One main version:
* (1982) - Premonition (7:12), Under Triple Moons (7:12)
Crossfades in from "Intruder." After a short bass/synth introduction, becomes a gentle guitar song with news samples, then a quiet organ synth solo (containing a snippet of a song that doesn't appear elsewhere, a jaunty '60s guitar solo with clanging percussion) with occasional street noise samples, ending with a backwards snippet of "Hauptbanhof."
Instruments: Bass guitar; organ chords; electric guitar; news broadcast samples; synth effects; clanging percussion with heavy echo; street crowd noises possibly recorded on a bus; synth bassline; quiet, heavily modulated keyboard melody.
Showing posts with label Under Triple Moons. Show all posts
Showing posts with label Under Triple Moons. Show all posts
Saturday, May 17, 2008
Intruder
One main version:
* (1982) - Premonition (2:17), Under Triple Moons (2:17)
The song fades in cleanly from silence, and crossfades out into "Premonition 2."
Instruments: Drum machine; electric guitar; organ chords; two vocal tracks; bass guitar; keyboard melody; sped-up laughter snippet.
What It's About:
The narrator is offended by something awful, and he wishes that somebody would remove it from his sight. We never learn what this object actually is.
Lyrics (adapted from the Cloud-Zero archive):
It's incorrect, defected, ejected.
Leave it with the garbage in the garage.
Will you get it out of here?
'Cos it does me in, it's sinful,
it stinks. Inhuman.
Incinerate, exterminate,
take it, hide it.
It offends me with its grin!
That evil grin, it scares me.
Staring, glaring, I swear it's laughing...
...so darkly. It's dirty.
A dud, a dreg, a dreadful mess like that can't be for real.
Unreal, of lots of fitting labels.
Start a crossword with a single clue.
But will you save me the trouble?
Go flush the thing away.
Away. Away. Away. Away...
* (1982) - Premonition (2:17), Under Triple Moons (2:17)
The song fades in cleanly from silence, and crossfades out into "Premonition 2."
Instruments: Drum machine; electric guitar; organ chords; two vocal tracks; bass guitar; keyboard melody; sped-up laughter snippet.
What It's About:
The narrator is offended by something awful, and he wishes that somebody would remove it from his sight. We never learn what this object actually is.
Lyrics (adapted from the Cloud-Zero archive):
It's incorrect, defected, ejected.
Leave it with the garbage in the garage.
Will you get it out of here?
'Cos it does me in, it's sinful,
it stinks. Inhuman.
Incinerate, exterminate,
take it, hide it.
It offends me with its grin!
That evil grin, it scares me.
Staring, glaring, I swear it's laughing...
...so darkly. It's dirty.
A dud, a dreg, a dreadful mess like that can't be for real.
Unreal, of lots of fitting labels.
Start a crossword with a single clue.
But will you save me the trouble?
Go flush the thing away.
Away. Away. Away. Away...
Small Anthem
One main version:
* (1982) - Premonition (0:35), Under Triple Moons (0:35)
A short, gentle instrumental song that crossfades into "Intruder." It is not listed on the "Premonition" tape, but is called "Small Anthem" on "Under Triple Moons."
Instruments: Electric guitar; bass guitar.
* (1982) - Premonition (0:35), Under Triple Moons (0:35)
A short, gentle instrumental song that crossfades into "Intruder." It is not listed on the "Premonition" tape, but is called "Small Anthem" on "Under Triple Moons."
Instruments: Electric guitar; bass guitar.
Oceans of Emotion
One main version:
* (1982) - Premonition (5:18), Under Triple Moons (3:59)
The song crossfades in from "Dying for the Emperor" and crossfades out into the "Fin" suffix, but Under Triple Moons fades out just as "Fin" is starting.
Instruments: Tinny acoustic drums; bass guitar; vocoder voice; single vocal track; warm organ chords; chugging organ chords.
Suffix "Ocean Fin" (1:20)
Crossfades in from "Oceans of Emotion." On "Under Triple Moons" it fades out just as it's beginning.
This is a snippet of the "Fin" track which appears on "Chemical Playschool 2," and which is so often used in transitions around this period. It is somewhat clumsily flipped from side to side, and fades out slowly.
What It's About:
One of many Dots songs about a distant, fragile sanctuary for two lovers, but in this case the imaginary sanctuary -- a boat floating on the "ocean of emotion" -- is shattered by a somewhat comical suicide. The narrator dreams that his dead lover is still watching him...he'd join her in death if he had the courage to kill himself.
Lyrics (adapted from the Cloud-Zero archive):
Searching in my drawer,
I had to find a photograph of you.
Were you really quite like I remember?
Cold Decembers on the pier,
a can of beer between us.
