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.
Showing posts with label Traumstadt I. Show all posts
Showing posts with label Traumstadt I. Show all posts
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?)
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.
Saturday, September 17, 2011
Hauptbahnhof
Two main versions:
* "1982 Version" (1982) - Atomic Roses (4:32), Traumstadt I (4:35), Traumstadt I CD (0:01 - 4:26), Legendary Pink Box (4:28)
The mixes on "Atomic Roses" and the "Traumstadt I" cassette both start cleanly at the beginning of the song, whereas the "Legendary Pink Box" mix fades in from the beginning and the "Traumstadt I CD" mix fades in a few seconds later. All mixes crossfade into the clicky tremolo/drum machine ending (which also appears at the end of the "Atomic Roses" tape), but whereas "The Legendary Pink" mix fades out at the beginning of it, the other mixes crossfade into "The Wrong Impedance."
Instruments: Slowly pulsing bass keyboard, slow keyboard arpeggios for melody, bass guitar, lush string machine, single vocal track, a choppy keyboard played during the bridge, tremolo voice during bridge, drum machine during bridge.
* "20:10 Version" (2010) - Seconds Late for the Brighton Line (6:55)
There are few lyric changes to this version. The second and fourth chorus are "People will fly by" (instead of "But the people just fly by"), and the "Bye-Bye world" is omitted in the second chorus. The third chorus adds "And the people just fly by" and removes the "easy pull" words from the original version. It ends with train station noises and looped angelic voices, with a clicky sound in one speaker.
Instruments: Slow piano arpeggios for melody, bass guitar, single vocal track with heavy reverb, electric guitar, odd synth sound effects, tinny synth arpeggios during bridge, string pads during bridge
What It's About:
I think that "Hauptbahnhof" is German for "main train station." A homeless man begs for money in a train station and dreams of mountains. He dies and nobody really notices.
Lyrics (adapted from the Cloud Zero Archive):
Sounds of methylated muttering.
Hand stretched out for a mark.
The mark of death stamped over one eye,
two flies wrestle on his raincoat...
Copulating to the muzak.
But the people just fly by.
Bye-bye, world.
Finds a sanitary sanctuary,
foot stretched beneath the door.
Takes a drag on a fag and it's good 'cos it's menthol.
He throws back his head [and he] dreams of the mountains.
He's inhaling to the muzak.
But the people just fly by.
Bye-bye, world.
As inebriated evening
spat a path for nausea night.
The lights went out with smothered curses.
A young nurse cried...a cop cried with her.
Cops are dating to the muzak.
An easy pull (?)
He got an apathetic epitaph.
There's no name on the headstone.
They buried him on Tuesday, it rained.
No-one came!
Busy listening to the muzak.
And the people just fly by.
Bye-bye, world.
* "1982 Version" (1982) - Atomic Roses (4:32), Traumstadt I (4:35), Traumstadt I CD (0:01 - 4:26), Legendary Pink Box (4:28)
The mixes on "Atomic Roses" and the "Traumstadt I" cassette both start cleanly at the beginning of the song, whereas the "Legendary Pink Box" mix fades in from the beginning and the "Traumstadt I CD" mix fades in a few seconds later. All mixes crossfade into the clicky tremolo/drum machine ending (which also appears at the end of the "Atomic Roses" tape), but whereas "The Legendary Pink" mix fades out at the beginning of it, the other mixes crossfade into "The Wrong Impedance."
Instruments: Slowly pulsing bass keyboard, slow keyboard arpeggios for melody, bass guitar, lush string machine, single vocal track, a choppy keyboard played during the bridge, tremolo voice during bridge, drum machine during bridge.
* "20:10 Version" (2010) - Seconds Late for the Brighton Line (6:55)
There are few lyric changes to this version. The second and fourth chorus are "People will fly by" (instead of "But the people just fly by"), and the "Bye-Bye world" is omitted in the second chorus. The third chorus adds "And the people just fly by" and removes the "easy pull" words from the original version. It ends with train station noises and looped angelic voices, with a clicky sound in one speaker.
