flower girls play lover
grave games in the courtyard
I heard her screaming like a radio

flower girls play lover
grave games in the courtyard
I heard her screaming like a radio

mary lou left marks on you
she just screams at the walls
the kite string pops
I'm swallowed whole by the sky
we smoke the bones of baby dolls
techno-liquid screaming meat
heaven's cold beneath my feet
cyber love , the anti-man
we make love... because we can

virgins play where the bayou's blue
barefoot (and bloody) eatin' mushroom stew
work for pay and pay for freedom
fuck 'em all, we don't need 'em
we smoke the bones of baby dolls

everything's gone dry
like bottle glass scraping cross the pavement
everything's gone dry
like bottle glass scraping cross the pavement
everything's gone dry
like bottle glass scraping cross the pavement
everything's gone dry
like bottle glass scraping cross the pavement

Lyrics submitted by Misodus

Bones of Baby Dolls song meanings
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    Song MeaningThis song is about the raping and murdering of little girls, which sucks, because it is so catchy.

    Flower girls play lover

    Flower girls are children. Bridesmaids are the adult females in weddings. A girl is "playing" the role of a lover, playing meaning that she’s not an actual lover – someone who shares a consensual and affectionate sexual experience, and if you think that’s disturbing, just wait.

    Grave games in the courtyard

    Grave can refer to something serious or a place of death. Take your pick, because it goes along with the rest of the song either way.

    I heard her screaming like a radio

    She’s screaming. This indicates terror and/or pain while she’s “playing lover” in a “grave game.” She’s being raped and/or murdered and/or kidnapped “in the courtyard” while “like a radio,” her screams
    1.) are muffled by actual music so as to disguise her attack “in the courtyard” – a semi-public place OR
    2.) are music to the ears of her attacker.

    Mary Lou left marks on you

    She fought back, leaving scratch marks.

    She just screams at the walls

    Lesson of the day, kiddies. Never go with your attacker to a more remote location, because that’s where they want to take you to do worse things than simply kill you. You will scream, and there’ll be only the walls to hear you. This poor girl could be in a home or familiar environment or in an abandoned place, but she’s alone with the attacker and the walls.

    The kite string pops, I’m swallowed whole by the sky

    We now go into first-person perspective with the attacker. Whereas it was previously he was talking about “girls,” “her,” “Mary Lou,” and “she,” now it is “I’m.” “The kite string pops” for him because of her screams: this is what he seeks, this is his bliss.

    We smoke the bones of baby dolls

    Lots of possibilities for meanings here. What does a murderer do with the evidence that the victim was there, her baby dolls, maybe even her body? He burns it. Burning creates smoke, which he no doubt inhales as he keeps careful watch over the disposal. The dolls he has previously thrown on the fire (from past victims) have melted down, but they don’t ever really burn away. They’re left as plastic lumps – “bones” of baby dolls, what’s left after the initial destruction of form – and they smolder every time he relights that fire, burns new evidence of his crime. Maybe the smoke rises through a victim’s burning body or he burns her doll before killing her to be even more cruel. Honestly, I think these lyrics were chosen more out of how cool they sound rather than for an accurate depiction.

    Techno liquid

    Blood. Techno music is recognized by its strong, powerful beats. Her heart is beating unimaginably fast from fear and pain, forcing life's liquid through her body. This could be as he’s raping her or as he’s killing her. He could feel her racing pulse and blood during the rape, or he could be watching arterial spray from a wound he inflicted. The techno reference goes back to the “screaming like a radio” line. This moment is poetic, musical to the attacker. Techno is also notoriously played at loud volumes, so loud that the listeners can feel it in their chests. Perhaps it is also his own racing and pounding heart that he hears and feels.

    Screaming meat

    Ya don’t say? This girl isn’t a person to him, she’s meat. He’s demented, defective, and unable of relating to the girl as a human. Because she’s still screaming we know at this point she’s still alive, yet “meat” is technically the term for flesh AFTER the slaughter. That slaughter being alluded to tells us he’s going to kill her.

