| The Birthday Massacre – Nevermind Lyrics | 19 years ago |
| "Involuntary dilation" could also imply that she was "expanding" her horizons or morals (i.e: having casual sex when maybe that's something she wouldn't often do), but involuntarily because the liquor was what lowered her inhibitions; it wasn't by choice. | |
| The Birthday Massacre – Nevermind Lyrics | 19 years ago |
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I think this song's about something that happened when it wasn't supposed to-- an 'accident'-- and how people decide to ignore it to avoid "awkwardness." Going into a little more detail, my interpretation is the speaker's run into a person who she once met at a Christmas party, and is bringing herself up to date on what she remembers about him for the first two verses. In the third she is addressing him, tactfully reminding him of the party they met at while not mentioning what actually took place between them. In the final verse she observes how he's changed, then grows cold towards him. And going into further detail, I'll explain how I came to that conclusion: Line 1: After drinking five glasses of liquor, she becomes more agreeable. Line 2: Suggesting she said she would leave at a certain time or in a certain amount of time, and while that time has passed she is still there. Line 3: Suggesting the speaker is a bit of a "stay-at-home," not someone who goes out to party a lot. Line 4: Suggesting that she doesn't know how to act in this 'environment,' and needs guidance. Line 5: The speaker and whoever she's addressing have gone somewhere more 'private' or 'smaller.' She/they are careless, lust-ridden and intoxicated. Line 6: Again just stressing that they're away from everyone else, in privacy. Line 7: The exact wording is a bit difficult, but I believe that what's being expressed is that she (in retrospect) is observing the invitation she gave him (to go back to her house, or metaphorically the invitation to have sex with her) was sort of an involuntary one, as either : 1) it was only due to her intoxicated state; it was never clearly thought through or 2) it was just extrapolated from what had happened already (talking, making out, whatever) and never actually made-- "involuntary dilation"; an involuntary 'expansion' (extrapolation); basically an assumption. So the whole line could mean something like "The invitation was just something you assumed. I can't even remember your name." Lines 8-11: Now she's addressing the person directly, reminding him of the circumstances under which they met-- a Christmas party. Line 12: She observes he's become a more "caught up in the game"-type person. Line 13: While observing further change in him, her tactful form of address slips up and she goes to bring up the 'awkward' memory, which they are both pretending to have forgotten. Lines 14-15: Possibly out of embarassment after her slip-up, she states that what happened held no pleasantness and that there is no pleasantness between them. |
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| The Birthday Massacre – Promise Me Lyrics | 19 years ago |
| I think it describes the party scene in general. A bunch of bored ("promise me to pass the time") teenagers/young adults get together, get drunk, pretend they're all great friends ("we won't feel alone 'til morning when we disappear"), then they find a place to crash when it's over ("with the threat of dawn approaching and our interest quickly fading, we will stumble home together as we did the night before"), wake up the next morning and do it all over again. | |
| The Birthday Massacre – Play Dead Lyrics | 20 years ago |
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I saw these guys live a couple weeks ago and it was absolutely wonderful. I really love this song, and I have to agree with Remy LeBlue as to the meaning of the lyrics-- the chorus is really where the message shines through. "Thinking hurts and thoughts don't rhyme to those of us who've never tried to find a face behind our lipstick smiles. And as our pretty faces die, our broken hearts will wonder why the make-up just won't hide the scars of time." To those plastic-hearted, fake, made-up people, thinking hurts-- they don't think, it's too much trouble for them. And, having invested all meaning in their worthless appearances, when said appearances begin to fail, they are lost. It also seems to provide commentary on the nature of the formulated behaviors; how boys are cruel and cold, thoughtless and vulgar; how girls are vain, dull, and heartless. "And up until now you've lived in their shadows, trying hard to please them. But they'll never change as long as they're breathing." I don't know about other people, but for me, this part of the song [and the whole thing, really] rings uncomfortably true to the people I used to be surrounded by. But, as the song suggests, I've left them behind. |
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| Metric – Combat Baby Lyrics | 20 years ago |
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Conveying that 'every mighty mild seventies CHILD' is indeed walking all over her.* I changed the sentence structure halfway through and forgot to go back and check for errors. Blah. |
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| Metric – Combat Baby Lyrics | 20 years ago |
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For the person who asked about the "every mighty mild seventies child" line: "I try to be so nice Compromise Who gets it good? Every mighty mild seventies child Every mighty mild seventies child Beats me" I can see two viable meanings here. One: "Who gets it good?/.../.../Beats me." The speaker's saying they don't know "who gets it good." A more interesting idea that actually incorporates the "every mighty mild seventies child" line: At the start of that 'verse,' she says "I try to be so nice/Compromise," possibly implying that she makes an effort to 'be nice' to and 'compromise' with the boring, mild people who now surround her. You can extrapolate that to her becoming a proverbial "doormat," letting these people walk all over her without a fight. Following that train of thought, the next couple lines could be one idea: "Every mighty mild seventies child beats me," perhaps conveying that 'every mighty mild seventies children' is indeed walking all over her, defeating [beating] her normally/formerly combative/competitive nature. I don't know if that long, confusing explanation made any sense at all, but eh, I tried. Further speculation is welcome. |
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| Metric – Soft Rock Star Lyrics | 20 years ago |
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I'd have to agree with iheartnitz, seeing as if you listen to what she's singing, there's definitely no 'ing' sound at the end of the word which is supposedly 'smiling.' "Don't shine before swine" also makes a bit more sense than the proposed alternative. I've seen all sorts of incorrect transcriptions for this song on the 'net ['don't shine before smiling,' 'don't shine before this one,'], but this is actually the most accurate one I've seen yet. I really like the sentiment behind this song. "Hang high, soft star-- don't shine before swine." It's like she's reminding some young starlet [herself?] to maintain her dignity and not to cheapen herself. I also really like the line "Who were you after you were mine?" All in all a rather pretty song, while somewhat tragic. It seems to have a recurring theme of disappointment/failure-- "climbed the wall to.../but the night'd already begun," "I tried looking up to you.../... you let the work slide," "bubblegum-bought martini is nothing like debonair red wine," "...tried to buy the better girls/but failed now," etcetera. Just some thoughts. :P |
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| Motion City Soundtrack – My Favorite Accident Lyrics | 20 years ago |
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In the first verse: "With no velocity and empty headed hard and far too long I spent two years alone with you" could also be "With no velocity, an empty-headed heart and far too long, I spent two years alone with you." I'd say it makes more sense, "empty-headed heart" implying his heart was 'stupid' for loving this person. It also works a bit better if you see the separate lines as one sentence. Then, paraphrased, it could be read something like: "With no speed, a stupid heart, and too much time, I ended up spending two years alone with you." Just a thought. |
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