We were dreaming on the railings
of sailing on our own into the sunset,
an orange one with palm trees,
dolphins bouncing 'round the boat.
We'd live on coconuts, I'd build a hut in wood and grass.
Strong enough to last us through the storm,
keep us warm.
Why did our dream have to die?
Tell me why.
You were out there with me.
You felt the breeze pass through your hair,
held a seashell to your ear,
fearless, flying higher
in a world built just for us.
No visitors, nothing there to hurt us.
So why did you run away?
No explanations, no communication,
not a word.
Just a square inch in the paper said you took your life
what a waste.
Weren't you just a little hasty?
God, what a pitiful waste.
Why did our dream have to die?
I don't know why.
You could have picked a graceful method,
died like Cleopatra, where no scars remain.
A tube train just does nothing for your figure.
My disfigured princess!
Do you watch me through the night?
Are you watching now?
Well, I'd like to join you,
but I haven't got the courage.
But my dream lives on,
will never die. Never die. Never die.
On and on forever.
And my dream's quite eternal
on the ocean of emotion.
* (1982) - Premonition (5:18), Under Triple Moons (3:59)
The song crossfades in from "Dying for the Emperor" and crossfades out into the "Fin" suffix, but Under Triple Moons fades out just as "Fin" is starting.
Instruments: Tinny acoustic drums; bass guitar; vocoder voice; single vocal track; warm organ chords; chugging organ chords.
Suffix "Ocean Fin" (1:20)
Crossfades in from "Oceans of Emotion." On "Under Triple Moons" it fades out just as it's beginning.
This is a snippet of the "Fin" track which appears on "Chemical Playschool 2," and which is so often used in transitions around this period. It is somewhat clumsily flipped from side to side, and fades out slowly.
What It's About:
One of many Dots songs about a distant, fragile sanctuary for two lovers, but in this case the imaginary sanctuary -- a boat floating on the "ocean of emotion" -- is shattered by a somewhat comical suicide. The narrator dreams that his dead lover is still watching him...he'd join her in death if he had the courage to kill himself.
Lyrics (adapted from the Cloud-Zero archive):
Searching in my drawer,
I had to find a photograph of you.
Were you really quite like I remember?
Cold Decembers on the pier,
a can of beer between us.
We were dreaming on the railings
of sailing on our own into the sunset,
an orange one with palm trees,
dolphins bouncing 'round the boat.
We'd live on coconuts, I'd build a hut in wood and grass.
Strong enough to last us through the storm,
keep us warm.
Why did our dream have to die?
Tell me why.
You were out there with me.
You felt the breeze pass through your hair,
held a seashell to your ear,
fearless, flying higher
in a world built just for us.
No visitors, nothing there to hurt us.
So why did you run away?
No explanations, no communication,
not a word.
Just a square inch in the paper said you took your life
what a waste.
Weren't you just a little hasty?
God, what a pitiful waste.
Why did our dream have to die?
I don't know why.
You could have picked a graceful method,
died like Cleopatra, where no scars remain.
A tube train just does nothing for your figure.
My disfigured princess!
Do you watch me through the night?
Are you watching now?
Well, I'd like to join you,
but I haven't got the courage.
But my dream lives on,
will never die. Never die. Never die.
On and on forever.
And my dream's quite eternal
on the ocean of emotion.
Digital
One main version:
* (1982) - Premonition (2:48), Under Triple Moons (2:45)
The song fades in from silence on both releases, but on "Under Triple Moons" the fade in occurs later, cutting off some of the first lyrics. Near the end of the song, the tracks are put through a pulsing echo and the instruments become more chaotic. The song crossfades into "Dying for the Emperor" at the end.
Instruments: Synth with rotor effect for rhythm; sequenced bass keyboard with odd time signature; single vocal track; barely audible vocal samples near the end.
What It's About:
I won't even try to interpret it, but I'm open to suggestions. The "mind/bend" lyrics are a play on two phrases: to bend somebody's mind (affect a person's thoughts in a generally negative way) and to "mind the bend" (be wary of curves on roads).
Lyrics (adapted from the Cloud-Zero archive):
I digit all the hours that God grants me.
I test myself, I test my friends,
it never ends.
I bend their minds, I mind the bends.
They take it all, don't mind at all.
They're digital. They're digital.
They digit all the hours that God grants them.
They test themselves, they test their friends,
it never ends.
They bend my mind, they mind the bends.
I take it all, don't mind at all.
I'm digital.
* (1982) - Premonition (2:48), Under Triple Moons (2:45)
The song fades in from silence on both releases, but on "Under Triple Moons" the fade in occurs later, cutting off some of the first lyrics. Near the end of the song, the tracks are put through a pulsing echo and the instruments become more chaotic. The song crossfades into "Dying for the Emperor" at the end.
