| Asobi Seksu – Thursday Lyrics | 12 years ago |
| The Twelves remix of this is great...maybe even better than the original. | |
| The Joy Formidable – Whirring Lyrics | 12 years ago |
|
It's about a long distance relationship online. That or a relationship that takes place predominantly online/puter-side. "fills columns to new heights" = chatlog "All these things about me you never can tell" = lack of access to the other person's real life "Colors run prime, paint a picture so bright" = pics/images on your monitor (RedGreenBlue = prime/primary colors) "invisible friend" = long distance, remember? they just aren't there when you're sleeping, away from your puter. "Turn the dial on my words / I can feel them fall short / Turn the dial, chime alarm / Watch these hands move apart" = Connect that part about sleep and this and it seems like being away from eachother is that period of sleep, be it figurative or literal, is what they need to be awoken from...or they feel that their words are not "waking up" the other person adequately and feel a distance grow between them thusly. |
|
| David Bowie – Seven Years in Tibet Lyrics | 12 years ago |
|
EACHOTHER, DAMNIT, EACHOTHER! GAWD DON"T YOU PEOPLE UNDERSTAND IT"S NOT ABOUT DRUGS OR A BREAKUP??? |
|
| David Bowie – Seven Years in Tibet Lyrics | 12 years ago |
| Off the top of my head, "Looking for Satellites" refers to people looking for other people, "satellites" over head... maybe this is what he's getting at in reference to finding a 'higher meaning". | |
| David Bowie – Seven Years in Tibet Lyrics | 12 years ago |
|
"I hope you follow the symbolism so far as to how it relates to the lyrics." The peak of the mountain/"A" climbed is the head. I think what it means to say is that there is no higher authority than man himself; there is no God above and there is no "secret" gained at the top of the mountain...just a vantage point to look down from. |
|
| David Bowie – Seven Years in Tibet Lyrics | 12 years ago |
|
It's about the seeming futility of belief in a higher being or afterlife-based paradigm. The first phrase is the man experiencing his own death and seeing nothing but himself dying; there is no afterlife. When I listened to a long, long time ago I imagined that the second phrase was, as the reference to the autobiographical book above says, that this man is climbing, making an Ascent to find separation (as is assumedly was found in Bowie's own practice of meditation and yoga and referenced in other songs on this album). The album cover has Bowie standing with his back to the viewer in an A-frame pose with the Union Jack lines in his coat further emphasizing this letter...I hope you follow the symbolism so far as to how it relates to the lyrics. "Turn to question the mountain / Why pigs can fly / It's nothing at all," seems to be saying that even in this non-theist paradigm there is no escape or comfort or redemption gained from attaining what is implied by going "beyond the yoga zone" and the "frail form" ("is drifting" like snow, "old snow", like ashes). The phrase "why pigs can fly, it's nothing at all," seems to be a recognition that this "enlightenment" offers nothing...he climbed the mountain to reach "heights" that "pigs" have reached without the same effort/mindfulness/practice. And of course, "I praise to you, nothing ever falls away" is the man's reaction to the failure of prayer and belief. When I say "man" in the above writing I speak of the character in the lyrics and not Bowie but some years prior he had written "Loving the Alien" which both in lyrics and imagery (in the video) deal with similar issues of prayer and meditation based paradigms. |
|
| Pavement – Carrot Rope Lyrics | 13 years ago |
| AH that's it...the wicket keeper is the dealer as i've said, and "20 questions" and that whole middle section is about hitting the mark so as to gain confidence with them so that the wickets fall. BULLSEYE! YOU GUYS SUCK AT LYRIC DECODING. | |
| Pavement – Carrot Rope Lyrics | 13 years ago |
|
thedrizzle / despairport / and especially alas.away: well done. "Carrot rope" in this case is indeed about smoking weed to "get me off of the ground(s)" which when you realize a that a carrot grows down under the ground one would need to be under it to use it as a rope to get on-top/"off of" it. It's about using weed to get out of a funk and stay fascinated with life and not end up like those that use alcohol to sit on their ass and "rub the rope red" from an ineffetual state of mind(depressed/hungover/drunk). Wicket keeper is down... prolly a loose reference to the wicket in cricket that are aimed at to be knocked down to initiate a run sequence (you'll have to read about it yourself at wiki:wicket for the rules; oddly enough the wickets are colored orange and about the size of a joint). So yea, imagine a dealer (wicket keeper) dropping 'officially' orange wickets to the ground which tranmogrify into carrots, aka "underground/depression escape ropes". So beyond just smoking it, it's about establishing a relationship with a dealer. Did I get it? ~:DDDDD |
|
| The Smiths – Panic Lyrics | 14 years ago |
|
"but you run down to the safety of the town" ...is referencing the element of music "that says nothing about my life"... it's not so much just talking about safe music for the masses but about the issues, the "music" that people are controlled by because it keeps them from paying mind to the important issues in their lives instead of the fluffy 'pop' issues. So really, get off the song's impetus about Chernobyl and Wham and bad DJs... it's about the people that want to feel the safety and ease that comes with eating the free handouts...and doing something about those that do this as a means of obfuscation/control/etc. "Hang" the man behind the Wizard's curtain; take back control, do what you will and think and wish to do. Stop being led by other's agendas. |
|
| Morrissey – I Have Forgiven Jesus Lyrics | 14 years ago |
| That's "dull" not "full".... there in the middle": "a long dull walk off a pier". | |
| Morrissey – I Have Forgiven Jesus Lyrics | 14 years ago |
|
It's a weak platform, but the video clears up the tone of the lyrics. He's dressed as an adherent of faith while those menacingly trailing him are dressed otherwise. In this contrast is exposed the difference between them: Morrissey is the one that speaks of those things that Jesus has shown him while the others stand in for the loveless world he must suffer. On an initial read-through, this part: "I was a good kid through hail and snow I'd go just to moon you I carried my heart in my hand" ...made me consider, 1) what person is going out in inclement weather to show off his bare arse, and 2) where is one's hand when they moon someone....that's right...ON THEIR CROTCH...that's the "heart" in his hand. Intentional? Cheeky? The use of specific terms and phrases are almost always rather stark for a purpose in songs which is to focus on a particular concept and then a shade of that. Try not to extract too much that isn't initially hammered out in the lyrics. This song is merely about wanting love in a culture that has stamped it out...look, he even said that there in the middle. Start with the stated specifics and then branch out...not the other way around. There's a shade concerning decay and the ever-present boundary of death that lilikoi stated with which I agree. One step further in that direction would bring issue with the lover being able to forgive "Jesus" for both in giving life he insured death whereas the others aren't able to "forgive" these circumstances and so can't move past them to begin loving. "Morrissey" knows what's coming and so wants to live/love with the pain rather than numb himself by living a flatline... a long full walk off a sloping pier into the sea of oblivion. The last number of iterations of "do you hate me?" aren't a question "Morrissey" is asking as positing for the sake of the manner of the issue's presentation; it's that Jesus loves him and so gave him this gift of knowing love and the ability to recognize this vast chasm between those that do love and those that don't love. I suppose it is a well chosen question...thinking about it now... it's really quite tragic. The whole last phrase beginning with "oh pretty one" could be the focus of his brand of love in that it is not so much tied up in the physical material part of things that perhaps he's alluding to that others are wrapped up in but it's the, for lack of a better word, "spiritual" beauty felt in the mind/body which is what connects and draws people/things together. It's this sense of the "internal" infrastructure of "pretty" that he is racked with...driven by the "spiritual", the desire, the emotions as opposed to the solid/material/physical. He's an aesthete. |
