a terrific pun.
* "Throbbing Keyboard Version" (1981) - Chemical Playschool 1 (4:42), Ancient Daze (4:21), Ancient Daze CD-R (4:26)
Called "Louder after Six #1" on some versions of Chemical Playschool.
All mixes start with a recording of somebody dialing a telephone, followed by a dial tone. The song begins suddenly. In the middle of the song you can barely hear a recording of the "at the sound of the tone, the time is..." operator, as well as a dial tone, and then somebody attacking their telephone. The Ancient Daze mixes fade out, whereas the Chemical Playschool mix stops suddenly with the sound of a receiver hanging up.
Instruments: Choppy organ chords in a rhythm; obnoxious rhythmic synth which modulates strangely; two vocal tracks.
* "Jolly Version" (1982) - Brighter Now (5:07)
At 2:33 the drums are played backwards for a bar.
Instruments: Single drum machine pattern that occasionally switches to a breakdown; occasional synth effects; another organ providing accents during the middle portion; bass guitar; organ chords and melody; electric guitar; single vocal track that sounds like it's coming through a telephone during one verse; two sped-up vocal tracks near the end.
Sounds a Lot Like:
"The Wrong Impedance," which uses new lyrics with nearly identical backing tracks.
Lyrics (adapted from the Cloud-Zero archive):
A click says you're connected and a buzz says that you're heard.
Fingers slide across a panel. They're recording every word.
Try to talk about the weather, don't say anything absurd
'Cause their tapping the phone again... insane!
Invitations from the Kremlin, interference on the line.
Dial a friend to find some comfort; stroke her nicely and she'll tell the time.
And a voice checks in the distance "Christ, it's nearly half past nine!"
Tapping the phone again - what a pain!
Give away a little secret and it ends up in the file
numbered EK5320. In the archives for a while.
They're taking notes, flicking switches, feeding programs, reading dials.
They're tapping the phone again - nice!
And the bill lands on the doormat, calls to Moscow, calls to Mars.
You'd call the cavalry to save you, but you can't afford the charge.
Cut the wires! Axe the pylons! Such fun to sabotage.
Attack your phone again.
Take a cleaver to your receiver. Attack your phone.
Take the pliers to the wires. Attack your phone.
Attack attack attack attack attack
Why you should care:
The "can't afford the charge" line is a terrific pun.
Dolls' House
Two Main Versions
* "1981 Version" (1981) - Chemical Playschool 1 (7:00), Kleine Krieg (8:13), Ancient Daze (6:57), Ancient Daze CD-R (7:00)
All mixes fade in, but the Ancient Daze CD mix cuts off five seconds, and on Kleine Krieg it is mixed with an untitled prefix. The Ancient Daze CD-R mix is almost complete.
Instruments: Single drum machine pattern; monophonic keyboard following the melody; choppy organ chords and steady chords in a lower octave; random string keyboard rising and falling, occasionally making explosive noises; single vocal track with reverb; second "mommy!" heavy-echo vocal track which sounds like Ka-Spel; bass guitar, slapping percussion.
* "1983 Version" (1983) - Curse (4:50)
Starts with a gentle music box, then the beat and bass begin to play. After a match strikes, the song begins. The "frying tonight" chorus is not repeated in this version, and it fades out earlier than the original (after the "nor's daddy" line). No "fireworks" lyrics this time. The song fades into a snippet from "Film of the Book," then into strange childlike cheering, and finally into following song ("The Palace of Love.")
Instruments: Single drum machine pattern; bass guitar; knocking, clicking, bells, triangle, plinking piano string, and crashing percussion; surf-like electric guitar; choppy synth that sometimes plays chords, changes to fiery static, or picks out the melody during verses; single vocal track; occasional backing vocal; female "mummy!" vocals; music box with winding noises.
Prefix:
On Kleine Krieg the song is preceeded by an unlisted seventy-second instrumental track consisting of low synth noises. The song mixes with opening section of "Dolls' House."
What It's About:
A young girl has decided that she's too old for her toys, so she sets her dolls' house on fire. This is the cheerful story of the inanimate inhabitants burning up along with their furniture. It's a joyeous celebration but it probably shouldn't be.
Lyrics (adapted from the Cloud-Zero archive):
The kitchen smells of paraffin, the stairway's turning black
and teddy's looking tired 'cos he's lying on his back.
Crackling curtains dance in ribbons, flames are waltzing 'cross the hall.
A beetle turns a somersault in a matchbox by a wall.
Getting restless with his lettuce.
Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Crackle crackle.
Golly's leaning out of the window. He gives a little wave.
Grins as only gollies can but he can't come out to play.
Sparks leap up his trouser legs, but he doesn't care
'cos he's busy watching mummy comb her curly hair.
Very pretty on the settee.
Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Fizzle fizzle.
La la la...
Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Flash flash.
Up on the second floor little Wendy takes a bath.
Her skin is melting slowly but she manages to laugh.
She knows a dozen words or more, she's always so polite.
Pull her string out slowly, she'll sing on through the night.
Sing forever! Really clever!
Frying tonight in the dolls' house, but mommy's getting bored.
Tore up all her comics, not a kiddie anymore.
Nor is daddy. Nor is daddy.
Fireworks flashing 'cross the sky.
Bonfire night in the dolls' house.
See all the flames, see all the sparklers.
Fizzle fizzle. Flash flash.
La la la...
La la.
Laaaaaah.
Crackle crackle! Crackle crackle! Crackle crackle! Crackle crackle!
* "1981 Version" (1981) - Chemical Playschool 1 (7:00), Kleine Krieg (8:13), Ancient Daze (6:57), Ancient Daze CD-R (7:00)
All mixes fade in, but the Ancient Daze CD mix cuts off five seconds, and on Kleine Krieg it is mixed with an untitled prefix. The Ancient Daze CD-R mix is almost complete.
Instruments: Single drum machine pattern; monophonic keyboard following the melody; choppy organ chords and steady chords in a lower octave; random string keyboard rising and falling, occasionally making explosive noises; single vocal track with reverb; second "mommy!" heavy-echo vocal track which sounds like Ka-Spel; bass guitar, slapping percussion.
* "1983 Version" (1983) - Curse (4:50)
Starts with a gentle music box, then the beat and bass begin to play. After a match strikes, the song begins. The "frying tonight" chorus is not repeated in this version, and it fades out earlier than the original (after the "nor's daddy" line). No "fireworks" lyrics this time. The song fades into a snippet from "Film of the Book," then into strange childlike cheering, and finally into following song ("The Palace of Love.")
Instruments: Single drum machine pattern; bass guitar; knocking, clicking, bells, triangle, plinking piano string, and crashing percussion; surf-like electric guitar; choppy synth that sometimes plays chords, changes to fiery static, or picks out the melody during verses; single vocal track; occasional backing vocal; female "mummy!" vocals; music box with winding noises.
Prefix:
On Kleine Krieg the song is preceeded by an unlisted seventy-second instrumental track consisting of low synth noises. The song mixes with opening section of "Dolls' House."
What It's About:
A young girl has decided that she's too old for her toys, so she sets her dolls' house on fire. This is the cheerful story of the inanimate inhabitants burning up along with their furniture. It's a joyeous celebration but it probably shouldn't be.
Lyrics (adapted from the Cloud-Zero archive):
The kitchen smells of paraffin, the stairway's turning black
and teddy's looking tired 'cos he's lying on his back.
Crackling curtains dance in ribbons, flames are waltzing 'cross the hall.
A beetle turns a somersault in a matchbox by a wall.
Getting restless with his lettuce.
Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Crackle crackle.
Golly's leaning out of the window. He gives a little wave.
Grins as only gollies can but he can't come out to play.
Sparks leap up his trouser legs, but he doesn't care
'cos he's busy watching mummy comb her curly hair.
Very pretty on the settee.
Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Fizzle fizzle.
La la la...