Instruments: Slow piano arpeggios for melody, bass guitar, single vocal track with heavy reverb, electric guitar, odd synth sound effects, tinny synth arpeggios during bridge, string pads during bridge
What It's About:
I think that "Hauptbahnhof" is German for "main train station." A homeless man begs for money in a train station and dreams of mountains. He dies and nobody really notices.
Lyrics (adapted from the Cloud Zero Archive):
Sounds of methylated muttering.
Hand stretched out for a mark.
The mark of death stamped over one eye,
two flies wrestle on his raincoat...
Copulating to the muzak.
But the people just fly by.
Bye-bye, world.
Finds a sanitary sanctuary,
foot stretched beneath the door.
Takes a drag on a fag and it's good 'cos it's menthol.
He throws back his head [and he] dreams of the mountains.
He's inhaling to the muzak.
But the people just fly by.
Bye-bye, world.
As inebriated evening
spat a path for nausea night.
The lights went out with smothered curses.
A young nurse cried...a cop cried with her.
Cops are dating to the muzak.
An easy pull (?)
He got an apathetic epitaph.
There's no name on the headstone.
They buried him on Tuesday, it rained.
No-one came!
Busy listening to the muzak.
And the people just fly by.
Bye-bye, world.
Spiritus
One main version:
* (1982) - Atomic Roses (?:??), Traumstadt I (6:22), Traumstadt I CD (11:47 - 18:00)
All mixes fade in. All mixes fade out as the tape speeds up, concluding the first side of the original cassette. My copy of the "Atomic Roses" tape cuts off at 4:43.
It begins with snippets from older songs: "Digital," the Full Band Version of "Apocalypse Then" (all instruments muted except for the raw vocal tracks and a keyboard that wasn't used in the final mix), an ominous distorted synth sound that doesn't appear elsewhere, "Apocalypse Then" again (raw vocals mutilated with a delay pedal and a different guitar, as well as some random synth noises),
Instruments: Bass guitar, pulsing wind noise, plinky jazzy keyboard melody, occasional synth adding a screechy sound, backwards vocal track from the Full Band Versions of "Legacy" and "Apocalypse Then" fading in and out, siren synth, feedback near the end.
Why You Should Care:
Previously, when The Dots mixed snippets of previous songs together, they'd use the full mixes. This is the first time they've used original master tapes to strip out vocals and other instruments. Not only does this show a greater mixing sophistication, but it's also interesting to hear isolated tracks that probably no longer exist (and are almost totally forgotten).
* (1982) - Atomic Roses (?:??), Traumstadt I (6:22), Traumstadt I CD (11:47 - 18:00)
All mixes fade in. All mixes fade out as the tape speeds up, concluding the first side of the original cassette. My copy of the "Atomic Roses" tape cuts off at 4:43.
It begins with snippets from older songs: "Digital," the Full Band Version of "Apocalypse Then" (all instruments muted except for the raw vocal tracks and a keyboard that wasn't used in the final mix), an ominous distorted synth sound that doesn't appear elsewhere, "Apocalypse Then" again (raw vocals mutilated with a delay pedal and a different guitar, as well as some random synth noises),
Instruments: Bass guitar, pulsing wind noise, plinky jazzy keyboard melody, occasional synth adding a screechy sound, backwards vocal track from the Full Band Versions of "Legacy" and "Apocalypse Then" fading in and out, siren synth, feedback near the end.
Why You Should Care:
Previously, when The Dots mixed snippets of previous songs together, they'd use the full mixes. This is the first time they've used original master tapes to strip out vocals and other instruments. Not only does this show a greater mixing sophistication, but it's also interesting to hear isolated tracks that probably no longer exist (and are almost totally forgotten).
Sex
One main version:
* (1982) - Atomic Roses (3:04), Traumstadt I (3:04), Traumstadt I CD (6:18 - 9:23)
All mixes start relatively cleanly, end with chaotic instrumentation which crossfades into the following song ("Closet Kings").
Instruments: Pulsing resonant bass synth which plays high "plink!" notes during the chorus, indecipherable vocoder voice, indecipherable synth-filtered voice, single vocal track, occasional string synth in one speaker, occasional heavy delay.