Instruments: Synth with rotor effect for rhythm; sequenced bass keyboard with odd time signature; single vocal track; barely audible vocal samples near the end.
What It's About:
I won't even try to interpret it, but I'm open to suggestions. The "mind/bend" lyrics are a play on two phrases: to bend somebody's mind (affect a person's thoughts in a generally negative way) and to "mind the bend" (be wary of curves on roads).
Lyrics (adapted from the Cloud-Zero archive):
I digit all the hours that God grants me.
I test myself, I test my friends,
it never ends.
I bend their minds, I mind the bends.
They take it all, don't mind at all.
They're digital. They're digital.
They digit all the hours that God grants them.
They test themselves, they test their friends,
it never ends.
They bend my mind, they mind the bends.
I take it all, don't mind at all.
I'm digital.
Premonition 1
One main version:
* (1982) - Premonition (7:30), Under Triple Moons (6:57)
The song crossfades in from "Odd," though on "Under Triple Moons," it fades in after the crossfade has finished (since "Odd" isn't on "Under Triple Moons").
AKA "Premonition."
A montage of snippets from previous Dots songs, in different mixes with additional effects applied: "Donna's Blitzed Again," the Full Band Version of "City Ghosts," a previously-unheard instrumental synth/drum machine track with slightly slavic sound, and backwards vocals from "Apocalypse Then." On "Under Triple Moons" the song fades out early, cutting off about 30 seconds of the "Apocalypse Then" vocals.
Additional Instruments: Synths swooping up and down, often slowed down and sped up with tape manipulation.
Why You Should Care:
The first of a long line of "Premonition" songs, which tend to be extended mishmashes of various ideas, often using older sources. I assume that these experimental songs are called "Premonitions" entirely because of the title of this tape.
* (1982) - Premonition (7:30), Under Triple Moons (6:57)
The song crossfades in from "Odd," though on "Under Triple Moons," it fades in after the crossfade has finished (since "Odd" isn't on "Under Triple Moons").
AKA "Premonition."
A montage of snippets from previous Dots songs, in different mixes with additional effects applied: "Donna's Blitzed Again," the Full Band Version of "City Ghosts," a previously-unheard instrumental synth/drum machine track with slightly slavic sound, and backwards vocals from "Apocalypse Then." On "Under Triple Moons" the song fades out early, cutting off about 30 seconds of the "Apocalypse Then" vocals.
Additional Instruments: Synths swooping up and down, often slowed down and sped up with tape manipulation.
Why You Should Care:
The first of a long line of "Premonition" songs, which tend to be extended mishmashes of various ideas, often using older sources. I assume that these experimental songs are called "Premonitions" entirely because of the title of this tape.
Submerged
One main version:
* (1982) - Premonition (1:29), Under Triple Moons (1:29)
The song crossfades in from "Splash" and crossfades out into the Funky Version of "Amphitheatre." It's a short instrumental consisting of new material.
Instruments: News report sent through vocoder; sequenced keyboard providing rhythm, modulating throughout; backwards organ and synth chords far in background; brief recording of sports audience.
* (1982) - Premonition (1:29), Under Triple Moons (1:29)
The song crossfades in from "Splash" and crossfades out into the Funky Version of "Amphitheatre." It's a short instrumental consisting of new material.
Instruments: News report sent through vocoder; sequenced keyboard providing rhythm, modulating throughout; backwards organ and synth chords far in background; brief recording of sports audience.
Splash
Two main versions:
* "LPD Version" (1982) - Premonition (2:58), Under Triple Moons (2:58)
The song crossfades in from "As If..." and crossfades out into "Submerged."
Instruments: Single-pattern drum machine; organ chords; keyboard bassline; single intimate vocal track; source recording of people walking around.
* "Ka-Spel Version" (1989) - Perhaps We'll Only See a Thin Blue Line (4:23), Needles Three (4:23)
A much more "in-your-face" version of the song which sounds very mid-80s ("Khataclimici China Doll" era), partly due to the over-the-top drum programming and the guitar solos. The friends now "slap" him on the back, and the "grinning/spinning" lyrics are reversed. Ends abruptly with windy echo sound.
Never released previously; a treat added to the compilation releases.
Instruments: Drum machine; synth piano chords; single vocal track; keyboard bassline; thunderous surf synths; two tracks of electric guitar; warm synth pads near the end.
What It's About:
The narrator has a serious drinking problem, which he compares to a feeling of drowning. His friends recognize his alcoholism but continue to encourage him to drink, and the narrator doesn't even bother trying to resist...he just keeps drowning.