Frying tonight in the dolls' house. Mummy's smiling with a match,
blows softly through the doorway, draws patterns in the ash.
Flash flash.
Up on the second floor little Wendy takes a bath.
Her skin is melting slowly but she manages to laugh.
She knows a dozen words or more, she's always so polite.
Pull her string out slowly, she'll sing on through the night.
Sing forever! Really clever!
Frying tonight in the dolls' house, but mommy's getting bored.
Tore up all her comics, not a kiddie anymore.
Nor is daddy. Nor is daddy.
Fireworks flashing 'cross the sky.
Bonfire night in the dolls' house.
See all the flames, see all the sparklers.
Fizzle fizzle. Flash flash.
La la la...
La la.
Laaaaaah.
Crackle crackle! Crackle crackle! Crackle crackle! Crackle crackle!
Thursday, February 14, 2008
Only Dreaming (Song)
One main version:
* (1981) Only Dreaming (1:25), Ancient Daze (1:17), Ancient Daze CD-R (1:25)
Instrumental. All mixes fade in, though Ancient Daze CD cuts off about ten seconds. There are two sections: a noisy windy opening, then a more melodic keyboard ending. At the transition you can hear a brief snippet from "You 'n' Me." Both mixes fade out with the keyboard.
Instruments: Two distorted sequenced keyboards, one which makes explosion sounds; snippet from "You 'n' Me"; unrelated keyboard chords.
* (1981) Only Dreaming (1:25), Ancient Daze (1:17), Ancient Daze CD-R (1:25)
Instrumental. All mixes fade in, though Ancient Daze CD cuts off about ten seconds. There are two sections: a noisy windy opening, then a more melodic keyboard ending. At the transition you can hear a brief snippet from "You 'n' Me." Both mixes fade out with the keyboard.
Instruments: Two distorted sequenced keyboards, one which makes explosion sounds; snippet from "You 'n' Me"; unrelated keyboard chords.
Break Day
Three main versions:
* "Jolly Pulse Version" (1981) - Only Dreaming (3:04), Ancient Daze (3:02), Ancient Daze CD-R (3:09)
Both mixes fade in, but Ancient Daze (CD) cuts off the first few seconds of music. Both mixes fade out at the same time, ending with synth boops. The Ancient Daze (CD-R) mix has more of the fade in, and contains a few seconds of blank space at the end of the track. The "spilt the milk" line is different in this version but I don't understand it.
Called "Breakday" on Only Dreaming
Instruments: Pulsing synth chords for beat and melody; plinky melody played on keyboard occasionally degenerating into heavy chorus effect or white noise; erratic bassline occasionally providing siren effects or white noise; two vocal tracks
* "Evil Pulse Version" (1981) - Chemical Playschool 1 (3:37), Kleine Krieg (3:30)
Both mixes fade in with windy synth noises, but on Kleine Krieg this is mixed with the previous song ("Peace Krime #2"). In both mixes the song fades down into church/choral noises, but on Chemical Playschool this fades out cleanly whereas on Kleine Krieg this gradually mixes with a suffix ("Defeated Palace").
Instruments: Pulsing synth chords for beat and melody; organ chords quietly pulsing in double time; two keyboards play alternating plinky melodies and discordant effects; two vocal tracks.
* "Tower Version" (1984) - The Tower (3:35)
Starts abruptly, fades out with "alarm keyboard" at the end.
Instruments: Single drum machine pattern; funky keyboard bass line that goes into double-time during chorus; organ synth chords; two synths provide plinky/bell accents; two tracks of chunky electric guitar during chorus; two vocal tracks; sequenced alarm keyboard near the end.
Suffix "Defeated Palace" (1:28)
Only on Kleine Krieg, crossfades with choral noises. Backwards snippet of "Defeated" which gradually mixes with horn noises, deep synth groans, and percussion.
What It's About:
As fascism began to slowly overtake a country, the citizens ignored the growing police state until it was too late: "break day" had arrived. Unstoppable soldiers commit indiscriminate acts and the future looks bleak, as the people realize they should have stopped the process -- or at least escaped -- before break day truly arrived.
Lyrics (adapted from the Cloud-Zero archive):
(All versions differ slightly in the exact lyrics)
Slogans turned to secrets. The symbols turned to stains.
The face of an enemy was imprinted on our brains.
Made us spectres at the shutters,
faces covered, taking aim.
Faking blame.
Break day.
Break day!
The brakes failed. Break day.
We all broke down together.
Drains were painted scarlet. Scars were opened wide.
Kids saluted in the basements, whistled hymns and homicide.
And though we wanted to change things,
the fact remains, we never tried.
Break day!
The brakes failed, break day.
We all broke down together.
But you had a chance.
You had the brains, you had the money,
could have bought an airplane and skipped this hole for somewhere sunny.
You recognized the symptoms, smelt the hatred in the air.
But you stayed. You better pray.
Aren't you just a little scared?
'Cos it's break day!
The brakes have failed. Break day.
Breaking down together, en masse.
A nurse hid and shivered as an army axed her door.
Linking arms, drinking orders, urinating on the floor
Spilt the milk, split a hymen,
take 'em wicked, make 'em sore...
Let 'em know it's break day.
* "Jolly Pulse Version" (1981) - Only Dreaming (3:04), Ancient Daze (3:02), Ancient Daze CD-R (3:09)
Both mixes fade in, but Ancient Daze (CD) cuts off the first few seconds of music. Both mixes fade out at the same time, ending with synth boops. The Ancient Daze (CD-R) mix has more of the fade in, and contains a few seconds of blank space at the end of the track. The "spilt the milk" line is different in this version but I don't understand it.
Called "Breakday" on Only Dreaming
Instruments: Pulsing synth chords for beat and melody; plinky melody played on keyboard occasionally degenerating into heavy chorus effect or white noise; erratic bassline occasionally providing siren effects or white noise; two vocal tracks
* "Evil Pulse Version" (1981) - Chemical Playschool 1 (3:37), Kleine Krieg (3:30)
Both mixes fade in with windy synth noises, but on Kleine Krieg this is mixed with the previous song ("Peace Krime #2"). In both mixes the song fades down into church/choral noises, but on Chemical Playschool this fades out cleanly whereas on Kleine Krieg this gradually mixes with a suffix ("Defeated Palace").
Instruments: Pulsing synth chords for beat and melody; organ chords quietly pulsing in double time; two keyboards play alternating plinky melodies and discordant effects; two vocal tracks.
* "Tower Version" (1984) - The Tower (3:35)
Starts abruptly, fades out with "alarm keyboard" at the end.
Instruments: Single drum machine pattern; funky keyboard bass line that goes into double-time during chorus; organ synth chords; two synths provide plinky/bell accents; two tracks of chunky electric guitar during chorus; two vocal tracks; sequenced alarm keyboard near the end.
Suffix "Defeated Palace" (1:28)
Only on Kleine Krieg, crossfades with choral noises. Backwards snippet of "Defeated" which gradually mixes with horn noises, deep synth groans, and percussion.
What It's About:
As fascism began to slowly overtake a country, the citizens ignored the growing police state until it was too late: "break day" had arrived. Unstoppable soldiers commit indiscriminate acts and the future looks bleak, as the people realize they should have stopped the process -- or at least escaped -- before break day truly arrived.
Lyrics (adapted from the Cloud-Zero archive):
(All versions differ slightly in the exact lyrics)
Slogans turned to secrets. The symbols turned to stains.
The face of an enemy was imprinted on our brains.
Made us spectres at the shutters,
faces covered, taking aim.
Faking blame.
Break day.
Break day!
The brakes failed. Break day.
We all broke down together.
Drains were painted scarlet. Scars were opened wide.
Kids saluted in the basements, whistled hymns and homicide.
And though we wanted to change things,
the fact remains, we never tried.
Break day!
The brakes failed, break day.
We all broke down together.
But you had a chance.
You had the brains, you had the money,
could have bought an airplane and skipped this hole for somewhere sunny.