|
| David Bowie – Because You're Young Lyrics | 15 years ago |
| Realize now it's so much about drugs but just existence in general... being human and alive and knowing it's going to end ...that context in itself can bring about all of these ideas that I framed as being tied to Bowie's debasing drug experience. | |
| Peter Bjorn and John – Nothing to Worry About Lyrics | 15 years ago |
|
It's talking about existential anxiety...that point where you come to think, "This is it...is this it!?", and you lose your cool and feel like a fool for doing what you do as if you were squandering your life but just need to realize that this IS it and you just need to relax and enjoy (put some money in this and that and there's nothing to worry about"). The video is on point by showing people that enjoy themselves in embodying their own culture; it may be pointless but it's an enveloping means of existing as pleasant distraction. The point about fighting ("beat me up") and going "from boys to men and then back again" is talking about those people that stir shit up so they can create problems so as to have something to solve...to "make meaning" in an otherwise worthless existence. The use of this subculture shows how a gang can create meaning without spilling over into violence (even one that appears to have machismo and an "aggressive attitude" as its base virtues). |
|
| David Bowie – Because You're Young Lyrics | 15 years ago |
|
CHORUS Because you're young You'll meet a stranger some night Because you're young What could be nicer for you And it makes me sad So I'll dance my life away A million dreams, a million scars I thought about this part again and came up with what could possibly something that ties in with what notthattartagain said about this being a song written for his son Zoe/Zowie. At the time the song was written Zoe was still in his single-digit years while Bowie was "mounting the hill" (in his case 30 was the year he went over the hill...it's why he was able, or why at all, to write "Up the Hill Backwards" which has an excellent interpretation on its page on this site...Read That First.) This is about Bowie standing at what he feels to be the culturally understood year that is the end of Youth while looking down upon the place his young son has and the all of the climbing he has ahead of him. It's another point of self-reflection on aging and death in the frame of paternal advice. Read through it again.. it's almost fully self-centered, which is perfectly fine since the most ego-centric advice can sometimes be more rich than some watered down "selfless" advice that essentially cuts the Self out of the picture in an attempt to console by sleight-of-hand. As a man who has squeezed out a copy of himself in child he can do nothing but realize his place on the linear progression of human life. The action of contemplating the nature of his son's own youth puts his own into view. |
|
| David Bowie – Because You're Young Lyrics | 15 years ago |
|
"front and no sides" would be a flattening effect... 3-d down to 2-d. The 2-d would be the "metal faced boy" and the 3-d would be the "psychodelicate girl". I'll explain what each one stands for in the next paragraph. The mid section: "He punishes hard Was loving her such a crime She took back everything she said Left him nearly out of his mind" ...seems to be about the unbending, hard nature of the masculine "metal faced boy". This is a side of one person (himself, perhaps) but any person will do, really. The masculine being the objective self commiserating with the internal, soft, feminine/subjective self. In this case I believe it's a self-referential statement about Bowie's difficult times when "extracting the subjective/psychodelicate" from his mind with chemical means and how this wrought "hard punishment" upon his body. If anyone has experienced a placid mind though constant meditative practice as did Bowie (or in my own case, the placid and boring nature of a mind that is balanced by Chinese Medicine...or in Bowie's case a mind that is boring because he's drained all his neurochemicals through drug-use leaving him on the crash/burn side of the trip (see "Always Crashing In the Same Car"). "Left him nearly out of his mind" is about his difficulties with drug-use...it gained him much by way of creative/human insight but almost took away his sanity. "Hope I'm wrong but I know" is a reference to this idea that he hopes his view of the world is wrong because it contains no afterlife. "But I know" speaks of his certainty of this worldview. "But it makes me sad / so I'll dance my life away" is his understanding of the inevitable arrival of death and his fall into oblivion and so he dances while he can. This ties into the larger paragraph I referenced above which ends with: "They're people I know People I love They seem so unhappy Dead or alive" He's found a way of making the best of his situation in the face of this tragic, universal demise to come. Some may not take him seriously for staying in the world of fantasy/subjective but it's how he deals with it all...he's "happy" or at least aware, but there are so many that aren't happy/content ("with coping method"). ================================ A million dreams (childhood) A million scars (adulthood) A million, A million ("years" is implied... a phrase which equals "infinity" or "oblivion") These three are the choices: you can dream, you can complain, or you can die... but you will eventually die... so why not make the best of it and enjoy your time; be happy, son! Touching song with a hint of the straining air that surrounds confronting your mortality and how to approach that final period. "these pieces are broken"... no idea other than it might reference a shattered "metal faceboy"... the body will fail in your attempts to squeeze the juice of life out of it... realize that there is an negative for every great positive... that obtaining the subjective costs an objective price.... and avoiding this will leave you as nothing BUT a "metalfaced boy" that is unhappy "dead or alive". Hope you've enjoyed my rambling style. It saves me time. |
|
| Talking Heads – Burning Down the House Lyrics | 15 years ago |
|
Let me try the 7th stanza again.... "All stuck together" would be that all the images happened so quickly/densely in his coke-addled mind that it will take time to unravel them all. The "staring/tv" line is framing his wonder at the "low-density imagery" that unravels so slowly on the tv and how people can snort on something that slows them down as opposed to the accelerating actions of the coke. |