Sounds a Lot Like:
"Violence," 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:
It's difficult to decipher the second verse because it is quieter and swamped in reverb, but this seems to be two examples of sexual exploitation: a repulsive boss (George) who ineffectually tries to pick up his subordinates, and (maybe) an S&M scene enacted high above by George's boss.
Lyrics:
George smells nicotine,
the women find him quite obscene,
avoid him in the work's canteen on weekdays.
He drinks, picks his spots, salivates with his secretary,
blue eyes, black suspenders, and a photographic memory.
Baby's got a blackbelt and could beat George up,
throw him through the wall.
Never mind, George...your day will come!
Never mind, George.
Never mind! Your day will come.
? floors above it all,
? skips across the wall,
? on with ? pickups.
? he enjoys it as he sucks on his Mint Surprise,
? to avoid it as they ? simply hypnotize,
prostrate on their pillows they'll be licking in a horizontal hole.
Where are those ? manners?
* (1982) - Atomic Roses (3:04), Traumstadt I (3:04), Traumstadt I CD (6:18 - 9:23)
All mixes start relatively cleanly, end with chaotic instrumentation which crossfades into the following song ("Closet Kings").
Instruments: Pulsing resonant bass synth which plays high "plink!" notes during the chorus, indecipherable vocoder voice, indecipherable synth-filtered voice, single vocal track, occasional string synth in one speaker, occasional heavy delay.
Sounds a Lot Like:
"Violence," 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:
It's difficult to decipher the second verse because it is quieter and swamped in reverb, but this seems to be two examples of sexual exploitation: a repulsive boss (George) who ineffectually tries to pick up his subordinates, and (maybe) an S&M scene enacted high above by George's boss.
Lyrics:
George smells nicotine,
the women find him quite obscene,
avoid him in the work's canteen on weekdays.
He drinks, picks his spots, salivates with his secretary,
blue eyes, black suspenders, and a photographic memory.
Baby's got a blackbelt and could beat George up,
throw him through the wall.
Never mind, George...your day will come!
Never mind, George.
Never mind! Your day will come.
? floors above it all,
? skips across the wall,
? on with ? pickups.
? he enjoys it as he sucks on his Mint Surprise,
? to avoid it as they ? simply hypnotize,
prostrate on their pillows they'll be licking in a horizontal hole.
Where are those ? manners?
Friday, September 16, 2011
Playschool
One main version:
* (1982) - Atomic Roses (1:20), Traumstadt I (1:20), Traumstadt I CD (4:54 - 6:18)
An instrumental song with a vocoded news sample about the Second World War (specifically the Battle of the Bulge, I think). All mixes fade in from "What's Next?" overlayed briefly with a sped up instrumental portion. All mixes end with a heavy echo, which mixes with the following song ("Sex").
Instruments: Droning synth chord, vocoded news sample with lots of reverb, backwards keyboard line near the end.
Lyrics:
...they criticized Montgomery's handling of the ? campaign to Churchill, and they wanted him to be removed. And here was Montgomery, by himself, in his ?, in France, he ?, no one to talk to, but suddenly he discovered that this was going on because he heard from Churchill, and he hadn't heard from Eisenhower. And he was just beside himself, because he expected that his commander, who was Eisenhower, if he had ? who was running the campaign, would have come to him, ?
* (1982) - Atomic Roses (1:20), Traumstadt I (1:20), Traumstadt I CD (4:54 - 6:18)
An instrumental song with a vocoded news sample about the Second World War (specifically the Battle of the Bulge, I think). All mixes fade in from "What's Next?" overlayed briefly with a sped up instrumental portion. All mixes end with a heavy echo, which mixes with the following song ("Sex").
Instruments: Droning synth chord, vocoded news sample with lots of reverb, backwards keyboard line near the end.
Lyrics:
...they criticized Montgomery's handling of the ? campaign to Churchill, and they wanted him to be removed. And here was Montgomery, by himself, in his ?, in France, he ?, no one to talk to, but suddenly he discovered that this was going on because he heard from Churchill, and he hadn't heard from Eisenhower. And he was just beside himself, because he expected that his commander, who was Eisenhower, if he had ? who was running the campaign, would have come to him, ?