You recognized the symptoms, smelt the hatred in the air.
But you stayed. You better pray.
Aren't you just a little scared?
'Cos it's break day!
The brakes have failed. Break day.
Breaking down together, en masse.
A nurse hid and shivered as an army axed her door.
Linking arms, drinking orders, urinating on the floor
Spilt the milk, split a hymen,
take 'em wicked, make 'em sore...
Let 'em know it's break day.
Wednesday, February 13, 2008
Voices
Two main versions:
* "Full Band Version" (1980) - Chemical Playschool 1 (4:30), Premonition (4:42), Legendary Pink Box (4:34)
On Premonition the beginning fades in from the previous song ("Amphitheatre"). The other mixes start cleanly, though the Legendary Pink Box mix fades in. All mixes end with a final echoing synth blip, but on Premonition this is mixed with a 15-second backwards snippet from "Red Castles," which then fades into the following track ("Odd").
This version does not have the "murder him" section at the end.
Instruments: Live drums; bass guitar; bass keyboard drone; electric guitar; piano arpeggios; warm synth chords in descending pattern during chorus, at other times provides accents; single vocal track
* "Electronic Version" (1981) - Only Dreaming (3:30), Ancient Daze (3:30), Ancient Daze CD-R (3:32)
Both mixes fade slowly into the song, and both slowly fade out at the end.
This version has an odd section near the end in which a man gives a speech about heresy, the crowd calls for murder, and the heretic is choked. This sounds like the band itself and is of poor audio quality. The names mentioned are inaudible but suggest they may have been reading from a witch trial record of some kind.
Instruments: Single drum machine pattern; bass guitar; piano arpeggios; single vocal track; electric guitar; bass keyboard drone with matching high-pitched tone during chorus; sharp synth chords that also do the descending pattern during chorus; pulsing high-pitched synth near the end; speech about heresy recorded with cheap microphone near end;
Suffix:
On Only Dreaming, the song is followed by a ten-second snippet of backwards music that is unidentifiable.
What it's about:
This seems to be a song about a man who sold his soul with a group of other people, at least one of whom -- Christine -- has died. Now he, a heretic, stands on a corpse-strewn battlefield and hears voices in his head, accusing him of his heresy.
Lyrics (adapted from the Cloud-Zero archive):
In the wind, in the sea,
whispering hate, heresy; quietly accusing me.
Voices. Voices. Those voices, all I hear are voices.
In the marsh, in the sky,
firing curses in my eyes, cutting me with razor lies.
Voices.
The sun steps down to dance on the armour,
now rusted and brittle like September leaves.
Through the odor of decaying man-piles,
I know someone's listening, waiting for me.
Christine, you haunt me - you cling like a limpet.
The ghost of your pulse hammers nails in my head.
We all sold our souls for a handful of ashes.
We gambled together, the blame should be shared...
In the wind, in the sea,
whispering hate, heresy; quietly accusing me.
Voices. Voices. Voices. Those voices.
Voices. Voices.
[?] has been found guilty of heresy. Five witnesses both [?] and [?} tesify that [?] has [?] filled with spirits and has openly mocked the Christus. There is but one penalty. Murder him! Murder him! [?] (choking sound)
Voices. Voices. Voices. Voices. Voices...
Why you should care:
It appears in a lot of different places so the band obviously liked it. The amateur theatrics near the end of the "Electronic Version" are surprisingly candid and fun to listen to.
* "Full Band Version" (1980) - Chemical Playschool 1 (4:30), Premonition (4:42), Legendary Pink Box (4:34)
On Premonition the beginning fades in from the previous song ("Amphitheatre"). The other mixes start cleanly, though the Legendary Pink Box mix fades in. All mixes end with a final echoing synth blip, but on Premonition this is mixed with a 15-second backwards snippet from "Red Castles," which then fades into the following track ("Odd").
This version does not have the "murder him" section at the end.
Instruments: Live drums; bass guitar; bass keyboard drone; electric guitar; piano arpeggios; warm synth chords in descending pattern during chorus, at other times provides accents; single vocal track
* "Electronic Version" (1981) - Only Dreaming (3:30), Ancient Daze (3:30), Ancient Daze CD-R (3:32)
Both mixes fade slowly into the song, and both slowly fade out at the end.
This version has an odd section near the end in which a man gives a speech about heresy, the crowd calls for murder, and the heretic is choked. This sounds like the band itself and is of poor audio quality. The names mentioned are inaudible but suggest they may have been reading from a witch trial record of some kind.
Instruments: Single drum machine pattern; bass guitar; piano arpeggios; single vocal track; electric guitar; bass keyboard drone with matching high-pitched tone during chorus; sharp synth chords that also do the descending pattern during chorus; pulsing high-pitched synth near the end; speech about heresy recorded with cheap microphone near end;
Suffix:
On Only Dreaming, the song is followed by a ten-second snippet of backwards music that is unidentifiable.
What it's about:
This seems to be a song about a man who sold his soul with a group of other people, at least one of whom -- Christine -- has died. Now he, a heretic, stands on a corpse-strewn battlefield and hears voices in his head, accusing him of his heresy.
Lyrics (adapted from the Cloud-Zero archive):
In the wind, in the sea,
whispering hate, heresy; quietly accusing me.
Voices. Voices. Those voices, all I hear are voices.
In the marsh, in the sky,
firing curses in my eyes, cutting me with razor lies.
Voices.
The sun steps down to dance on the armour,
now rusted and brittle like September leaves.
Through the odor of decaying man-piles,
I know someone's listening, waiting for me.
Christine, you haunt me - you cling like a limpet.
The ghost of your pulse hammers nails in my head.
We all sold our souls for a handful of ashes.
We gambled together, the blame should be shared...
In the wind, in the sea,
whispering hate, heresy; quietly accusing me.
Voices. Voices. Voices. Those voices.
Voices. Voices.
[?] has been found guilty of heresy. Five witnesses both [?] and [?} tesify that [?] has [?] filled with spirits and has openly mocked the Christus. There is but one penalty. Murder him! Murder him! [?] (choking sound)
Voices. Voices. Voices. Voices. Voices...
Why you should care:
It appears in a lot of different places so the band obviously liked it. The amateur theatrics near the end of the "Electronic Version" are surprisingly candid and fun to listen to.
Chemical Playschool, The
One main version:
* (1981) - Only Dreaming (2:56), Ancient Daze (2:58), Ancient Daze CD-R (3:00)
All mixes fade in and fade out virtually identically, though Only Dreaming has about a second of extra booping audible at the end. The song is instrumental except for snippets of backwards vocals from "Phallus Dei."
Instruments: Pulsing bass keyboard; sequenced boopy keyboard occasionally switched to white noise; disconnected organ keyboard chords that come and go; occasional backwards vocals and music from "Phallus Dei."
* (1981) - Only Dreaming (2:56), Ancient Daze (2:58), Ancient Daze CD-R (3:00)
All mixes fade in and fade out virtually identically, though Only Dreaming has about a second of extra booping audible at the end. The song is instrumental except for snippets of backwards vocals from "Phallus Dei."
Instruments: Pulsing bass keyboard; sequenced boopy keyboard occasionally switched to white noise; disconnected organ keyboard chords that come and go; occasional backwards vocals and music from "Phallus Dei."
O(ri)ffice
One main version:
* (1981) - Only Dreaming (2:34), Ancient Daze (2:36), Ancient Daze CD-R (2:36)
Called "O(ri)fice" on Ancient Daze.
Starts immediately. Both versions fade out quickly at the end, though both Ancient Daze mixes cut off the last second (in which the synth dips down suddenly).
Instruments: Single drum machine pattern; piano-style keyboard melody with nice solo; bass keyboard for bassline; synth accents; two vocal tracks with plate reverb; quiet electric guitar;
What it's about:
Another character sketch, this time about the depressing people who work in an office (punned as an "orifice" in the title). One person aspires to riches, Sarah wants to be a glamorous kept woman, Marlon sees himself as a "super-stud," and the narrator wants to start a crusade which will free everybody from the office. But he, like everybody else, is "just pretending." They're having feeble dreams, though it IS nice to pretend once in a while.