|
| Talking Heads – Burning Down the House Lyrics | 15 years ago |
| "All stuck together" in the 7th stanza would be that all the images happened so quickly/densely in his coke-addled mind that it will take time to unravel them all. The "staring/tv" line is framing his wonder at the "low-density imagery" that unravels so slowly on the tv and how people can snort on something that slows them down as opposed to the accelerating actions of the coke. | |
| Talking Heads – Burning Down the House Lyrics | 15 years ago |
|
Start at the video: a whole minute of the 4 minute video is of Byrne's visage being tracked over the WHITE LINES of a street. White lines in this case are a visual reference to his well-documented cocaine use during this period. Knowing that you can apply this to parts of the lyrics getting little coherence... which would seem to be the point taken from such high octane usage. The title lyric is a euphemism for what such a coke habit essentially does to oneself. The rest are lines that express different stages of regard for oneself while on the drug and in its aftermath. Some of it would seem a little cryptic if you aren't applying this framework of the in-stream mindframe had at each of the points and segues of the "anticipation-snort-spike-float-crash-burn" sequence during usage to the lyrics. Even less clear since it was probably written during in-spike, in-crash, and/or in-burn. Sometimes these types of phrases can't be nailed down on all four corners which leaves them open to interpretation... but I think the "meta-coke" analysis seems to hold pretty well considering Byrne's strong focus on Reason and Motive in his lyrical career along with his habit that he had certainly experienced by this time. But give it a try: 1st stanza: What he might "get what he's after is" girls that are strange and wonderful and not standoffish strangers... a boost in self-confidence for an "ordinary guy" from the coke he's hoping to score. 2nd stanza: Not sure and since I've never done coke or spent time around such people... although this one party these two guys only started lines when pretty much everyone was gone... is this part of the ritual? Too many people would want some? too many people makes for paranoia? Anyone? "There has got to be a way" and "Nasty weather"... AH... "nasty weather" would be a snow(coke) + nasty/windy(snort) = blizzard/experience. 3rd stanza: "Ticket", "Bag", "transportation" are all references to their score. "Close enough" is about leaning in toward the lines; "but not too far" is about the short distance needed to "travel"("move the body") to take up the line. "Fightin' fire with fire" is a statement concerning motivation: "fire" would be his physically uncomfortable status of addiction and the whole phrase would be referencing the nature of the vicious cycle of addiction. The only thing that will put the "fire" out is by taking what caused it to begin with. This really has to clinch it with all this lead-up. 4th stanza: "Wet" and "raincoat" are about the incessant sweating that happens with coke use. You've seen the videos where Byrne is dripping with sweat... "Once in a lifetime" for one. "Shakedown dreams walking in broad daylight" is about the crash...."365 degrees" is a reference to at once a skewed, complete circle that it put him through and also a reference perhaps to the magnitude of this feeling, like a whole year of 365 days has seemingly passed (heightened speed of thought making so many thoughts happen it may as well have been a whole year in only so many minutes of coke-high... and you all wonder how Bowie and Byrne got so much damn work accomplished...so many ideas..."got coke?"... perfect for the physiologically and intellectually strong artist) 5th stanza: This one's a little too diffuse for me to try. 6th stanza: This is his perspective after it's more or less cleared his system. He's gained a view into his own "extra-ordinary" nature... then a line that is paranoia based on a feeling that his extremely strong thoughts might in some way be capable of harming others...or a reflection upon his actions/words towards others while on it... and the "sweep me off my feet" being his excuse for having done/said them. 7th stanza: The second use of "fighting fire with fire" has a different shade and trajectory of meaning than the first which explains this stanza. Compare "staring in the tv set" with all those things he "saw" in his mind while on coke. His images are ones that can be used to create new things while "your" images, those you stare at on the tv... do generally not lead to "you" to new actions. So the "fire" one is being burned by in this case is Boredom... but watching tv only begets more Boredom since it rarely "gives you new things to un-stuck and bring into the world, aka give visible means of support". So it's a comparison of one addiction with another... one being productive, the other not. But it would seem both lead to "burning down the house"... coke burns you out while tv burns you down to a worthless soggy heap of ashes. |
|
| David Bowie – Always Crashing in the Same Car Lyrics | 15 years ago |
| Thin White Duke ... had to come back to "make obvious" this point. "Thin" and "White" are of course references to those thin white lines of cocaine that were the mainstay of his mid-late 70's addiction phase. I'm guessing he put this particular character into the spotlight at first as a means to come to terms with his addiction in hopes fully understanding 'him', then wearing out his allegorical relevance, and then losing "him" in the revolving door that David walked through each year toward the next persona and album. Not sure if it worked since there was less transformation of the exterior between "Americans" to "Monsters" than in the albums prior which could be seen as intentional (begin at start of decade putting what's on the inside on the outside and then the second half of the decade in an effort to coil it all back inside to "become himself" again like I believe he seemed to get around to either during or right after "Monsters".) | |
| David Bowie – Little Wonder Lyrics | 15 years ago |
|
From that same linked page in the last entry: "Human Imagery (Primordial Man) * Mouth * The Shekhinah is often portrayed as a bride or princess whose male lover is the composite of the nine upper sefirot, represented by the prince/bridegroom Tiferet. Biblical Figures * King David" Lemme see, the physical/concrete manifestation of the whole upper Sefirot is the mouth (singing/words). "King David"... hmm... |
|
| David Bowie – Little Wonder Lyrics | 15 years ago |
|
In writing a little about Bowie's song "It Ain't Easy" (see songmeanings.net page) I came across another element that seems to tie this "prince and princess Snow White" element together. http://www.ucalgary.ca/~elsegal/Sefirot/Sefirot.html [See Image of the Tree of Life, aka Sefirot] "The Shekhinah is often portrayed as a bride or princess whose male lover is the composite of the nine upper sefirot, represented by the prince/bridegroom Tiferet." So when this disparate "station" known as Shekinah, one not distincly tied to the ten stations of the Sefirot, is accessed through/by Tiferet we have the "kiss" that re/awakens us back to the top of the tree to start the cycle of new life once again. Consider this having happened each time Bowie came up with a new character to inhabit for each new album. |
|
| David Bowie – It Ain't Easy Lyrics | 15 years ago |
|