Closet Kings
One main version:
* (1982) - Atomic Roses (?:??), Four In One (2:27), Traumstadt I (2:25), Traumstadt I CD (9:19 - 11:45), Legendary Pink Box (2:26)
A funky song with a "full band" sound (and trumpet!) in an odd time signature (7/4?). All mixes fade in from the previous song on Atomic Roses ("Sex"), including the compilation appearances on "Four In One" and "Legendary Pink Box." All mixes end with a sudden break and a heavy echo. The "Four In One" mix stops relatively cleanly, but you can hear a bit of "Spiritus" fading in at the end of the "Legendary Pink Box" mix.
My copy of the "Atomic Roses" tape cuts this song off after 36 seconds.
Instruments: Single vocal track, indecipherable vocoder track, acoustic drum kit, bass guitar, occasional echo overwhelms the mix, trumpet during bridge section,
What It's About (Maybe):
The "closet kings" are men who brag about their virility, but whose conquests consist mostly of women in magazines. They avoid real women because they do not want to suffer ridicule.
Lyrics (adapted from the Cloud Zero Archive):
Rolled out from a barrel,
roll erratic down the streets with concrete feet.
Convulsive. Sick but smiling
looking for some meat
you can fall on, roll on, use 'til morning,
yawn, then say 'goodbye'.
Another lie! It makes a story,
you can tell it to your friends.
You're the end, you got their envy
not a bit like one of them.
No king in a closet!
Creeping past the nightclubs.
Fleeting glances at the thighs with furtive eyes.
Uncertain. Fingers seaching,
finds the booby prize.
Eyes his tears and jeers they tear your heart out,
Smarter just to run.
Much more fun where you belong
safe in your home you're left alone
and softly moan on telephones to other
kings in their closets.
No harm.
Leafing through the ladies who
reach out to touch your hand.
There's Mary Ann, curvaceous; kind of lazy...
lays back in the sand,
whispers "take me, rape me, break me slowly,
Show me what you've got!"
It's not a lot but she still smiles
'cos she's a pictue, just a tease
there to please and ease the pain of
kings in their closets.
No harm.
* (1982) - Atomic Roses (?:??), Four In One (2:27), Traumstadt I (2:25), Traumstadt I CD (9:19 - 11:45), Legendary Pink Box (2:26)
A funky song with a "full band" sound (and trumpet!) in an odd time signature (7/4?). All mixes fade in from the previous song on Atomic Roses ("Sex"), including the compilation appearances on "Four In One" and "Legendary Pink Box." All mixes end with a sudden break and a heavy echo. The "Four In One" mix stops relatively cleanly, but you can hear a bit of "Spiritus" fading in at the end of the "Legendary Pink Box" mix.
My copy of the "Atomic Roses" tape cuts this song off after 36 seconds.
Instruments: Single vocal track, indecipherable vocoder track, acoustic drum kit, bass guitar, occasional echo overwhelms the mix, trumpet during bridge section,
What It's About (Maybe):
The "closet kings" are men who brag about their virility, but whose conquests consist mostly of women in magazines. They avoid real women because they do not want to suffer ridicule.
Lyrics (adapted from the Cloud Zero Archive):
Rolled out from a barrel,
roll erratic down the streets with concrete feet.
Convulsive. Sick but smiling
looking for some meat
you can fall on, roll on, use 'til morning,
yawn, then say 'goodbye'.
Another lie! It makes a story,
you can tell it to your friends.
You're the end, you got their envy
not a bit like one of them.
No king in a closet!
Creeping past the nightclubs.
Fleeting glances at the thighs with furtive eyes.
Uncertain. Fingers seaching,
finds the booby prize.
Eyes his tears and jeers they tear your heart out,
Smarter just to run.
Much more fun where you belong
safe in your home you're left alone
and softly moan on telephones to other
kings in their closets.
No harm.
Leafing through the ladies who
reach out to touch your hand.
There's Mary Ann, curvaceous; kind of lazy...
lays back in the sand,
whispers "take me, rape me, break me slowly,
Show me what you've got!"
It's not a lot but she still smiles
'cos she's a pictue, just a tease
there to please and ease the pain of
kings in their closets.
No harm.
Thursday, September 15, 2011
What's Next?