Lyrics (adapted from the Cloud-Zero archive):
Old is the antique wooden desk that I carve my plans on,
stirring his coffee with a cigarette, swearing at the phone.
Do you still have hopes of what you can achieve,
an army of servants to make your tea?
Parties. Banquets.
Or are you just pretending?
Sarah shuffles through the typing pool. Wednesday she plays Garbo.
Ladders her stocking on a nail in the wall, wants to be alone.
Do you still have dreams of that billionaire
who will carry you away to his fur-lined lair?
A penthouse with diamonds.
Or are you just pretending?
Marlon mutters that his names are lost. Sets the teaboy trembling.
Barks a remark about Bonita's bust, sniggers at the slut.
On the hot trail home he's super-stud,
there's a bowl of rubbers in the mud.
They leap as he drops them,
but Marlon's just pretending.
Me, I'm going to get out of this place, I'll smash these chains to pieces.
I'll free the den from the dark disgrace, I'll lead a great crusade.
See the tower guns crack, see the mines cave in;
they'll burn effigies of me but I won't feel a thing.
I'll sing as I sizzle,
or am I still pretending?
Pretending.
It's so nice to get away for a day or two.
Let's pretend, let's pretend that we're fishes in the sea.
Making love beneath the coral reef.
Let's pretend.
Why you should care:
There's the "wish I were a fish" theme again. And it's an awfully pretty song, especially the keyboard solo.
* (1981) - Only Dreaming (2:34), Ancient Daze (2:36), Ancient Daze CD-R (2:36)
Called "O(ri)fice" on Ancient Daze.
Starts immediately. Both versions fade out quickly at the end, though both Ancient Daze mixes cut off the last second (in which the synth dips down suddenly).
Instruments: Single drum machine pattern; piano-style keyboard melody with nice solo; bass keyboard for bassline; synth accents; two vocal tracks with plate reverb; quiet electric guitar;
What it's about:
Another character sketch, this time about the depressing people who work in an office (punned as an "orifice" in the title). One person aspires to riches, Sarah wants to be a glamorous kept woman, Marlon sees himself as a "super-stud," and the narrator wants to start a crusade which will free everybody from the office. But he, like everybody else, is "just pretending." They're having feeble dreams, though it IS nice to pretend once in a while.
Lyrics (adapted from the Cloud-Zero archive):
Old is the antique wooden desk that I carve my plans on,
stirring his coffee with a cigarette, swearing at the phone.
Do you still have hopes of what you can achieve,
an army of servants to make your tea?
Parties. Banquets.
Or are you just pretending?
Sarah shuffles through the typing pool. Wednesday she plays Garbo.
Ladders her stocking on a nail in the wall, wants to be alone.
Do you still have dreams of that billionaire
who will carry you away to his fur-lined lair?
A penthouse with diamonds.
Or are you just pretending?
Marlon mutters that his names are lost. Sets the teaboy trembling.
Barks a remark about Bonita's bust, sniggers at the slut.
On the hot trail home he's super-stud,
there's a bowl of rubbers in the mud.
They leap as he drops them,
but Marlon's just pretending.
Me, I'm going to get out of this place, I'll smash these chains to pieces.
I'll free the den from the dark disgrace, I'll lead a great crusade.
See the tower guns crack, see the mines cave in;
they'll burn effigies of me but I won't feel a thing.
I'll sing as I sizzle,
or am I still pretending?
Pretending.
It's so nice to get away for a day or two.
Let's pretend, let's pretend that we're fishes in the sea.
Making love beneath the coral reef.
Let's pretend.
Why you should care:
There's the "wish I were a fish" theme again. And it's an awfully pretty song, especially the keyboard solo.
Thursday Night Fever
Three main versions:
* "Clicky Version" (1981) - Kleine Krieg (6:08), Stained Glass Soma Fountains (6:00)
Called "Thursday Night Fever #1" on "Stained Glass Soma Fountains."
On Kleine Krieg it fades in from the squeaky noises at the end of "Down from the Country." The mix on Stained Glass Soma Fountains fades in from the end of "Jack" (2:00) but also includes the "Down from the Country" squeaky noises.
On both mixes the music fades out, replaced by vocoder speech, synth sirens, and unrelated melody lines, and soon the music fades back in. Over all this the vocal tracks continue ("I own you...you're my girl.") Suddenly a series of monumental chords are played on a keyboard; when they end the next track ("Die With Yer Eyes On") fades in.
Instruments: Unsteady single drum machine pattern; regular sequenced synth pattern that sometimes becomes white noise; quiet synth melody that isn't much related to the actual song; two vocal tracks which are slightly different.
* "Throbbing Keyboard Version" (1981) - Only Dreaming (5:22), Ancient Daze (4:47), Ancient Daze CD-R (5:21)
A sweet, backwards guitar solo -- unrelated to the "Thursday Night Fever" song at all -- begins the song on both mixes, though on Only Dreaming and Ancient Daze CD-R the solo plays for 53 seconds, ends abruptly, and "Thursday Night Fever" begins, whereas on Ancient Daze CD only twenty seconds of the solo is played, and it is mixed into the beginning of the song.
All mixes end the same way: as more of the backwards "Soma Bath" is played, the music repeats and fades out.
This version does not even attempt a melody.
Instruments: Repeating keyboard sequence; another repeating sequence that swoops down occasionally; snippets of backwards tracks including Soma Bath; two vocal tracks with flange and plate reverb;
* "Pink Box Version" (1988) - Legendary Pink Box (6:15)
The only version with a real melody, this is the only one to really reflect the evil of the lyrics. Starts suddenly. Gradually degenerates until, by 4:30, it has become a gentle backwards track (keyboards, vocals) which fades into a brief snippet of a backwards drum machine.
Two groups of lyrics have been removed in this version: the "And you'll comfort me...make me king again" section and "You're coming home with me...just a game." In addition, all references to "boogieing" have been wisely removed.
Instruments: Bass guitar; single vocal track; repeated keyboard line with hint of percussion; occasional drum machine accents; electric guitar that begins an extended solo in the middle; distorted sample of descending notes; climactic, choppy keyboard chords played before the song begins to degenerate; synthesized vocal chorus during guitar solo; cascading keyboard sound.
What It's About:
An obsessive, jealous boy warns a woman -- perhaps his girlfriend -- that she must be permanently, totally, 100% loyal to him. She must have no friends or outside interests and must always be there to make him feel like "a king again," especially when his workmates make him feel insecure. His demands are laughably childish but his violent threats -- against her and her "new friend" -- are serious.
Lyrics (adapted from the Cloud-Zero archive):
(All versions differ very slightly in their exact lyrics)
If looks could kill, if a touch caused a seizure,
you'd be dead as a rock, no room in the freezer.
Tease you with my fingers, squeeze you,
'til you rattle like an engine that's collapsing,
gasping out for oil.
You nervous? Well you should be.
'Cos you know how jealous I get.
As for your new friend, he'll end his days down an alley.
Shall he call the law? I doubt it.
Curtains closing faster, faster. Turns young lovers to statistics.
Nervous? Well, he should be.
He can see how jealous I am.
Just a jealous boy.
Want you safe at home, alone,
ignore the phone, except when you're convinced it's me
inquiring about your welfare.
I care about your paintings and your poems,
love's like that: caring, sharing, on our own forever.
And you'll be there when I'm back from work,
the jerks who bark their orders, smolder, leer, and patronize.
It's insincere. But you'll be there, to comfort me.
Comfort me, and make my tea, and make me king again.
The pain will go away and we'll make plans about our cottage, miles away,
no interruptions, us together, never seeing anyone.
And if you want to dance, we'll fit the lounge up with a disco,
play the stereo, boogie on our own.