Oh yeah, "eyes of blue" is the sky of this "woman", as I explained as being Binah, the "womb of all creation", both astronomically and in the interior uni-verse of the mind. The sky as an archetype is positioned as a binary against the earth; the sky being the Subjective with the earth being the Objective. Raphael's painting "The School of Anthens" has Plato and Aristotle standing as figures of this concept. http://en.wikipedia.org/wiki/The_School_of_Athens The colors each one wears is essentially the team-color of their opponents hand-direction. (Red-robe/Hand-up) is a view that the earth creates the Subjective. (Blue-robe/Hand-down) is a view that the Mind("sky") creates the understanding of the Objective. The Kabbalah and the Tao are both of a similar view in that all is a perpetually cyclically discourse, one creating the other and necessitating that the other stand as the primary for eachother to even exist. I'm not a student in any capacity of philosophy so I'll stop here. |
|
| David Bowie – It Ain't Easy Lyrics | 15 years ago |
|
The "love of a hoochie-coochie woman" that "calling from inside"... this is the same "woman" he invokes in "Sorrow". Starting back with his "Kether to Malkuth" reference in "Quicksand" any reference to a benevolent female is an invocation of the first "station" below the up-most station of Kether in the kabbalistic Tree of Life, aka the Sephiroth/Sefirot which happens to be the feminine principle station of Binah. In "Sorrow" we hear of "long blond hair" that kept him from sleeping, "with your long blond hair I couldn't sleep last night". Now what could metaphorically be liked to "long blond hair"? Streams of sun light. And if Binah is the foremost feminine nourishing agent at the outmost reaches in the universe-totale that is represented by Kether, then the astral Sun is Binahs astronomical habitation. And with all things, "that which is above is also below"... so this series of stations and paths are also inside each of us. "Binah on the inside" is the thing the main character finds at the "top of the mountain"; it is what allows him see all that he sees. As in many of Bowie's songs, he is referencing his own practice of meditation(Kether, top of the mountain) and the mindfulness through exacting these visions in the real world(Malkuth). Binah is special in this respect in that "she" is that "inner light", much like the Sun, that allows us to see the visions of our own thoughts. You may have heard of the "philosopher's stone"... well this is it... the "black sun", the "Starry faced virgin", the "black country rock". *****___Absolutely central to understanding any of Bowie's lyrics.___***** |
|
| David Bowie – Always Crashing in the Same Car Lyrics | 15 years ago |
|
just12: Yep, cocaine, not heroin. You don't get "close to 94" (mph) when you're on heroin. The feeling of "going in circles" much like "going round and round the hotel garage" states, is the feeling of unending forward momentum while on coke and after the crash. A neurochemical "crash" always happens with dopaminergic drugs because all of the latent dopamine has been used up and there is none for smooth-muscle contractions in the body (dopamine is "used" all over the body, not just the brain). This would also explain Bowie's self-attested poor memory as just12 has supplied in his interview reference. "Take it" "on the road".... you've all seen the Talking Heads video for "Burning Down the House" that at the end of has an overlay of David Byrne's face upon video of a road, right? The white lines that divide the lanes... it's these "white lines" that are metaphorically equitable with what Bowie takes: "on the road" is a euphemism for "lines of cocaine". "Kilometers" is a reference to the massive amounts of coke that he used. "Kilometers" of "white lines" that are "on the road". "always looking left and right" is the paranoia that comes with usage. No idea about "Jasmine, I saw you peeping". "As I put my foot down to the floor" is a euphemism for the action of snorting a line; it's in line wit the larger metaphor of car-based-travel that is habitual coke use. |
|
| David Bowie – Drive-In Saturday Lyrics | 15 years ago |
| That's DMT....DMT , not DMY. | |
| David Bowie – Drive-In Saturday Lyrics | 15 years ago |
| I have to agree with liplex on this one: read some Terence McKenna, the godfather of DMT usage. He was huge back in the late 60's/early 70's along with his Ivy League friends (major beatnik figureheads and that LSD guru Timothy Leary). I don't see how Bowie could have traversed the 70's and not heard, lest tried, a DMY trip. Kudos for "DMT dome", "machine-elfs", and the "rising siren upon consumption". | |
| David Bowie – Moonage Daydream Lyrics | 15 years ago |
|
"The church of man, love, is such a holy place to be" There's nothing bowdlerized about those lyrics since they're the exact lyrics. The body is a church and all the stained-glass visions and grandeurs of volume and sound can be found inside the body and mind. That's what he's hinting at. That there is no need for churches, per se, when the body is in itself a lens for experiencing the "holy" of this world. It's Bowie's infatuation with the riches of the mind that come from a practice of meditation. "Freak out, far out, in out" That's his call to go as far as you can in your imagination, "far out", while "in"side, and then take it to the outside. Take what you find on the inside and make it happen on the outside. This mimics that hand-motion you'll see him make in all of his videos (Ashes to Ashes; that video with Mick Jagger...) where he reachs up and then goes down to touch the ground... that whole Kabbalistic _"Kether to Malkuth" path. "From what you find in the skies/the mind, dress yourself in these in the objective world/ concrete/earth". The "lectric eye on me/ raygun to my head/ spaceface close to mine" are phrases directed at the self in contacting this "holy" place found only in meditation. See "Little Wonder" for a song of his in the same category. I'll be there, too (on this site, anyways). |
|
| David Bowie – Little Wonder Lyrics | 15 years ago |
|
"Enter Galactic, see me to be you" EQUALS "Press your space-face close to mine, Love" "Life On Mars" most likely has parallels to the meaning of the line "Mars happy nation" in that "Mars" as defined and referenced by Bowie in these two songs is representative of the "world of images" that is mass-media. ***___Check my interpretation of "The Letter (Battle For Britian)" to see my short-takes on "The Last Thing You SHould Do" which is about reducing life to seen-moments in media... as if they had already been lived and not thought through. Mars would be the place where all these archetypal posturings for hierarchy stature have been turned into "Law" and life is merely a click track with the scripts all handed out... a pre-destined experience... a "happy nation" of everyone all in lock-step worshipping the rules to sustain the mere Image of a well-oiled machine... but it certainly isn't actual living of life. Not the kind of life that made Bowie who he is... nor the life of those that used this method (meditation). Great things happen, little wonders, when you jam a wedge in between the cracks and try something not meant to work by the rules. From "Battle for Britain(The Letter)", the line, "On a better day, I'll take you by the hand / And I'll walk you through the doors" is Bowie's offer of showing you his prescriptions in code/lyric form when you're mentally up to noticing them yourself. |
|
| David Bowie – Little Wonder Lyrics | 15 years ago |
|