    Heaven’s cold beneath my feet

    She’s dead. Maybe he realizes now, up in that sky by which he was “swallowed whole,” that “heaven,” his blissful moment of torturing this poor child is over – she’s dead beneath him. She can give him musical screams no more, and no more heart thumping techno liquid. Maybe he thinks he sent her to heaven (more on that later).

    Cyber Love, the anti-man

    We all know about internet predators and how this is an all-too-common method of adults finding children to sexually abuse. “The anti-man” naturally reminds a sane person of what a coward this dirtbag is, how far from a MAN he is because he preys on little kids, but it also reflects on this cyber method of posing as someone who is not an adult to gain the trust of a child.

    We make love because we can

    Among all the horrific scenes associated in the mind with what this man is doing/ has done, no doubt one, all to true to life, plays out for the listener. The little girl screams, “Why are you doing this?” To him, his validation need be nothing more than, “Because I can.” In most sexual assault cases, it is theorized that, psychologically, the violation is not an act of sexual lust but rather one stemming from a lust for power. This anti-man is such a worthless coward that his only way to feel powerful, the only way he CAN, is to impose his will on children, who are helpless to defend themselves against him. AND/OR
    Heaven’s already cold beneath his feet, but that doesn’t mean he technically can’t have sex with the dead girl. Maybe this is a continuation of the telling of events.

    Virgins play where the bayou’s blue, barefoot and bloody, eating mushroom stew

    Dead bodies left out in moist conditions, such as forests and swamps (bayous), will sprout mushrooms. And if we’re naming moist areas of the body most readily susceptible to growing stuff like mushrooms, I’m gonna go ahead and say “mouth,” as in the mushrooms are sprouting from their mouths almost as if the corpses were eating them. As the body begins to break down and putrefy, its contents indeed resemble stew – chunks and thick liquids. Virgins (not prostitutes) play here – young girls, children, are virgins. Of course, after this sick piece of crap gets through with them, they’re not virgins anymore, but the point is that they are young girls (also indicated by “play” – children, not hookers, play). These virgins are blue (dead), barefoot (stripped naked or shown not to have come willingly – they were placed here, they didn’t walk here), and bloody (we all know why by this point in the song, but they are bloody because they are victims of violence).

    Work for pay, pay for freedom. Fuck ‘em all, ‘cause we don’t need ‘em.

    How we all can identify with those words – “Work for pay, pay for freedom.” That is our society in a nutshell. But the lyrics are still in the first person. “WE don’t need ‘em,” the killer and the victim. The killer, in his mind, gave this girl freedom. She’ll never have to work or pay for that freedom, because how much more responsibility-free does it get than being dead? He sent her to “heaven.” She doesn’t have to suffer our society, and he sees himself as the savior including himself in that “we.” He can give her the “freedom” without needing society’s methods or approval. And what does she need? She’s dead. Also, the killer rejects society here – “Fuck ‘em.” Doesn’t get much more outside the boundaries of polite society than raping and killing children. Maybe his “freedom,” he feels, can’t be bought with the pay you get from a job. Maybe he only feels free when he commits these atrocities, and therefore, he doesn’t need society either.

    We smoke the bones of baby dolls

    Why don't they "need 'em?" Because the killer and the victim have shared this experience, the murder, due to which the baby dolls must be burned down to smoking plastic remnants of what once they were (the smoking of baby doll bones).

    Everything’s gone dry, like bottle glass scraping ‘cross the pavement.

    After a time, the body rots to the point that only bones are left. These bones are dry. At this point, the desolation is painted with the imagery of bottle glass scraping the pavement. Imagine the sound. It’s so unpleasant, so hollow, almost like bone scratching bone. Obviously, this whole ordeal has been an unpleasant affair for the listener and the victim, but perhaps this allusion is once again to the feelings of the first-person, the murderer. Time has to have passed for things to have gone dry; it’s been too long since he’s killed. He’s thirsty for more. Think about places you’ve been to where there’s always broken glass on pavement. They’re desolate, “shady” areas, possibly where druggies or bums hang out and leave their trash and broken bottles. He’s going to go back to an abandoned area, and he’s going to take another victim with him.
    CrazyMaryon January 30, 2015   Link

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