Alone. The way it's meant to be.
So boogie down. Boogie down. Boogie down.
You're coming home with me tonight. Leave him.
You're coming home with me tonight, leave him.
'Cos I need you more than he does,
to him you're just a game. Just a game.
You're my girl, I own you. I own you...
* "Clicky Version" (1981) - Kleine Krieg (6:08), Stained Glass Soma Fountains (6:00)
Called "Thursday Night Fever #1" on "Stained Glass Soma Fountains."
On Kleine Krieg it fades in from the squeaky noises at the end of "Down from the Country." The mix on Stained Glass Soma Fountains fades in from the end of "Jack" (2:00) but also includes the "Down from the Country" squeaky noises.
On both mixes the music fades out, replaced by vocoder speech, synth sirens, and unrelated melody lines, and soon the music fades back in. Over all this the vocal tracks continue ("I own you...you're my girl.") Suddenly a series of monumental chords are played on a keyboard; when they end the next track ("Die With Yer Eyes On") fades in.
Instruments: Unsteady single drum machine pattern; regular sequenced synth pattern that sometimes becomes white noise; quiet synth melody that isn't much related to the actual song; two vocal tracks which are slightly different.
* "Throbbing Keyboard Version" (1981) - Only Dreaming (5:22), Ancient Daze (4:47), Ancient Daze CD-R (5:21)
A sweet, backwards guitar solo -- unrelated to the "Thursday Night Fever" song at all -- begins the song on both mixes, though on Only Dreaming and Ancient Daze CD-R the solo plays for 53 seconds, ends abruptly, and "Thursday Night Fever" begins, whereas on Ancient Daze CD only twenty seconds of the solo is played, and it is mixed into the beginning of the song.
All mixes end the same way: as more of the backwards "Soma Bath" is played, the music repeats and fades out.
This version does not even attempt a melody.
Instruments: Repeating keyboard sequence; another repeating sequence that swoops down occasionally; snippets of backwards tracks including Soma Bath; two vocal tracks with flange and plate reverb;
* "Pink Box Version" (1988) - Legendary Pink Box (6:15)
The only version with a real melody, this is the only one to really reflect the evil of the lyrics. Starts suddenly. Gradually degenerates until, by 4:30, it has become a gentle backwards track (keyboards, vocals) which fades into a brief snippet of a backwards drum machine.
Two groups of lyrics have been removed in this version: the "And you'll comfort me...make me king again" section and "You're coming home with me...just a game." In addition, all references to "boogieing" have been wisely removed.
Instruments: Bass guitar; single vocal track; repeated keyboard line with hint of percussion; occasional drum machine accents; electric guitar that begins an extended solo in the middle; distorted sample of descending notes; climactic, choppy keyboard chords played before the song begins to degenerate; synthesized vocal chorus during guitar solo; cascading keyboard sound.
What It's About:
An obsessive, jealous boy warns a woman -- perhaps his girlfriend -- that she must be permanently, totally, 100% loyal to him. She must have no friends or outside interests and must always be there to make him feel like "a king again," especially when his workmates make him feel insecure. His demands are laughably childish but his violent threats -- against her and her "new friend" -- are serious.
Lyrics (adapted from the Cloud-Zero archive):
(All versions differ very slightly in their exact lyrics)
If looks could kill, if a touch caused a seizure,
you'd be dead as a rock, no room in the freezer.
Tease you with my fingers, squeeze you,
'til you rattle like an engine that's collapsing,
gasping out for oil.
You nervous? Well you should be.
'Cos you know how jealous I get.
As for your new friend, he'll end his days down an alley.
Shall he call the law? I doubt it.
Curtains closing faster, faster. Turns young lovers to statistics.
Nervous? Well, he should be.
He can see how jealous I am.
Just a jealous boy.
Want you safe at home, alone,
ignore the phone, except when you're convinced it's me
inquiring about your welfare.
I care about your paintings and your poems,
love's like that: caring, sharing, on our own forever.
And you'll be there when I'm back from work,
the jerks who bark their orders, smolder, leer, and patronize.
It's insincere. But you'll be there, to comfort me.
Comfort me, and make my tea, and make me king again.
The pain will go away and we'll make plans about our cottage, miles away,
no interruptions, us together, never seeing anyone.
And if you want to dance, we'll fit the lounge up with a disco,
play the stereo, boogie on our own.
Alone. The way it's meant to be.
So boogie down. Boogie down. Boogie down.
You're coming home with me tonight. Leave him.
You're coming home with me tonight, leave him.
'Cos I need you more than he does,
to him you're just a game. Just a game.
You're my girl, I own you. I own you...
Tuesday, February 12, 2008
Another Kind of Violence
Two main versions:
* "Pulsing Keyboard Version" (1981) - Traumstadt II (3:56), Four in One (4:02)
Called "Violence."
After a quick vocoder count-down ("one...two...one, two, three") the song begins. Everything degenerates during the last minute, slowly fading out.
It actually starts with the second verse ("Well-respected in the shed"), possibly an early demo version before the additional lyrics were written.
Instruments: Pulsing bass synth; pulsing white-noise synth; two incomprehensible vocoder voice tracks panned around, sometimes laughing; single vocal track.
* "Lurky Version" (1981) - Only Dreaming (6:19), Chemical Playschool 2 (6:06), Ancient Daze (6:04), Ancient Daze CD-R (6:18)
Contains the full lyrics, and is in a different key.
All mixes start with a backwards segment of "Amphitheatre," into which the drum pattern gradually fades up, though both Chemical Playschool and Ancient Daze (CD) mixes cut out fifteen seconds of it. The effect on the evil drone switches suddenly after about five minutes. All versions end with a sudden synth chord, followed by a brief fadeout of the drums and melody keyboard, though the Only Dreaming fadeout is about ten seconds longer
Instruments: Evil keyboard drone with varying modulation; high-pitched keyboard melody which sometimes becomes wind/crash/beep effects; single drum machine pattern; single vocal track; backwards vocal/keyboard source that comes and goes.
Sounds a Lot Like:
"Waiting for the Call" and "Sex," because it's the same tune. It can't be a coincidence that "Sex and Violence" is a common phrase used to describe the ills of the entertainment industry (often "gratuitous sex and senseless violence").
What It's About:
A study of three characters involved in various forms of violence: a bored guy who has decided to visit his girlfriend for a night of sex; a sadistic religious hypocrite; and the victim of some sort of attack. No moral statement seems to be made, it's just a series of evocative, gritty scenes.
Lyrics (adapted from the Cloud-Zero archive):
Ahhhh, I'm feeling low, that pansy's on the radio,
should be at work, but sod 'em 'til tomorrow.
Think I'll nip round to the bird's house 'cos I've heard that her mum's away.
I'll raid the neighbour's garden, present her with a nice bouquet.
She'll be so pleased, we'll go upstairs and up and down on the eiderdown.
'Til six. 'Til the night time. The right time.
Night time's the best time.
Well-respected in the shed, got "B.M." tattooed on his head.
They call him Flash, his real name's Fred, he's listening.
But the girls, they desire him as he rips at their barricades;
and boys, they admire him as he skips with his razor blade.
Carves the bible on your eyeball, takes your money, leaves you crumpled on the floor.
It's his hobby. He's having fun.
His hobby, having fun. Fun fun fun.
'Til daddy takes the T-Bird away.
In a place where no one goes, a sparkling crimson channel flows.
A victim lies with all his clothes disheveled.
Tries to rest on an elbow, grits his teeth as he feels the pain.
Reflection in a puddle winces "cheese!" from its inner drain.
And shadows gather round him, feel his pulse, give him blankets for the night.
He'll be alright. Through the night.
Sleep with the shadows. Shadows.
Trivia:
There are many possible organizations that "B.M." could stand for, among them "Baader-meinhof" and "boatswain's mate." I'd hate to cast a vote, myself.