Lyrics (adapted from the Cloud-Zero archive):
Whisky needs and wine gums, real ones, brandy on my mind,
in my blood, in my liver, like a river. Walking under water,
short of breath. My speech is sort of slurred,
it's a blur. Much too late for turning back now.
I'm drowning. I'm drowning.
Clowning with my friends in the station.
Parties on the patio with patronizing friends who pat me
on the back, say "Have another, you'll recover." Cover up the cracks.
Blacking out, keep on grinning, spinning.
I know I'll never win this fight.
I'm drowning. Drowning.
Clowning with my friends in the station, in the gutter.
Stinking rich and sinking pitchers full of Slivowitz.
It gives me fits and makes me spit in pits of poison.
It annoys them. It destroys them.
But they let me keep on drowning.
Drowning.
Clowning with my friends in the station, in the gutter.
Drowning.
Why You Should Care:
"Prelude for a Splash" appears on "Chyekk China Doll," but it doesn't have any obvious connection to this song.
* "LPD Version" (1982) - Premonition (2:58), Under Triple Moons (2:58)
The song crossfades in from "As If..." and crossfades out into "Submerged."
Instruments: Single-pattern drum machine; organ chords; keyboard bassline; single intimate vocal track; source recording of people walking around.
* "Ka-Spel Version" (1989) - Perhaps We'll Only See a Thin Blue Line (4:23), Needles Three (4:23)
A much more "in-your-face" version of the song which sounds very mid-80s ("Khataclimici China Doll" era), partly due to the over-the-top drum programming and the guitar solos. The friends now "slap" him on the back, and the "grinning/spinning" lyrics are reversed. Ends abruptly with windy echo sound.
Never released previously; a treat added to the compilation releases.
Instruments: Drum machine; synth piano chords; single vocal track; keyboard bassline; thunderous surf synths; two tracks of electric guitar; warm synth pads near the end.
What It's About:
The narrator has a serious drinking problem, which he compares to a feeling of drowning. His friends recognize his alcoholism but continue to encourage him to drink, and the narrator doesn't even bother trying to resist...he just keeps drowning.
Lyrics (adapted from the Cloud-Zero archive):
Whisky needs and wine gums, real ones, brandy on my mind,
in my blood, in my liver, like a river. Walking under water,
short of breath. My speech is sort of slurred,
it's a blur. Much too late for turning back now.
I'm drowning. I'm drowning.
Clowning with my friends in the station.
Parties on the patio with patronizing friends who pat me
on the back, say "Have another, you'll recover." Cover up the cracks.
Blacking out, keep on grinning, spinning.
I know I'll never win this fight.
I'm drowning. Drowning.
Clowning with my friends in the station, in the gutter.
Stinking rich and sinking pitchers full of Slivowitz.
It gives me fits and makes me spit in pits of poison.
It annoys them. It destroys them.
But they let me keep on drowning.
Drowning.
Clowning with my friends in the station, in the gutter.
Drowning.
Why You Should Care:
"Prelude for a Splash" appears on "Chyekk China Doll," but it doesn't have any obvious connection to this song.
As If...
One main version:
* (1982) - Premonition (2:04), Under Triple Moons (1:50)
A montage introduction to the cassette, featuring snippets from other Dots songs in quick succession.
On both releases the song starts with a section from "Hiding" played backwards, but on "Under Triple Moons" the first ten seconds are cut off and slowly faded in, seemingly to remove the backwards vocals by Sally Graves. Also included are bits of the Clicky Version of "Thursday Night Fever," the Funky Version of "Amphitheatre," and "Onward."
The song crossfades into "Splash."
Additional Instruments: Guitar feedback; glitchy sped-up vocals;
Why You Should Care:
This is another step forward for the Dots. Their previous song montages were clumsy strings of song snippets, but this time the snippets are overlaid in an interesting, pleasing, and lush way.
* (1982) - Premonition (2:04), Under Triple Moons (1:50)
A montage introduction to the cassette, featuring snippets from other Dots songs in quick succession.
On both releases the song starts with a section from "Hiding" played backwards, but on "Under Triple Moons" the first ten seconds are cut off and slowly faded in, seemingly to remove the backwards vocals by Sally Graves. Also included are bits of the Clicky Version of "Thursday Night Fever," the Funky Version of "Amphitheatre," and "Onward."
The song crossfades into "Splash."
Additional Instruments: Guitar feedback; glitchy sped-up vocals;
Why You Should Care:
This is another step forward for the Dots. Their previous song montages were clumsy strings of song snippets, but this time the snippets are overlaid in an interesting, pleasing, and lush way.