This song references Snow White and the Seven Dwarfs. He goes through all the odd dispositions of the Dwarfs in himself as he gets his mind up to speed. He comes to inhabit that place in his mind that he calls "Little Wonder" which could implicitly be called "Snow White"... the character that came back from a deep sleep by the kiss of a prince. Snow White in this case is the feminine nature of the internal mind activated by "Dame Meditation". He, Bowie, is the Prince that makes the "kiss" by entering into this practice. You saw in the Disney animated version that the whole world comes back to life, colors ablaze after Snow White was reawakened. Here we are now. "Enter Galactic, see me to be you" is all him talking to himself. He needs to tap this "connection/kiss" to see who he really is inside. "Mars happy nation, sit on my karma": this is about him living in the mundane objective, mechanical world before deciding to take on "Dame Meditation". Mars would be the Darwinian-nature of humanity... fighting/violence/power-posturing/ your self within the objective hierarchy of animal Man. Then he takes a dip inside to see the dwarfs of his creation in their jeweled cave... digging for jewels. That is the real, old, even pre-Bowie take on the original story of Snow WHite. Rather Protestant in it's advocation of "hard-work reaps rewards through it" and then also "of the mind". "Drive-in Saturday": There's a similarity between these two songs with their dwarfs and "friends at home". There is an undeniable DMT-drug reference in "Drive-in Saturday" of which hte drug-trip happens to mimic the nature of meditation in that it contacts you to the inner-workers that show themselves as neuro-archetypical gnomes/dwarfs/small-beings which show you jewels/geometric-objects/"visions". Tap your inner resources. Bowie made a whole career of it. I can't remember of it's substantiated, but I think I remember somewhere hearing that Bowie said this song was solely about himself. Proof positive. |
|
| Björk – I Go Humble Lyrics | 15 years ago |
|
Well, not if Wikipedia is right... I could have sworn I read his name in the printed album liner notes back before Vespertine came out... |
|
| Björk – I Go Humble Lyrics | 15 years ago |
| @molofon: Mark Bell was one of the main programmers for "Debut", as well. | |
| Björk – I Go Humble Lyrics | 15 years ago |
|
It's the cap to an album that, in sequence, tells of her maturation of self through considering another person besides herself (in a relationship). Maybe it's about her and her baby, but there seems to be more of a sexual disposition to all the songs' lyrics. So this song is her coming to terms with how wonderful a person her partner is for putting up with her capriciousness. |
|
| David Bowie – Looking for Satellites Lyrics | 15 years ago |
|
This song is about someone staring into their bright computer screen("There's something... Shining in the light") , web-surfing through effluvium and random sites ("can't stop"; "where do we go from here"; "there's something in the sky"), and looking for signs of life, other people ("looking for satellites"). |
|
| David Bowie – Looking for Satellites Lyrics | 15 years ago |
|
And here I thought the line was "spinning and falling". Which would make it more auspicious what with preceding many of the themes played out in the rest of the album, even the next song "The Letter(Battle for Britain). But yes, "far away" are "satellites" which in this case are other internet users (which was what the whole of this album is essentially about). ++++++___See my interpretation of "The Letter(Battle for Britain)" which has along with it an interpretation of the whole of the "Earthling" album, as well.___+++++ |
|
| David Bowie – Battle for Britain (The Letter) Lyrics | 15 years ago |
| I see I lied at the very beginning. I gave you the whole thing. I lied. Forgot I did, but I did. | |
| David Bowie – Telling Lies Lyrics | 15 years ago |
|
The line "stars and kings and feet"... WOW. Extra terra, lords of terra, terra firma. And girls will talk... Basically comes down to the nature of lies being a potent lighthouse for lost ships. People will do anything if you sell them a lie that demands their complicity in diminishing some embodiment of the fear of death. Watch those BBC documentaries "The Power Of Nightmares" and "Century of the Self" about the long-coming payoff for building up a new threat for the inevitable post-Cold War climate... one the Neocons felt the face of should be a brown face with a turban. SO it was all in play before 9-11 and Iraq. But it's always played out the same way: bangs the drums of war with lies perfuming the air to get your body count up to act out this theater of war ("happy games" in the song). I'm not one to complain about this tired ass "W" topic. It just came up. Sorry. Now, on to the depression Obama has to fix... and without war (because the critics will have you believe the New Deal didn't actually fix it, WW2 fixed it... and the last 50 years is now coming home after going around the world. No more standing on the backs of the rest of the world's cheap laborers so we can see beyond our means... we're in the muck and it'll only be a little time before we're hunched down like the rest of them warranting pay at their level... it's part of the plan. Someone had to be "on top" for the world can only gain altitude with a tractable mountain (the US). Now we'll have two, India and China, a true two-party system, and we get to be the King and Queen's servant like the rest of table-flat-Europe, shriveling-Arabia, lazy-lonely-Sudamerica, and "the-longest-trailer-park-in-the-world"-Russia). |
|
| David Bowie – Battle for Britain (The Letter) Lyrics | 15 years ago |
|
I could go stanza by stanza but I think if you apply this "lens" I create here you can see the whole picture yourself. The "letter" he's referring to is one explained as the class system in Aldous Huxley's "Brave New World"... Alpha, Beta, Delta-Double-Moron, etc. In the lines "Don't you let my letter get you down" it's Bowie's way of saying, "don't compare yourself to me, an alphamale's alphamale... it'll only get you down." Even the album cover has a part in this: Bowie standing with his back toward us wearing a coat with lines that highlight and, now that I looked at it again, make an actual "A" in his "A"-frame stance. 1st stanza: A sentiment of his as if speaking to someone that has just "experienced being Bowie" through the act of listening to reality from Bowie's perspective (namely his, "another pair of hands"). The "never been a winner in my life" is the person that partakes in such flights of fancy away from his own life into one's created by "winners"(music, escapism). The "animal in me" is the soft and weaker nature of the body... to fall into such things (an unrelated example: white lab rats being tested for their stimulus preference) 2nd stanza: Same thing: taking pills to change the depressed, lesser self... a "rather be a beggarman" than be himself. "on the shelf" would be someone that "hasn't been chosen yet", much like an unpurchased product yet to be chosen and taken out to be used for their intended purpose. 3rd stanza: The first two lines are Bowie saying, "don't worry/be forlorn; that depressed feeling is just the way anyone feels after they've been working so hard and have yet to see the payoff". This depression is really just part of the natural sequence that everyone goes through before their efforts are rewarded. The lines that begin, "On a better day", is Bowie offering the picture of the method (in his songs/lyrics) that will be more easily seen on a day when your mood is up to the task. 4th stanza: The first time the "letter" concept is employed. Don't let Bowie's greatness put you off from being great in your own right, your own life, your own unique circumstances. 