One main version:
* (1982) - Atomic Roses (2:47), Traumstadt I (2:47), Traumstadt I CD (2:08 - 5:03)
A sedate song. Fades in from "Of All The Girls..." (cutting off the initial lyrics) and out into "Playschool."
Instruments: Bass guitar, synth chords, occasional tinny keyboard melody, single vocal track with occasional heavy reverb, single drum machine pattern, quick burst of keyboard arpeggio right at the end.
What It's About (Maybe):
Several people kill themselves by jumping off something high, which subsequently makes a big sensationalistic news story. The narrator reveals that it was all a dream he had, but he wonders who will be the first to jump in real life.
Lyrics:
...the sky, someone said like a fly,
let's be cracked on the head,
tumbled downwards, scrambled rooftops.
Breakage spread out to the coast,
the ghosts just ambled through the sand.
Looking lost they were kicking rocks.
Shocked relations cried down microphones,
telephones
groaned in quiet corners,
others crawled away to die.
Reporters played with figures
which grew bigger all the time.
Quite a story.
Nice and gory.
Though it happened miles away
it's a scene I can't forget.
As I dreamt it all a week ago
and I'm left to sit and wonder
what comes next?
What comes next?
Will it be you, or will it be me?
What comes next?
What comes next?
* (1982) - Atomic Roses (2:47), Traumstadt I (2:47), Traumstadt I CD (2:08 - 5:03)
A sedate song. Fades in from "Of All The Girls..." (cutting off the initial lyrics) and out into "Playschool."
Instruments: Bass guitar, synth chords, occasional tinny keyboard melody, single vocal track with occasional heavy reverb, single drum machine pattern, quick burst of keyboard arpeggio right at the end.
What It's About (Maybe):
Several people kill themselves by jumping off something high, which subsequently makes a big sensationalistic news story. The narrator reveals that it was all a dream he had, but he wonders who will be the first to jump in real life.
Lyrics:
...the sky, someone said like a fly,
let's be cracked on the head,
tumbled downwards, scrambled rooftops.
Breakage spread out to the coast,
the ghosts just ambled through the sand.
Looking lost they were kicking rocks.
Shocked relations cried down microphones,
telephones
groaned in quiet corners,
others crawled away to die.
Reporters played with figures
which grew bigger all the time.
Quite a story.
Nice and gory.
Though it happened miles away
it's a scene I can't forget.
As I dreamt it all a week ago
and I'm left to sit and wonder
what comes next?
What comes next?
Will it be you, or will it be me?
What comes next?
What comes next?
Of All the Girls...
One main version:
* (1982) - Atomic Roses (2:11), Traumstadt I (2:14), Traumstadt I CD (2:08, 0:00-2:08)
An instrumental track with simple synth chords and movie samples. It sounds like a jam session. The "Traumstadt I" CD mix fades in slightly later, cutting off a few seconds of the keyboards, whereas the "Traumstadt I" cassette has an additional few seconds of keyboards that were not in "Atomic Roses." All mixes fade into the following song ("What's Next?")
Instruments: Clumsy synth chords, sometimes on two different tracks; occasional synthesized snare sounds played sporadically; bass guitar; dialog and sound effect samples from "The Big Sleep," "The Maltese Falcon," and "Casablanca"; swampy delay effect sometimes applied, especially at the end.
What It's About:
The title may be related to one of the famous quotes from "Casablanca": "Of all the gin joints in all the towns in all the world, she walks into mine."
Lyrics:
Next time I'll come on stilts wear a white tie and carry a tennis racket.
I doubt if even that will help.
You're not gonna frisk me.
Stand still, shut up.
Take your paws off me.
You would like to be on it?
Why? What's in Lisbon?
The clipper to America. I've often speculated on why you don't return to America. Did you abscond with church funds? Run off with--
The usual one.
I didn't know there was a usual one.
Oh, sure there is. It comes complete with diagrams on Page forty-seven of "How to be a Detective in Ten Easy Lessons", correspondence school textbook, and your father offered me a drink.
You must have read another one on how to be a comedian.
Hear what I said about the drink?
I'm quite serious, Mr. Marlowe. My father is not...
I said your father...