Thursday, May 15, 2008
Down From the Country
One main version:
* (1981) - Kleine Krieg (5:36), Traumstadt 5 (5:34), Under Triple Moons (5:29)
The song fades in cleanly on all releases, with Kleine Krieg having the most material and Under Triple Moons the least (only by a few seconds). Likewise the song fades into the "Squeak" suffix on all releases, but Traumstadt 5 and Under Triple Moons fade the suffix out almost as soon as it has begun.
The sped-up, clunky keyboard and vocoder snippets that start appearing halfway through are the same ones used at the end of the Clicky Version of "Thursday Night Fever."
The song is noticeably slowed down on Traumstadt 5 and Under Triple Moons. The Kleine Krieg version has by far the best sound quality, probably because the Traumstadt 5 quality is so low, and Under Triple Moons uses the same version.
Instruments: Single pattern drum machine; keyboard bassline; acoustic guitar; organ chords; synth melody; two vocal tracks.
Suffix "Squeak" (0:26)
High-pitched synth squeaks and backwards vocoder voices. On Kleine Krieg this crossfades into "Thursday Night Fever." On the other releases the suffix fades out almost immediately.
What It's About:
A naive rube from the countryside has big dreams about the city, but he is quickly duped by two men who get him drunk, pay for his entertainment, rob him, then kill him. The "neon gods" show him how to haunt the city as a "city ghost."
Lyrics (adapted from the Cloud-Zero archive):
Down from the country, oh he had such plans
'bout making some money, 'bout living, being a man.
Packed his belongings in a battered old case.
Yes that look of fulfillment, well it stretched across his face.
Thought about his new life, maybe find himself a girl.
Share a flat and a mattress. Sure, they'd build their brave new world.
Take a job in an office, start low but proud.
He could work all the hours - hours the boss would allow.
And he'd reach new horizons, put some money away.
Buy a house in the suburbs, maybe have a son on the way.
Yes, down in the country, schemes and dreams stretch high, no limitations,
they train you right. You take the whole world whole world on and win.
Down in the station with his foot on his case,
well he met some new friends, said they'd show him round the place.
And they bought him a burger, and they showed him the sights,
and he played Space Invaders. Oh he got stoned by the light.
Then down to the nightclubs, bought him all of his drinks
and the sweet-smelling ladies, well, they're looking just at him.
Had a glass too many, had nowhere to go,
and he tripped on a table. They said: "Time we walked you home."
And they each took a shoulder, brought a grin to his face.
Gentle lift through the doorway, gently lifted up his case.
Shortcut through the alley, stopped a while for a rest.
Fingers rifled his pockets...but to no success.
And they spread his belongings in the dirt and the rain,
and of course they found nothing, as he feebly tried to explain.
Now down in the country, sort things out with your fists.
And he never had a prayer as the switchblade cut his wrists,
his chest, his arms.
And the neon gods took him, and they showed him the ropes.
Now he haunts down the alley...a city ghost.
Why You Should Care:
The city ghosts are further elaborated on in the song of the same name.
* (1981) - Kleine Krieg (5:36), Traumstadt 5 (5:34), Under Triple Moons (5:29)
The song fades in cleanly on all releases, with Kleine Krieg having the most material and Under Triple Moons the least (only by a few seconds). Likewise the song fades into the "Squeak" suffix on all releases, but Traumstadt 5 and Under Triple Moons fade the suffix out almost as soon as it has begun.
The sped-up, clunky keyboard and vocoder snippets that start appearing halfway through are the same ones used at the end of the Clicky Version of "Thursday Night Fever."
The song is noticeably slowed down on Traumstadt 5 and Under Triple Moons. The Kleine Krieg version has by far the best sound quality, probably because the Traumstadt 5 quality is so low, and Under Triple Moons uses the same version.
Instruments: Single pattern drum machine; keyboard bassline; acoustic guitar; organ chords; synth melody; two vocal tracks.
Suffix "Squeak" (0:26)
High-pitched synth squeaks and backwards vocoder voices. On Kleine Krieg this crossfades into "Thursday Night Fever." On the other releases the suffix fades out almost immediately.
What It's About:
A naive rube from the countryside has big dreams about the city, but he is quickly duped by two men who get him drunk, pay for his entertainment, rob him, then kill him. The "neon gods" show him how to haunt the city as a "city ghost."
Lyrics (adapted from the Cloud-Zero archive):
Down from the country, oh he had such plans
'bout making some money, 'bout living, being a man.
Packed his belongings in a battered old case.
Yes that look of fulfillment, well it stretched across his face.
Thought about his new life, maybe find himself a girl.
Share a flat and a mattress. Sure, they'd build their brave new world.
Take a job in an office, start low but proud.
He could work all the hours - hours the boss would allow.
And he'd reach new horizons, put some money away.
Buy a house in the suburbs, maybe have a son on the way.