Why You Should Care:
Maybe those shadows in the last verse are the "City Ghosts?"
* "Pulsing Keyboard Version" (1981) - Traumstadt II (3:56), Four in One (4:02)
Called "Violence."
After a quick vocoder count-down ("one...two...one, two, three") the song begins. Everything degenerates during the last minute, slowly fading out.
It actually starts with the second verse ("Well-respected in the shed"), possibly an early demo version before the additional lyrics were written.
Instruments: Pulsing bass synth; pulsing white-noise synth; two incomprehensible vocoder voice tracks panned around, sometimes laughing; single vocal track.
* "Lurky Version" (1981) - Only Dreaming (6:19), Chemical Playschool 2 (6:06), Ancient Daze (6:04), Ancient Daze CD-R (6:18)
Contains the full lyrics, and is in a different key.
All mixes start with a backwards segment of "Amphitheatre," into which the drum pattern gradually fades up, though both Chemical Playschool and Ancient Daze (CD) mixes cut out fifteen seconds of it. The effect on the evil drone switches suddenly after about five minutes. All versions end with a sudden synth chord, followed by a brief fadeout of the drums and melody keyboard, though the Only Dreaming fadeout is about ten seconds longer
Instruments: Evil keyboard drone with varying modulation; high-pitched keyboard melody which sometimes becomes wind/crash/beep effects; single drum machine pattern; single vocal track; backwards vocal/keyboard source that comes and goes.
Sounds a Lot Like:
"Waiting for the Call" and "Sex," because it's the same tune. It can't be a coincidence that "Sex and Violence" is a common phrase used to describe the ills of the entertainment industry (often "gratuitous sex and senseless violence").
What It's About:
A study of three characters involved in various forms of violence: a bored guy who has decided to visit his girlfriend for a night of sex; a sadistic religious hypocrite; and the victim of some sort of attack. No moral statement seems to be made, it's just a series of evocative, gritty scenes.
Lyrics (adapted from the Cloud-Zero archive):
Ahhhh, I'm feeling low, that pansy's on the radio,
should be at work, but sod 'em 'til tomorrow.
Think I'll nip round to the bird's house 'cos I've heard that her mum's away.
I'll raid the neighbour's garden, present her with a nice bouquet.
She'll be so pleased, we'll go upstairs and up and down on the eiderdown.
'Til six. 'Til the night time. The right time.
Night time's the best time.
Well-respected in the shed, got "B.M." tattooed on his head.
They call him Flash, his real name's Fred, he's listening.
But the girls, they desire him as he rips at their barricades;
and boys, they admire him as he skips with his razor blade.
Carves the bible on your eyeball, takes your money, leaves you crumpled on the floor.
It's his hobby. He's having fun.
His hobby, having fun. Fun fun fun.
'Til daddy takes the T-Bird away.
In a place where no one goes, a sparkling crimson channel flows.
A victim lies with all his clothes disheveled.
Tries to rest on an elbow, grits his teeth as he feels the pain.
Reflection in a puddle winces "cheese!" from its inner drain.
And shadows gather round him, feel his pulse, give him blankets for the night.
He'll be alright. Through the night.
Sleep with the shadows. Shadows.
Trivia:
There are many possible organizations that "B.M." could stand for, among them "Baader-meinhof" and "boatswain's mate." I'd hate to cast a vote, myself.
Why You Should Care:
Maybe those shadows in the last verse are the "City Ghosts?"
Guess the Politician
One main version:
* (1981) Only Dreaming (3:27), Ancient Daze (3:10), Ancient Daze CD-R (3:20)
The seven-second instrumental lead-in is cut off in the "Ancient Daze" CD mix, and so is seven seconds of the fade out. The "Ancient Daze" CD-R mix is almost complete.
Instruments: Single drum machine pattern; three melodic keyboard melody tracks; keyboard bassline; single vocal track with varying reverb.
What It's About:
A sketch of British politicians who treat people terribly and are outright fascists. Basically a big, angry, but sad howl about Great Britain in the early '80s, though what the girl has to do with it I don't know.
Lyrics (adapted from the Cloud-Zero archive):
When the fireworks start where will they be?
They'll be warm in their bunkers watching TV.
Stemming tears for the smoke that was once you and me.
Such a shame, such a waste. Solves a few problems.
Like unemployment.
Like immigration. This screwed-up nation.
Think I'll go back to cleaning floors.
And a-looky over there by the perfume stand,
there's a made up girl with a messed-up hand.
Thought she'd look distressed, she looks just grand.
Kind of chic, what a chick. It's a (sicken?) and they got her.
It's so appalling
to touch, a mauling, a crazy morning.
Only pleased he was so prepared.
Did those feet in future time walk upon this land of mine?
Land mine will get him!
See the queer with a leer. Got his chin on a lead,
knew him back in the past, knew him intimately.
Got a house up in Hull, a mole on his knee.
Really liked me for a while 'til I shot his spaniel.
This indecision
here in Late Britain, I hate Britain!
Kind of wish I'd been born a fish!
Just annoy him now and he'll shriek "Sieg heil!"
See him quaking on the floor, see him quiver and how.
Took a blue, made a plan, joined the Ku Klux Klan,
bought a bag full of boot boys waiting for his orders.
It's quite intriguing
to hear them squeaking while flames leap in.
He's a tiger when he's aroused.
Rule Britannia.
Brittania rules the waves.
Britain never, never, never, never will be slaves.
Alles zusammen now.
Never, never.
Trivia:
"Alles zusammen" is German for "all together." In the final lines the fascist politician is rousing us all to sing "Rule Brittania."
Why you should care:
One of many songs about Ka-Spel's dislike of England. Shades of the future song "Evolution" in the line about being born a fish.
* (1981) Only Dreaming (3:27), Ancient Daze (3:10), Ancient Daze CD-R (3:20)
The seven-second instrumental lead-in is cut off in the "Ancient Daze" CD mix, and so is seven seconds of the fade out. The "Ancient Daze" CD-R mix is almost complete.
Instruments: Single drum machine pattern; three melodic keyboard melody tracks; keyboard bassline; single vocal track with varying reverb.
What It's About:
A sketch of British politicians who treat people terribly and are outright fascists. Basically a big, angry, but sad howl about Great Britain in the early '80s, though what the girl has to do with it I don't know.
Lyrics (adapted from the Cloud-Zero archive):
When the fireworks start where will they be?
They'll be warm in their bunkers watching TV.
Stemming tears for the smoke that was once you and me.
Such a shame, such a waste. Solves a few problems.
Like unemployment.
Like immigration. This screwed-up nation.
Think I'll go back to cleaning floors.
And a-looky over there by the perfume stand,
there's a made up girl with a messed-up hand.
Thought she'd look distressed, she looks just grand.
Kind of chic, what a chick. It's a (sicken?) and they got her.
It's so appalling
to touch, a mauling, a crazy morning.
Only pleased he was so prepared.
Did those feet in future time walk upon this land of mine?
Land mine will get him!
See the queer with a leer. Got his chin on a lead,
knew him back in the past, knew him intimately.
Got a house up in Hull, a mole on his knee.
Really liked me for a while 'til I shot his spaniel.
This indecision
here in Late Britain, I hate Britain!
Kind of wish I'd been born a fish!
Just annoy him now and he'll shriek "Sieg heil!"
See him quaking on the floor, see him quiver and how.
Took a blue, made a plan, joined the Ku Klux Klan,
bought a bag full of boot boys waiting for his orders.
It's quite intriguing
to hear them squeaking while flames leap in.
He's a tiger when he's aroused.
Rule Britannia.
Brittania rules the waves.
Britain never, never, never, never will be slaves.
Alles zusammen now.
Never, never.
Trivia:
"Alles zusammen" is German for "all together." In the final lines the fascist politician is rousing us all to sing "Rule Brittania."
Why you should care:
One of many songs about Ka-Spel's dislike of England. Shades of the future song "Evolution" in the line about being born a fish.