5th stanza: Same as the 1st stanza's first two lines in meaning. "And illusion I will be / For I've never been a sinner, la di da" The term sinner is seated squarely in Christianity, the relevant and implied element of this term is that *everyone* is a sinner that does anything at all in their life. To live is to sin. You can't separate them. But in this case it's more to the idea that any action made is one which makes someone a sinner and so this person caught up in the illusions as told from "another pair of pants" (someone else's perspective) are themselves an illusion since they are someone that has never done anything (never been a sinner). The "la di da" part is the attitude this person has... that they've never done anything but they're so content with the illusion of having lived as gained from media/song/tv they don't care. It's this part that best gets at explaining the title "Battle for Britain"... the battle is to get people off their asses, to stop comparing themselves to the greats of the past that they feel intimidated by in whatever their field of choice which keeps them cowering in their homes and drowning their ambitions in the shallow bath of Legend-created media (retro-necro). This is poignant at the time of the release of this record since with the internet/dvd-age really taking off we have all of this media/technology that essentially flattens the world with so much access to information that wasn't nearly as available before. On the album: The next song is "Seven Years In Tibet". Which is, shortly, an attempt at finding a deeper meaning beyond regular life but finding nothing at the top of the Grandest "A", the implied Mt.Everest in Tibet, in search of The Grand "A", God, Enlightenment (beyond the "yoga zone"). "Nothing ever falls away" is about what is found at the top of the mountain: himself. "Himself, alone and only as good as he is" is the meaning of the next song, "Dead Man Walking". Everything must die, and so a progression from the prior song is that like everyone he will die and is left to make what he can of his position which is created by everything before it (here the "A" makes another appearance: you've seen that diagram by Hawking from his mid-90's book...the diagram of time...basically two triangles facing eachother... at the top of the mountain, all that has happened coming to the one point that is one person/time, the "A" and then an inverted "A" atop it for the future possibilities. Just like an angular hourglass...liek on a blackwidow spider... go back to your "Glass Spider" tour/album for more on that). The whole album is basically about how the vicarious nature of expanded media outlets have impinged upon the living of actual, firsthand life. Virtual reality versus Experiential Reality. "I'm Afraid of Americans", it's been while since I heard it, is most likely about the nature of Americans and their media culture... so easily controlled by anything on tv... and how that bodes for Bowie's relationship to so scary a population as one living in an artificial world as created by tv news and the sources that feed and create its content. Haha, just read the lyrics, "low techs at the wheel"... is right. The diminished, pale dreams fed to Johnny Sixpack on the tv which means they've relinquished control of their minds so completely as to be automatons controlled by whatever orders are fed through the tv screen. I'm afraid of Americans, too. "Telling Lies" is about this fear and how it is exacted by those that need use of so many fallow minds. "The Last Thing You Should Do" is about the nature of life's many actions when affected by a reductive "all-seeing world view". Things become reduced to "Bests" and "Lasts"... and it is in Bowie's opinion that doing this reducing... *this* is the last thing you should do because it devalues life and the many variations and chromaticisms available. Don't reduce it to a "one size fits all" experience that you look to have as if it were an item in a catalog that you peruse on the internet. Then "Afraid of Americans". They do the last song well. "Law (Earthlings on Fire)" is about reducing things down to "laws" as in "The Last Thing You Should Do". Laws do one things: grant Certainty. Knowledge is gathered and reduced to create tendencies by which laws are extracted. "Earthlings on Fire" could be the "reduced" form of humans when all has been structured to fit only Laws... humans become static object, logs of timber to be tossed into the machines of history to stoke its fires... humans on fire... earthlings on fire. The line, "In a house a man drops dead / As he hits the floor he sighs / 'What a morning' " is actually the story of how the father of Bertolt Brecht died. He stood up, said his line, then to the floor he went. This is how the world would be, an absurd theater in which one is born, says their lines prescribed by law, and then to die. (Brecht's "theater of the absurd" and "distancing techniques" are implicitly referenced... "the fourth wall" which happens to figure centrally in this whole album in that theme I mentioned "virtual life vs. Reality" :) "I get a little bit afraid" is a line in this song that tells us exactly what we must continue to face if we wish to sustain control of our humanity: Fear. We must continually experience fear in many situations to hold the reigns of reality. The next album "Hours" has on the cover one David caressing another David. This is the self-divided from this whole struggle: a real-self and a virtual-online-fantasy-self, one of other's perspectives and self-created-Self fantasies. "Hours" I can only guess is down this path, both the positives and negatives of a world in which we must live as a walking dichotomy. Oh, I forgot the first two songs on the "Earthlings" album. "Little Wonder" is both about himself, David, and the "new self" created when online...the New Self... meta-Self in the new virtual world. "Looking for Satellites" is about looking for others in that new world. And then, after you've found others, you find yourself at "The Letter (Battle for Britain)" in which you have to do something to make yourself valuable to these new 'others' that you've found. [REPEAT] |
|
| Brian Eno – Sky Saw Lyrics | 15 years ago |
|
The main "coherent" stanza most likely has something to do with the a sequence of ideas or pastiche of sentiments from the rest of the album. That stanza equates words as meaningful and ultimately as concrete as the vaporous, intractable nature of clouds. There is a natural flow, or proclivity, of man to ignore the meaning of words with the whole history of words being invoked; "one th atdoes not learn history is doomed to repeat it". But the up-side to this is that Man will carry regardless just like the unthinking amorphous clouds, continually reforming, colliding, swallowing, evaporating. There will always be water... much like the "water" that Eno often mentions in songs like "By This River", "Spider and I", "Deep Blue Sea", and really any song in his career or anyone's career that invokes the archetypal subconscious of the ocean (and archetypal consciousness of the sky). So these clouds are how the subconscious inhabits the conscious... as words which act as mere symbols of a person's interior(subconscious) self (emotions, attractions, sensations, "ineffables" that never quite do "it" justice). So the "sky saw" is the clouds that carve across the sky. ...So the sky saw is the "clouds" that "carve" across the "sky". By carving it there are sections that are made... cultural partitioning of ideas, subjective/objective. The "incoherent" stanza in the background is an example of the "sky saw" in the main stanza. "Some cut better than others.", is the meaning... but they're made of the same stuff. And no one is any more effected, convinced, or moved by them than they wish to be. A subtle way of sidestepping, or "re-prioritizing", any responsibilities you may have in life... Makes me think of that line from Dr. Strangelove, ""I can no longer sit back and allow Communist infiltration, Communist indoctrination, Communist subversion, and the international Communist conspiracy to sap and impurify all of our precious bodily fluids." Some "fluids" are more convincing than others... |