Yes, down in the country, schemes and dreams stretch high, no limitations,
they train you right. You take the whole world whole world on and win.
Down in the station with his foot on his case,
well he met some new friends, said they'd show him round the place.
And they bought him a burger, and they showed him the sights,
and he played Space Invaders. Oh he got stoned by the light.
Then down to the nightclubs, bought him all of his drinks
and the sweet-smelling ladies, well, they're looking just at him.
Had a glass too many, had nowhere to go,
and he tripped on a table. They said: "Time we walked you home."
And they each took a shoulder, brought a grin to his face.
Gentle lift through the doorway, gently lifted up his case.
Shortcut through the alley, stopped a while for a rest.
Fingers rifled his pockets...but to no success.
And they spread his belongings in the dirt and the rain,
and of course they found nothing, as he feebly tried to explain.
Now down in the country, sort things out with your fists.
And he never had a prayer as the switchblade cut his wrists,
his chest, his arms.
And the neon gods took him, and they showed him the ropes.
Now he haunts down the alley...a city ghost.
Why You Should Care:
The city ghosts are further elaborated on in the song of the same name.
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...
One for the Pearl Moon
Two main versions:
* "1981 Version" (1981) - Chemical Playschool 2 (5:42), Kleine Krieg (6:14), Under Triple Moons (5:48)
On Kleine Krieg the song crossfades from the "Erin or Eric" suffix at the end of the previous song ("Legacy.") Under Triple Moons uses the Kleine Krieg mix, fading in slightly later to avoid most of "Erin or Eric." On Chemical Playschool 2, the song cuts off suddenly after the "wasted much too long" line, whereas Kleine Krieg (and Under Triple Moons) continue for a few seconds before crossfading with a descending synth sound...on Kleine Krieg this lasts for 38 seconds before fading into the following song ("Dolls' House"), whereas Under Triple Moons fades out after only a few seconds.
Instruments: Single drum machine pattern; prominent bass guitar; warm synth chords; plinky melody keyboard; rattling jar percussion; sharp synth effects; distant discordant keyboards; single vocal track.
* "Pink Box Version" (1989) - Legendary Pink Box (3:58)
AKA "Pearl Moon"
A much faster, punchier, and "poppier" approach that sounds distinctly late-'80s. Besides small changes in the wording, the lyrics in verses two and three are mixed-and-matched to make a single verse, verse four has been removed, and there is a fun bass/sampler solo before the last verse.
Instruments: Bass guitar; sharp keyboard accents; drum machine with multiple patterns; looped samples of glass breaking and percussive sounds; fuzzy electric rhythm guitar; sharp electric lead guitar during breaks; single vocal track which heavy swirling echo; second vocal track during final line of song.
What It's About:
An ancient moon-god lies largely neglected, confined to a single location as time passes, ignoring the pleas of those who call to him for help. Finally, stirred by the bloody rituals of his few remaining followers, he returns and promises that he will mercilessly destroy the cities of those who forgot him. He has waited a long time, but now he's back, a vengeful creature.
Lyrics (adapted from the Cloud-Zero archive):
I stood here when this city was a cave,
face contorted, angry eyes aflame!
Spitting vows I couldn't keep
I'm one...for the pearl moon,
one for the pearly moon in the sky.
Put-ta-put-ta-put-ta-put-ta-pearl moon.
Put-ta-put-ta-put-ta-put-ta-pearl moon.
I knelt here, caged and weeping in the wind,
cried aloud for those who died for me.
Whispered prayers for those who lived,
one for the pearl moon.
Prayers for the pearl moon!
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
I slept here as the grass grew 'round my head,
undisturbed though pilgrims called my name.
Unimpressed by children's cries
they cried for the pearl moon.
Cry in the pearly moon in the sky!
Pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
I rose here, stirred by vigils in the night,
stars and circles scratched out in the dust.
Mumbled lights and cups of blood
there's blood in the pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay...
I will lead here, waste your cities, smash your walls,
got no mercy though you beg me to stop!
'Cause I've wasted much too long.
* "1981 Version" (1981) - Chemical Playschool 2 (5:42), Kleine Krieg (6:14), Under Triple Moons (5:48)
On Kleine Krieg the song crossfades from the "Erin or Eric" suffix at the end of the previous song ("Legacy.") Under Triple Moons uses the Kleine Krieg mix, fading in slightly later to avoid most of "Erin or Eric." On Chemical Playschool 2, the song cuts off suddenly after the "wasted much too long" line, whereas Kleine Krieg (and Under Triple Moons) continue for a few seconds before crossfading with a descending synth sound...on Kleine Krieg this lasts for 38 seconds before fading into the following song ("Dolls' House"), whereas Under Triple Moons fades out after only a few seconds.