Help yourself!
I don't see what there is to be cagey about, Mr. Marlowe. And I don't like your manners.
Well I'm not crazy about yours. I didn't ask to see you. I don't mind if you don't like my manners.
--lunch out of a bottle. But don't waste your time trying to cross-examine me.
Play it, Sam. Play "As Time Goes By."
Oh I can't remember it, Miss Ilsa. I'm a little rusty on it.
I'll hum it for you. (Humming).
* (1982) - Atomic Roses (2:11), Traumstadt I (2:14), Traumstadt I CD (2:08, 0:00-2:08)
An instrumental track with simple synth chords and movie samples. It sounds like a jam session. The "Traumstadt I" CD mix fades in slightly later, cutting off a few seconds of the keyboards, whereas the "Traumstadt I" cassette has an additional few seconds of keyboards that were not in "Atomic Roses." All mixes fade into the following song ("What's Next?")
Instruments: Clumsy synth chords, sometimes on two different tracks; occasional synthesized snare sounds played sporadically; bass guitar; dialog and sound effect samples from "The Big Sleep," "The Maltese Falcon," and "Casablanca"; swampy delay effect sometimes applied, especially at the end.
What It's About:
The title may be related to one of the famous quotes from "Casablanca": "Of all the gin joints in all the towns in all the world, she walks into mine."
Lyrics:
Next time I'll come on stilts wear a white tie and carry a tennis racket.
I doubt if even that will help.
You're not gonna frisk me.
Stand still, shut up.
Take your paws off me.
You would like to be on it?
Why? What's in Lisbon?
The clipper to America. I've often speculated on why you don't return to America. Did you abscond with church funds? Run off with--
The usual one.
I didn't know there was a usual one.
Oh, sure there is. It comes complete with diagrams on Page forty-seven of "How to be a Detective in Ten Easy Lessons", correspondence school textbook, and your father offered me a drink.
You must have read another one on how to be a comedian.
Hear what I said about the drink?
I'm quite serious, Mr. Marlowe. My father is not...
I said your father...
Help yourself!
I don't see what there is to be cagey about, Mr. Marlowe. And I don't like your manners.
Well I'm not crazy about yours. I didn't ask to see you. I don't mind if you don't like my manners.
--lunch out of a bottle. But don't waste your time trying to cross-examine me.
Play it, Sam. Play "As Time Goes By."
Oh I can't remember it, Miss Ilsa. I'm a little rusty on it.
I'll hum it for you. (Humming).
Saturday, May 10, 2008
Ideal Home
Two main versions:
* "Ka-Spel Version" (1981) - Chemical Playschool 1 (4:01), Atomic Roses (3:40), Traumstadt I (3:40)
On the Traumstadt I CD, Ideal Home spans 14:22 - 18:00 and is not any different from the cassette version.
The Atomic Roses and Traumstadt I mixes fade in from the previous song ("Atomic Roses #1"), whereas the Chemical Playschool mix fades in. On Atomic Roses and Traumstadt I the song ends abruptly with a strong echo that fades out. The Chemical Playschool mix continues for another 22 seconds with vague scat vocals, slowly fading out.
The only decipherable parts of the vocoder interjections are: "acid bath...garden...whirlpool..."
Instruments: Single drum machine pattern; bass guitar; electric guitar; one main vocal track; constant vocoder interjections modulated by the guitar, with the original vocal source barely audible underneath.
* "Thompson Version" (1981) - Basilisk Bonus Tracks (3:54)
This version is sung by Keith Thompson, with whispered vocal accents by April Iliffe. It is an oddly loung-ey treatment performed over crowd noises.
Instruments: Acoustic guitar; bass guitar; bongos; shaker percussion; vocal track with phaser effect; occasional backup vocal accents.
What It's About:
Angeline and her lover just want to be alone in their ideal country home. Whenever anybody intrudes on their happiness, they lure them into the garden and submerge them in an acid bath. They have done this to many of their neighbours and would happily do it to any intruding gods if necessary. Strangely, though, the lover's skin is "slowly peeling." Did he end up in the acid bath as well? Maybe Angeline isn't as loyal as he'd thought.