|
| Brian Eno – Spider and I Lyrics | 15 years ago |
|
The "spider and I" conflates one person's ultimate value or position as equitable with the other... in a sense deflating the "more valuable" ego of man down to to the level of the spider since both will meet the inevitable end of life. "Sit watching the sky" is about learning during life ("childhood" or as the initial step in a meta-Sequence). "On our world without sound" is the interior life... sound can only be made outside of the ear and the mind that interprets it. "We knit a web / to catch one tiny fly" is presenting the process we embark upon after the "learning" we did before this sequence of action/reaction... our life in a nutshell ("work a job, make a little money"). That "for our world without sound" is repeated has it's meaning in more of the "meta-Sequence" as it yes, could be that the "fly" is nourishment in the more explicit meaning, the "larger" meaning is that these things gleaned from our activated learning are meant for use within our mind... so it creates a continuous loop between the world back into the mind to venture forward again. "We sleep in the mornings / We dream of a ship that sails away/ A thousand miles away" is referencing the point near death... morning is when one awakes to the day so sleeping during it would be a sign of one's life slipping in the opposite direction of the rising morning. The "ship that sails away" is the whole of life and the world... it carries on without us after our passing. The "dream" could also be Memory... it slides away "a thousand miles away"... so far away at the moment that its movement would be indiscernible and more of an flight of fancy than an actuality... and it wouldn't matter... it would be but fantasy... one whose structure is wholly different from what we, the spider and I, are. |
|
| Björk – Isobel Lyrics | 15 years ago |
| What I mean to say is that Bjork elfish manner is her way of disarming the world that expects so much of her. We could she became complicit in the foolery when she gained fame/power from this initial-personality, and has been gaming us with it. But I still think it's more a conscious act than anything...from the start. Too bad she ran through all of her musical and "personality" possibilities somewhere halfway through Medulla (see the "career wrap-up" remasters boxset). It's been a drag ever since. Drawing Restraint 9 and Volta.... yuck. Then a "secret single" with Thom Yorke...yuck. And now she's going to "record her next album over the next 3-4 years"[Bjork:wiki]. Please... take you time. | |
| Björk – Isobel Lyrics | 15 years ago |
| Not to say that since I was able to derive so much from this song and its trilogy counterparts, but I think people need to realize Bjork puts on the act of being a sprakle-headed, ditzy pixie-queen. It's completely intentional to her aesthetic but people should realize she isn't as "stupid" as the "intuitive" element of her public/musical personality would imply. She's calculating. Take note. She plays the pat of this fantazised character very well. I think I'm just tired of hearing people treat her like some naive phenomenon that up and built her talents with no money (bs) and all of a sudden has money which "doesn't show" because she's stil ljsut as naive and phenomenal as ever. | |
| Björk – Isobel Lyrics | 15 years ago |
|
Another thing I noticed: The line "like me, like me" is the same notes used in a fox hunt reveille. Sing the line in cut-time (twice the speed) and you'll notice it's the same thing. This is most likely intentional. It lends the sense of urgency that comes in the opening of the fox hunt...all the men on horses letting loose the hounds to hunt that desirable, foxy, crafty creature. It could also be tied to the more occult leaning of what I mentioned relating the "devoted to God" meaning of Isobel. In numerology the alphabet letters are assigned a number, A=1, B=2, etc. until it hits 9 and then goes back to 1(one), I=9, J=1, K=2, etc. The letters F, O, X each are equal to 6 (F=6, O=6, X=6). ASO there again we have a Luciferian connection. Lucifer's reasoning is almost exactly equitable with Nature's tendencies: both act according to God's prescriptions solely and completely...in a sense they worship and are devoted only to God. It was God's orders that the angels serve not just God but Man as well. Lucifer defied God by wanting only to serve God and not Man. So here we have that connection with the self-absorbed, self-serving, mechanical-nature of the Self evident in the lyrics... Nature is in its steel-wrought "Ivory Tower" unempathetic to the needs of the world servicing only the philosophy implied by its own Nature... to anyone that would listen to It(Nature) a world-view and personal-view of pure individualism and self-service based on the development of a human's life-arc. So there is what one can experience within their own capacity, aka God(Forest/Nature).... and then there is the environment of existence which is defined by the congregation of Man(Society/City). So yes, "like me, like me" is the "girl" that is "speaking" these lyrics. This "girl" is the "fox" that the World is hunting for to either lustfully devour or masculinely control. Surprisingly, a very "christian" song. I've tried out all the other elements in other systems but this is the only one that hits all of the points made. [ pssst... bjork is a secret christian, pass it on...] One element I didn't address is the "na na naaa na na" part. You've all heard something saying this "phrase" when someone is childishly mocking someone else. "Nana na na-naanaa". That's also intentional here... it comes after the stanza that ends with the line "a simple excuse", which to me is telling of a childish impudence and disobedience, much like Lucifer in the last paragraphs. This is evident in the line beginning that stanza, "When she does it she means to". So "she" knows that she is doing something "wrong" by simply acting out the base, mechanical, unforgiving "lust"-driven philosophy of Nature. "Moth delivers her message/ Unexplained on your collar"...it begins referencing the phrase "like a moth to the flame" which stands for the moth's Natural tendency...drawn as if by Design/Nature. The "collar" mention is referencing those guilt-ridden lipstick stains on a married man's collar... the "message delivered" is that of the "moth", the Nature/Instinct-driven Insect, Lucifer. "Crawling in silence/ A simple excuse" is a little unclear to me... the first part could be a reference to the "spark from a forest pitch dark"... a situation relationship diminished to its basest quality by the excuse that drove them to destroy it... "a simple excuse"... which happens to be "I just naturally wanted to, it's at the very core of everyone's being to be driven by lust". "Lust" here stands for any natural/instinctual drive or attraction and need not be relegated simply to a christian view of sin. Many things attract, not merely just sexually, but here it is explained in sexual terms as its vehicle. And applied to Bjork's own statement it would seem this "understanding" was extracted from the world by experiences tending toward the sexual. |