Game
One main version:
* (1981) Only Dreaming (0:53), Ancient Daze (0:49), Ancient Daze CD-R (0:52)
A bit of the beginning is cut off during the "Ancient Daze" CD fade-in. All mixes fade out cleanly at the same time. The "Ancient Daze" CD-R mix is almost complete.
Instruments: Keyboard drone; synth burbling; sequenced beeps; heavily distorted vocals, probably improvised.
What It's About:
The thing behind the wall wants you to stop hiding so he can do...something. Whatever he wants to do is probably unpleasant, but he views it as a sort of "hide and seek" game.
Lyrics:
...wherever you are.
Come out, come out wherever you are.
I know where you are, there's no use hiding.
He'll creep behind the wall and try to give you a [?]
There's no use complaining.
* (1981) Only Dreaming (0:53), Ancient Daze (0:49), Ancient Daze CD-R (0:52)
A bit of the beginning is cut off during the "Ancient Daze" CD fade-in. All mixes fade out cleanly at the same time. The "Ancient Daze" CD-R mix is almost complete.
Instruments: Keyboard drone; synth burbling; sequenced beeps; heavily distorted vocals, probably improvised.
What It's About:
The thing behind the wall wants you to stop hiding so he can do...something. Whatever he wants to do is probably unpleasant, but he views it as a sort of "hide and seek" game.
Lyrics:
...wherever you are.
Come out, come out wherever you are.
I know where you are, there's no use hiding.
He'll creep behind the wall and try to give you a [?]
There's no use complaining.
Monday, February 11, 2008
Phallus Dei
One main version:
* (1981): Only Dreaming (3:27), Chemical Playschool Volume 1 (5:01), Ancient Daze CD (3:15), Ancient Daze CD-R (3:18)
A solid song that alternates between chugging verses and quiet choruses. It sounds like there may have been a slight feedback problem on April's mic.
The "Only Dreaming" mix contains the longest intro lead-in, while the "Ancient Daze" mix cuts out the first two bars entirely (the CD mix cuts in abruptly, what the CD-R mix fades in quickly). All mixes contain a tape glitch during the "rancid rotting hands" section, though the glitch is much worse in "Ancient Daze," lasting several seconds. Have the masters deteriorated that much?
Instruments: Keyboard plays a jaunty bassline; single pattern on a drum machine; choppy organ chords that turn into a music box melody during the choruses; Ka-spel vocals with plate reverb, alternating with quiet April White choruses; subtle extended keyboard chords modulated periodically; soulful noodling guitar.
Suffix:
On "Chemical Playschool" this is followed by 1:43 of a nameless, totally distinct track consisting of a low-pitched drone and occasional high-pitched swooping pulses. There's a quiet snippet of backward vocals at the end.
What It's About:
The strangely alliterative (and often nonsensical) story of a woman -- perhaps a nun -- being raped. She distracts herself with thoughts of happier times. In the end, Biblical figures show their disapproval of the situation.
Lyrics (adapted from the Cloud-Zero archive):
Pulses pounding, lungs collapse
in sheets of sewer breath.
Firing sweat stains steam saliva,
seeds of sudden death.
Seeping through the ventilator,
up the fire escape.
In a line, spirits whisper,
"Season's right for rape."
(I will think of England,
of trees in summertime.
Of leafy lanes, of daisy chains,
of Grandad's rhubarb wine.)
Run Christina, hide Christina,
sneak inside this shoe.
A pair of rancid rotten hands
are wringing just for you.
But android armies armed with H-bombs
couldn't save you now.
Best to just lie back and wait,
and contemplate your vow.
(I will think of England,
preparing for this trial.
I'll raise my veil, I'll bite my nails,
I'll grimace when he smiles.)
Shrivel, shimmer, sliding, shooting,
sinking to the ground.
Seedy 3D Polaroids
can twist it round and round.
It twined, entwined in twilight tango
turning in the fire.
Pressing, pushing past the limit,
expand and then expire.
(I will think of England,
of trees in summertime.
Of leafy lanes, of daisy chains,
of Grandad's rhubarb wine.)
Peter puked, tore a curtain,
dipped his eyes and cried.
Pilate pondered on his pipe,
politely turned aside.
And at the door stood John the Baptist,
head beneath one arm,
spitting oaths, splitting fingers,
sounding the alarm.
Why you should care:
One of the few songs in which Edward shares the vocal duties.
* (1981): Only Dreaming (3:27), Chemical Playschool Volume 1 (5:01), Ancient Daze CD (3:15), Ancient Daze CD-R (3:18)
A solid song that alternates between chugging verses and quiet choruses. It sounds like there may have been a slight feedback problem on April's mic.
The "Only Dreaming" mix contains the longest intro lead-in, while the "Ancient Daze" mix cuts out the first two bars entirely (the CD mix cuts in abruptly, what the CD-R mix fades in quickly). All mixes contain a tape glitch during the "rancid rotting hands" section, though the glitch is much worse in "Ancient Daze," lasting several seconds. Have the masters deteriorated that much?
Instruments: Keyboard plays a jaunty bassline; single pattern on a drum machine; choppy organ chords that turn into a music box melody during the choruses; Ka-spel vocals with plate reverb, alternating with quiet April White choruses; subtle extended keyboard chords modulated periodically; soulful noodling guitar.
Suffix:
On "Chemical Playschool" this is followed by 1:43 of a nameless, totally distinct track consisting of a low-pitched drone and occasional high-pitched swooping pulses. There's a quiet snippet of backward vocals at the end.
What It's About:
The strangely alliterative (and often nonsensical) story of a woman -- perhaps a nun -- being raped. She distracts herself with thoughts of happier times. In the end, Biblical figures show their disapproval of the situation.
Lyrics (adapted from the Cloud-Zero archive):
Pulses pounding, lungs collapse
in sheets of sewer breath.
Firing sweat stains steam saliva,
seeds of sudden death.
Seeping through the ventilator,
up the fire escape.
In a line, spirits whisper,
"Season's right for rape."
(I will think of England,
of trees in summertime.
Of leafy lanes, of daisy chains,
of Grandad's rhubarb wine.)
Run Christina, hide Christina,
sneak inside this shoe.
A pair of rancid rotten hands
are wringing just for you.
But android armies armed with H-bombs
couldn't save you now.
Best to just lie back and wait,
and contemplate your vow.
(I will think of England,
preparing for this trial.
I'll raise my veil, I'll bite my nails,
I'll grimace when he smiles.)
Shrivel, shimmer, sliding, shooting,
sinking to the ground.
Seedy 3D Polaroids
can twist it round and round.
It twined, entwined in twilight tango
turning in the fire.
Pressing, pushing past the limit,
expand and then expire.
(I will think of England,
of trees in summertime.
Of leafy lanes, of daisy chains,
of Grandad's rhubarb wine.)
Peter puked, tore a curtain,
dipped his eyes and cried.
Pilate pondered on his pipe,
politely turned aside.
And at the door stood John the Baptist,
head beneath one arm,
spitting oaths, splitting fingers,
sounding the alarm.
Why you should care:
One of the few songs in which Edward shares the vocal duties.
Black Highway
Two main versions:
* "Pulsing Keyboard Version" (1981) - Only Dreaming (4:47), Ancient Daze CD (4:34), Ancient Daze CD-R (4:42).
"Ancient Daze" CD mix fades in about seven seconds late, and fades out before you can hear the sound of somebody unplugging their audio cables. The "Ancient Daze" CD-R mix is more complete, but still missing a few seconds of the opening keyboard.
Instruments: Keyboard alternating between high and low bass; rhythmic pulsing keyboard; beeping keyboard that turns into low, swelling bass buzz before verses and sometimes becomes windy static; two tracks of vocals, one of which is sometimes distorted.