Instruments: Single drum machine pattern; prominent bass guitar; warm synth chords; plinky melody keyboard; rattling jar percussion; sharp synth effects; distant discordant keyboards; single vocal track.
* "Pink Box Version" (1989) - Legendary Pink Box (3:58)
AKA "Pearl Moon"
A much faster, punchier, and "poppier" approach that sounds distinctly late-'80s. Besides small changes in the wording, the lyrics in verses two and three are mixed-and-matched to make a single verse, verse four has been removed, and there is a fun bass/sampler solo before the last verse.
Instruments: Bass guitar; sharp keyboard accents; drum machine with multiple patterns; looped samples of glass breaking and percussive sounds; fuzzy electric rhythm guitar; sharp electric lead guitar during breaks; single vocal track which heavy swirling echo; second vocal track during final line of song.
What It's About:
An ancient moon-god lies largely neglected, confined to a single location as time passes, ignoring the pleas of those who call to him for help. Finally, stirred by the bloody rituals of his few remaining followers, he returns and promises that he will mercilessly destroy the cities of those who forgot him. He has waited a long time, but now he's back, a vengeful creature.
Lyrics (adapted from the Cloud-Zero archive):
I stood here when this city was a cave,
face contorted, angry eyes aflame!
Spitting vows I couldn't keep
I'm one...for the pearl moon,
one for the pearly moon in the sky.
Put-ta-put-ta-put-ta-put-ta-pearl moon.
Put-ta-put-ta-put-ta-put-ta-pearl moon.
I knelt here, caged and weeping in the wind,
cried aloud for those who died for me.
Whispered prayers for those who lived,
one for the pearl moon.
Prayers for the pearl moon!
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
I slept here as the grass grew 'round my head,
undisturbed though pilgrims called my name.
Unimpressed by children's cries
they cried for the pearl moon.
Cry in the pearly moon in the sky!
Pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay pearl moon.
I rose here, stirred by vigils in the night,
stars and circles scratched out in the dust.
Mumbled lights and cups of blood
there's blood in the pearl moon.
Ove-ay-ove-ay-ove-ay-ove-ay...
I will lead here, waste your cities, smash your walls,
got no mercy though you beg me to stop!
'Cause I've wasted much too long.
Thursday, February 14, 2008
Frosty
Two main versions:
* "1980 Version" (September 1980) - Stained Glass Soma Fountains (4:43)
Fades in with drum pattern and somebody (Knight?) counting down: "one, two, a-one two three four." There's a brief tape glitch three minutes in. Ka-Spel sings all the lyrics alone. Ends with a sustained chord and then some studio chatter, possibly between Knight and Iliffe:
"Let's stop! That's great. Oooh."
"Mmmm."
"Oooh."
"I just thought we'd want to, uh..."
Instruments: Single drum pattern; piano melody; warm synth chords with bassline barely audible underneath, sometimes all pitched up suddenly, lots of chorus added halfway through; one vocal track without any effects.
* "Full Band Version" (1981) - Only Dreaming (4:38), Chemical Playschool 2 (4:40), Under Triple Moons (4:24)
The Only Dreaming mix and Chemical Playschool mixes both start abruptly, though Chemical Playschool cuts off a bit (and sounds like the tape was started in the middle of a note). The Under Triple Moons mix fades in. On all mixes you can hear somebody laughing before the lyrics start, though this is only really identifiable on Only Dreaming. April Iliffe provides accent lyrics in the second half. All mixes have a long fade-out, with Only Dreaming being the longest and Under Triple Moons being the shortest.
All mixes run at slightly different speeds.
Instruments: Live drums; organ melody; warm synth bassline; acoustic guitar; two vocal tracks; tambourine; quiet high-pitched synth chords pitched up and down; Iliffe "sha-la-la" vocals during the second half, with a second track of vocals for the "ahh-ahh" part; synth bell sounds.
Sounds a lot like:
This seems like a strange subject for a song, but it's oddly similar to 1979's "Frozen Fred" by the Dutch band Nits.
What It's About:
A freakish person, constantly derided, retreats to the comfort of a little hideway (a "fridge"). He occasionally emerges to try to gain respect or to inspire awe, but he is always thwarted and sent back into hiding, despite the best intentions and actions of the narrator's friends. Since "Frosty" is hiding when Armageddon arrives, he becomes the only survivor left on Earth.
Lyrics (adapted from the Cloud-Zero archive):
He always looked behind him, scared somebody would jump him.
Put him on the ground so he'd come around to the sound of people laughing.
'Cos the whole world loved to mock him. Sun and moon both pointed at him.
Kids would twist their necks to get a better view.
Well, it really did his mind in, and we wanted to protect him,
so we placed his face in a smash-proof case and placed it...
in the fridge.