Lyrics (adapted from the Cloud-Zero archive):
Angeline, Angeline, do you think this bliss is going to last?
Gazing in your oval eyes, sipping sunbeam sodas from a flask.
And should someone call in on us, to share in our enjoyment,
stay to tea...
show him round the garden and push him in the acid bath,
like the Smythes, like the Hydes, like the Jekylls.
Syracuse, Syracuse, I believe that I saw heaven this very day.
And as you lick my fingertips I'm floating over Devon, far away.
And should someone burst in on me and spoil my meditation,
God forbid,
we'll lead them round the garden, push them in the acid bath,
like the Travers. Never see them round these days.
Angeline, Angeline, your perfume has me reeling like your eyes. Nice.
And as the sun beats down on me, my skin is slowly peeling. Wonder why?
And should Cupid himself drop by, to fire his silver arrows
at our hearts,
we can take him round the garden and push him in the acid bath,
like Apollo, like Adonis, just like Zeus.
La la la la la, la la la.
Doo.
Buh bah bah, bah bah...
Why You Should Care:
The "voice modulated by guitar" vocoder effect is a nifty idea and sounds quite alien, but it illustrates why people don't use guitars with vocoders very often.
The "Keith Thompson" version shows a very different possible direction for the Dots, much more accessible and commercial.
* "Ka-Spel Version" (1981) - Chemical Playschool 1 (4:01), Atomic Roses (3:40), Traumstadt I (3:40)
On the Traumstadt I CD, Ideal Home spans 14:22 - 18:00 and is not any different from the cassette version.
The Atomic Roses and Traumstadt I mixes fade in from the previous song ("Atomic Roses #1"), whereas the Chemical Playschool mix fades in. On Atomic Roses and Traumstadt I the song ends abruptly with a strong echo that fades out. The Chemical Playschool mix continues for another 22 seconds with vague scat vocals, slowly fading out.
The only decipherable parts of the vocoder interjections are: "acid bath...garden...whirlpool..."
Instruments: Single drum machine pattern; bass guitar; electric guitar; one main vocal track; constant vocoder interjections modulated by the guitar, with the original vocal source barely audible underneath.
* "Thompson Version" (1981) - Basilisk Bonus Tracks (3:54)
This version is sung by Keith Thompson, with whispered vocal accents by April Iliffe. It is an oddly loung-ey treatment performed over crowd noises.
Instruments: Acoustic guitar; bass guitar; bongos; shaker percussion; vocal track with phaser effect; occasional backup vocal accents.
What It's About:
Angeline and her lover just want to be alone in their ideal country home. Whenever anybody intrudes on their happiness, they lure them into the garden and submerge them in an acid bath. They have done this to many of their neighbours and would happily do it to any intruding gods if necessary. Strangely, though, the lover's skin is "slowly peeling." Did he end up in the acid bath as well? Maybe Angeline isn't as loyal as he'd thought.
Lyrics (adapted from the Cloud-Zero archive):
Angeline, Angeline, do you think this bliss is going to last?
Gazing in your oval eyes, sipping sunbeam sodas from a flask.
And should someone call in on us, to share in our enjoyment,
stay to tea...
show him round the garden and push him in the acid bath,
like the Smythes, like the Hydes, like the Jekylls.
Syracuse, Syracuse, I believe that I saw heaven this very day.
And as you lick my fingertips I'm floating over Devon, far away.
And should someone burst in on me and spoil my meditation,
God forbid,
we'll lead them round the garden, push them in the acid bath,
like the Travers. Never see them round these days.
Angeline, Angeline, your perfume has me reeling like your eyes. Nice.
And as the sun beats down on me, my skin is slowly peeling. Wonder why?
And should Cupid himself drop by, to fire his silver arrows
at our hearts,
we can take him round the garden and push him in the acid bath,
like Apollo, like Adonis, just like Zeus.
La la la la la, la la la.
Doo.
Buh bah bah, bah bah...
Why You Should Care:
The "voice modulated by guitar" vocoder effect is a nifty idea and sounds quite alien, but it illustrates why people don't use guitars with vocoders very often.
The "Keith Thompson" version shows a very different possible direction for the Dots, much more accessible and commercial.
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