* "Full Band Version" (1981) - Chemical Playschool Volume 1 (4:56), Kleine Krieg (4:52), The Legendary Pink Box CD (5:02)
A keyboard plays a few gentle chords over gentle car sounds, then the bass guitar brings us to the song proper: a rich, organic, complex, almost "wall-of-sound" recording. The "bridge" portion after "we're having a ball" has been removed.
The "Legendary Pink Box" mix fades in near the end of the introduction, skipping most of it; in the "Kleine Krieg" mix the introduction is mixed with the end of "Deflated...maybe the mix on "Pink Box" originally came from "Kleine Krieg," and they wanted to remove those bits of "Deflated?" All mixes fade out with the ending car sounds
Instruments: Bass guitar; one vocal track; choppy guitar chords which become plucky strings during slow parts; keyboard alternating between high and low bass; sophisticated beeping keyboard with chunky, chugging bass sound underneath and lots of other neat effects; occasionally what sounds like wood-tapping percussion; recurring car sound effect.
What It's About:
A crazy man with questionable grooming habits (and an obsession with novelty rock and roll) uses his car as a lethal weapon. Policemen, commuters, and journalists congregate after the accidents, getting joy and rewards out of the tragedies; one man even acquires the hair of a pre-teen victim (though what he does with it is anybody's guess).
Lyrics (adapted from the Cloud-Zero archive):
There's space in my car, speed you to heaven,
maybe scorch the Black Highway part the waters of the Styx.
Mix my mescaline with hairspray, well past caring
but I'll show you some excitement, better clutch your crucifix!
Goodness gracious, great balls of fire
glow in the city's stainless streets.
Policemen waves as a crowd admires,
as a mess is covered with a sheet,
dancing in the street.
A truck overtakes; the truck overturning,
twisting cartwheels on the concrete, dancing over a ledge.
Shall I make it a duo? Tiny heart a-flutter, pitter-patter!
As I slide out from the gutters, send him sliding through a hedge.
Goodness gracious, a wop-bop-a-loo-bop, a-wop-bam-boom,
crash crash!
Policeman waves as the crowd perspires,
as a mess is covered with a sheet,
dancing on the sheets.
Madness in my family since the sixteenth century,
and it seeps though my fingers when I'm poised behind the wheel.
Tonight I'm feeling nasty. Some bastard's gonna suffer,
be crying for his mother 'cos my dial is locked on kill!
Oh goodness gracious!
A hot old time in the old town tonight
as a mess is covered with a sheet.
The siren shouts murder, splinters the sunrise.
A fireman weeps as he picks up a doll.
Still they arrive in their cars and their campers,
pitching tents, picking hampers,
searching quietly for holes.
Oh goodness gracious,
good golly Miss Molly, we're having a ball!
Lens dipped and focused on the girl with an ice cream.
Dressed her up in celluloid and sold her to the world.
Made the morning editions, the face of exhibitions.
Propositioned an uncle to cut off her curls.
Oh goodness gracious,
good golly Miss Molly, you sure look bald!
A policeman waves as a crowd admires,
as a mess is covered with a sheet,
dancing in the sheet.
Drive 'er, boy!
* "Pulsing Keyboard Version" (1981) - Only Dreaming (4:47), Ancient Daze CD (4:34), Ancient Daze CD-R (4:42).
"Ancient Daze" CD mix fades in about seven seconds late, and fades out before you can hear the sound of somebody unplugging their audio cables. The "Ancient Daze" CD-R mix is more complete, but still missing a few seconds of the opening keyboard.
Instruments: Keyboard alternating between high and low bass; rhythmic pulsing keyboard; beeping keyboard that turns into low, swelling bass buzz before verses and sometimes becomes windy static; two tracks of vocals, one of which is sometimes distorted.
* "Full Band Version" (1981) - Chemical Playschool Volume 1 (4:56), Kleine Krieg (4:52), The Legendary Pink Box CD (5:02)
A keyboard plays a few gentle chords over gentle car sounds, then the bass guitar brings us to the song proper: a rich, organic, complex, almost "wall-of-sound" recording. The "bridge" portion after "we're having a ball" has been removed.
The "Legendary Pink Box" mix fades in near the end of the introduction, skipping most of it; in the "Kleine Krieg" mix the introduction is mixed with the end of "Deflated...maybe the mix on "Pink Box" originally came from "Kleine Krieg," and they wanted to remove those bits of "Deflated?" All mixes fade out with the ending car sounds
Instruments: Bass guitar; one vocal track; choppy guitar chords which become plucky strings during slow parts; keyboard alternating between high and low bass; sophisticated beeping keyboard with chunky, chugging bass sound underneath and lots of other neat effects; occasionally what sounds like wood-tapping percussion; recurring car sound effect.
What It's About:
A crazy man with questionable grooming habits (and an obsession with novelty rock and roll) uses his car as a lethal weapon. Policemen, commuters, and journalists congregate after the accidents, getting joy and rewards out of the tragedies; one man even acquires the hair of a pre-teen victim (though what he does with it is anybody's guess).
Lyrics (adapted from the Cloud-Zero archive):
There's space in my car, speed you to heaven,
maybe scorch the Black Highway part the waters of the Styx.
Mix my mescaline with hairspray, well past caring
but I'll show you some excitement, better clutch your crucifix!
Goodness gracious, great balls of fire
glow in the city's stainless streets.
Policemen waves as a crowd admires,
as a mess is covered with a sheet,
dancing in the street.
A truck overtakes; the truck overturning,
twisting cartwheels on the concrete, dancing over a ledge.
Shall I make it a duo? Tiny heart a-flutter, pitter-patter!
As I slide out from the gutters, send him sliding through a hedge.
Goodness gracious, a wop-bop-a-loo-bop, a-wop-bam-boom,
crash crash!
Policeman waves as the crowd perspires,
as a mess is covered with a sheet,
dancing on the sheets.
Madness in my family since the sixteenth century,
and it seeps though my fingers when I'm poised behind the wheel.
Tonight I'm feeling nasty. Some bastard's gonna suffer,
be crying for his mother 'cos my dial is locked on kill!
Oh goodness gracious!
A hot old time in the old town tonight
as a mess is covered with a sheet.
The siren shouts murder, splinters the sunrise.
A fireman weeps as he picks up a doll.
Still they arrive in their cars and their campers,
pitching tents, picking hampers,
searching quietly for holes.
Oh goodness gracious,
good golly Miss Molly, we're having a ball!
Lens dipped and focused on the girl with an ice cream.
Dressed her up in celluloid and sold her to the world.
Made the morning editions, the face of exhibitions.
Propositioned an uncle to cut off her curls.
Oh goodness gracious,
good golly Miss Molly, you sure look bald!
A policeman waves as a crowd admires,
as a mess is covered with a sheet,
dancing in the sheet.
Drive 'er, boy!
It Rots Your Liver
One main version:
* (1981) - Only Dreaming (3:25), Ancient Daze CD (3:08), Ancient Daze CD-R (3:21)
A noisy, mostly-instrumental track with little structure. Short fade-in, no real variation throughout song, long fade-out to silence.
The "Ancient Daze" CD mix is slightly shorter, cutting off a bit during the fade in and fade out. The CD-R mix is almost complete.
Instruments: A repeating sequenced keyboard; whooshing keyboard noises with feedback; disconnected organ keyboard chords; shouted, distorted vocals with lots of echo.
What it's about:
Only they know.
Lyrics:
I can’t understand a single word.
* (1981) - Only Dreaming (3:25), Ancient Daze CD (3:08), Ancient Daze CD-R (3:21)
A noisy, mostly-instrumental track with little structure. Short fade-in, no real variation throughout song, long fade-out to silence.
The "Ancient Daze" CD mix is slightly shorter, cutting off a bit during the fade in and fade out. The CD-R mix is almost complete.
Instruments: A repeating sequenced keyboard; whooshing keyboard noises with feedback; disconnected organ keyboard chords; shouted, distorted vocals with lots of echo.
What it's about:
Only they know.
Lyrics:
I can’t understand a single word.
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