They giggled in the corners, whispered lies across the borders.
They derided him and chided him 'til he carried out their orders.
But he dashed into the limelight, played at Hamlet for a fortnight.
Waved his arms and screamed demands for some respect.
But they just could not excuse him, it was really too amusing.
So he packed his sack and scrambled back to safety...
in the fridge.
And I swear I saw his spirit in the sky with nothing near it.
High on armour-plated roller skates, white-feathered train to steer it.
Scared somebody would look up, gesticulate and throw up.
Send him flitting, fleeting, scarred behind a cloud.
But for him, there's no escaping, no hole big enough to hide in.
Best just to stay nicely out the way in safety...
in the fridge.
In the village bells were tolling, in the town the dogs were howling.
It was Armageddon, tanks crashed head-on, planet Earth was drowning.
Then the Devil sent a shower, Europe died in half an hour.
Then a demon wind just finished off the rest.
But our friend, he took a teabreak, idly munching on a fish-cake.
Quite oblivious in ignorance but cosy...
in the fridge
It's so cold there, in the fridge.
It's so icy, frosty.
It's so cold in the fridge.
* "1980 Version" (September 1980) - Stained Glass Soma Fountains (4:43)
Fades in with drum pattern and somebody (Knight?) counting down: "one, two, a-one two three four." There's a brief tape glitch three minutes in. Ka-Spel sings all the lyrics alone. Ends with a sustained chord and then some studio chatter, possibly between Knight and Iliffe:
"Let's stop! That's great. Oooh."
"Mmmm."
"Oooh."
"I just thought we'd want to, uh..."
Instruments: Single drum pattern; piano melody; warm synth chords with bassline barely audible underneath, sometimes all pitched up suddenly, lots of chorus added halfway through; one vocal track without any effects.
* "Full Band Version" (1981) - Only Dreaming (4:38), Chemical Playschool 2 (4:40), Under Triple Moons (4:24)
The Only Dreaming mix and Chemical Playschool mixes both start abruptly, though Chemical Playschool cuts off a bit (and sounds like the tape was started in the middle of a note). The Under Triple Moons mix fades in. On all mixes you can hear somebody laughing before the lyrics start, though this is only really identifiable on Only Dreaming. April Iliffe provides accent lyrics in the second half. All mixes have a long fade-out, with Only Dreaming being the longest and Under Triple Moons being the shortest.
All mixes run at slightly different speeds.
Instruments: Live drums; organ melody; warm synth bassline; acoustic guitar; two vocal tracks; tambourine; quiet high-pitched synth chords pitched up and down; Iliffe "sha-la-la" vocals during the second half, with a second track of vocals for the "ahh-ahh" part; synth bell sounds.
Sounds a lot like:
This seems like a strange subject for a song, but it's oddly similar to 1979's "Frozen Fred" by the Dutch band Nits.
What It's About:
A freakish person, constantly derided, retreats to the comfort of a little hideway (a "fridge"). He occasionally emerges to try to gain respect or to inspire awe, but he is always thwarted and sent back into hiding, despite the best intentions and actions of the narrator's friends. Since "Frosty" is hiding when Armageddon arrives, he becomes the only survivor left on Earth.
Lyrics (adapted from the Cloud-Zero archive):
He always looked behind him, scared somebody would jump him.
Put him on the ground so he'd come around to the sound of people laughing.
'Cos the whole world loved to mock him. Sun and moon both pointed at him.
Kids would twist their necks to get a better view.
Well, it really did his mind in, and we wanted to protect him,
so we placed his face in a smash-proof case and placed it...
in the fridge.
They giggled in the corners, whispered lies across the borders.
They derided him and chided him 'til he carried out their orders.
But he dashed into the limelight, played at Hamlet for a fortnight.
Waved his arms and screamed demands for some respect.
But they just could not excuse him, it was really too amusing.
So he packed his sack and scrambled back to safety...
in the fridge.
And I swear I saw his spirit in the sky with nothing near it.
High on armour-plated roller skates, white-feathered train to steer it.
Scared somebody would look up, gesticulate and throw up.
Send him flitting, fleeting, scarred behind a cloud.
But for him, there's no escaping, no hole big enough to hide in.
Best just to stay nicely out the way in safety...
in the fridge.
In the village bells were tolling, in the town the dogs were howling.
It was Armageddon, tanks crashed head-on, planet Earth was drowning.
Then the Devil sent a shower, Europe died in half an hour.
Then a demon wind just finished off the rest.
But our friend, he took a teabreak, idly munching on a fish-cake.
Quite oblivious in ignorance but cosy...
in the fridge
It's so cold there, in the fridge.
It's so icy, frosty.
It's so cold in the fridge.
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