|
| Björk – Isobel Lyrics | 15 years ago |
|
Appended: The former about the confluence of the many people in the city that she hides from and the latter being her place of respite...in her lofty ivory tower casting assumptions upon the horde (taking a fully self-righteous, self-absorbed perspective on things; lacking empathy ). |
|
| Björk – Isobel Lyrics | 15 years ago |
|
Check out my take on this song in my mini-essay about the "song trilogy" at the Bachelorette page. It should explain a lot. Also, it's rather telling the use of the name: The common spelling being that of Isabelle means "devoted to God". You could take this a step and implicate her evocation of Lucifer, the most devoted of the angels. Also, cut the name into syllables: Iso-: prefix from the Greek isos, meaning "equal." Used mainly the two words "isolate" and "isometric" which speak of separation... see lyrics for reference of phrases "Tower of Babel" and "Ivory Tower". The former about the confluence of the many people she hides from and the latter being the place -Bel: plainly "girl"... "belle". When this "bell" is in it's tower... belltower... \:. Isolated, "ringing her bell". The masturbation reading of this makes sense. Which could be figurative, as well, fitting well in the explanations from Bjork herself. A mind that is self-absorbed and incapable of empathy, yet (see that essay I mentioned..."Bachelorette" page). |
|
| Björk – Bachelorette Lyrics | 15 years ago |
|
In the 'song trilogy' (1.Human Behaviour, 2.Isobel, 3.Bachelorette) the one element that seems to stay the same, which is its humus or canvas, is that of the implications of Foundation, or weltanshaung. Human Behaviour: No Foundation: for people's actions/emotions; for the "terrain"= No Terrain, no means of traction or platform for perspective; truly naive... (Self = the Ocean) Isobel: Me as Foundation: hedonism; narcissism; only self-absorbed pursuits; others do the same and thus our division, all alone in this world; Nature-as-disposition = wind-up toys winding down 'til they stop; truly self-absorbed, separate, pointless, lonely... (Self = Killer Whale) Bachelorette: Other + Me = Whole, as in The System ("solar system"): Call to take note of the rules of these intermeshed games; Take note of the multiple variables and how they respond to eachother as they change and what is available in these different variable-value states; take it for what it is and heed the call for change; avoid expectation as this equal denying the changing values of how ever many variables you deny as being intransient; hot cinders become cold dust, stay warm(Loving) at all costs, go searching for new warmth when it seems this old path is becoming cold...ironically, out in the cold ocean...the search is warming in itself... (Self = Whole picture, both Whale and Ocean with their variability) So the theme of the Trilogy is about Maturing. |
|
| Björk – Bachelorette Lyrics | 15 years ago |
|
I'd like to append a small part onto that last sentence in my prior post: And so the tendency to neglect listening to the whispers of the ocean waters is understandable as "this is really dangerous" ... and so one clings to the coast/shoreline and is trapped in the seeming safety of the bay of Memory... unavailable to sail the treacherous seven seas for new Love. |
|
| Björk – Bachelorette Lyrics | 15 years ago |
|
After watching the video and contemplating the lyrics it comes down, to me, to be about the nature of the Love("Presence") and Memory (I will be referencing the video with only a nod to the lyrics). Memory, or the illusion of eternity, which can be replayed in the mind over ad infinitum, can be employed to gain much (in the video it's the promise of her eternal love in return for money/fame/relevance/value). Upon further iterations of reflection (memory for it's own sake in form of the theatrical play) it can come to decay the sanctity of that original Love/Presence. ************************************** It is what I have personally come to understand and define as the meaning of Love which is "continuous Learning"; Love is the worship of the moment which leads to the next and that which it offers. ************************************** By worshipping Memory instead of Love one loses the future and those connections to what it offered become smeared and overanalyzed and are symbolically explicated as those overgrown/decaying elements in the video. People and those loving situations become ruins. It points to Memory's weakness: it is not Life/Love. But Memory does have its purpose in the Whole. Einsturzende/Neubauten. Destroy/Rebuild. Live/Learn. So it comes out as, "don't get so caught up in the past and its failures to live up to the new standards you've come to learn to apply from those very situations you've gleaned them. Go on and live, learn, but avoid rooting the future too much in the past. Root instead in this very moment which is the very Statement of that which was gained from the past." Tying in to the first two songs in this "song trilogy" (1.Human Behaviour, 2.Isobel, 3.Bachelorette), we have, thematically, 1. Naivety(the Other), 2.Self-Absorption(the Self), 3.Self-Consciousness(the Whole/World). In the lyrics, now, the "Me" that is referenced is that "Moment of Love/Presence"...it is the Whole/World that is asking you to partake of it, to move both inward from feeling separate (your mind fully as the Other) and to move outward from being narcissistic/self-absorbed (your mind fully as the Self). This accomplishes what focusing a lense does; you can focus the lense too far out or too far in creating a fuzzy picture while if you focus right in you get the Moment/Presence/Love. "Focused too far in"=the Self : is the "girl made of blood". "Focused too far out"=the Other : is the perpective of that bird on the hat-brim. The nourishing moment is when the Wheel's Edge connects, via Spoke, to the Axle around which it is spinning. The Wheel's Edge and the Axle roll nowhere without the many Spokes that connect them. The "killer whale" is only "trapped in the bay" for having "forgotten my name"....the Me referenced by this "my" as in "name"... is named Love as I've hence delineated. By getting wrapped up in Memory and its/your failings... (the fleeting nature of Love, embodied in the the metaphor of walking forward on "a path of cinders burning under your feet")... leaves one stuck stagnant in the bay for not following the natural growing/receding tendencies of the tides. When the waters are accommodating and deep you can come to touch the edge where the ocean meets the land... where trees full of hearts/Love can be in reach to pluck. When Emotions, the waxing/waning natural tendency of Love, allow is only when the "cinders are hot"...that is Love can only happen when the "cinders are hot". "Strike while the iron is hot". When one is "trapped in the bay" of Memory they cling like an intruder to any branch to help wring them from being stuck... much like a jilted, clinging lover attacking the one that left them because they are unable to move on and Love someone/where else. The ocean, as an archetype, is the Subconscious... those things which draw unspoken like "a whisper in water". To travel deep into these waters is perilous as their is "no map or compass" (referenced from the first song of this trilogy, Human Behaviour). And so the tendency to neglect listening to the whispers of the ocean waters is understandable as "this is really dangerous"... :) I'll leave it at that. Cheers~ |
|
* This information can be up to 15 minutes delayed.