| Metric – The Twist Lyrics | 15 years ago |
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We were too wasted to close the window --I'm sure this is only meant figuratively. Just being drunk and careless. Friends and family looking in to my only hiding place The rhythm of a strangers skin --Friends and family seeing that her only comfort is sexual promiscuity. Infidel to die for what i am doing will happen in the morning when the mirror won't recognize me --Again, not literal. She's an infidel because she lives what is viewed as a distasteful lifestyle by the majority. She'll die on the inside in the morning when she experiences shame and remorse after realizing what she's done, again. The mirror won't recognize her because the last time she saw one she was dressed and dolled up to pick up a one night stand, and now she has the walk of shame look. He holds a certain gesture when we're loving to ask each other Do you want it? Do you want me? --Makes her beg in the bedroom. I want it, it is you, you are where I want to be. --In that moment she's telling the truth. She's got all that she wants when he asks. Who is he? (oh) Why would I (do) Hitch a ride? (the) I can drive. (twist) Who is she? (oh) Why would I (do) Hitch a ride (the) When I can drive. (twist) --Sounds like they're talking about the 'dance' of courtship for a person's sexual interest, referring to it as the twist. The questions are the two parties evaluating one another, deciding if they want to go home with them. Somebody put me back in school, I forget everything I used to know know to leave the boy behind Without having to watch him go --She wishes she could go back and stop herself from being the person that she is. She feels no attachment to her random sexual partners, so it's easy to "leave the boy behind," but the boy is usually leaving her bedroom, a lifestyle she's growing increasingly dissatisfied with. Who is he? (Circumstantial) (oh) --Circumstantial because sometimes it doesn't even matter who the other person is, all they care about is finding that solace they take in the sex. Why would I (do) Hitch a ride? (the) I can drive. (twist) Who is she? (Circumstantial) (oh) Why would I (do) Hitch a ride? (the) When I can drive. (twist) Kind of a shot in the dark interpretation, after 30ish hours of not sleeping so I'm sure I'm just pulling this out of my ass. |
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| Metric – Torture Me Lyrics | 15 years ago |
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It feels like the singer is telling the listener to not let her seek out outside sources of happiness and satisfaction. "Torture me with all I wanted" "Hit me with the weight I flaunted" Material possessions sound like the wanted, the weight. "Bring me need, bring me fire One backless, strapless copper-red gown Kitty kitty cut twine" She wants all these perceived keys to happiness brought to her. "Bring turpentine I can't stand fire" She can't stand fire, thus the burning of her physical dependencies will be the torture she asks for. "High street flat of land I've got to bite the hand" I have to push away all the things that support this malformed ideal of how to be happy. "Torture me with all I wanted When I am surrounded" She's asking to not be allowed to find solace in ultimately meaningless/worthless possessions. |
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| Metric – Love Is a Place Lyrics | 15 years ago |
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there’s spring in the air --New year (beginnings). they’re sweeping the streets --Things are getting cleaned up, made better. wind is a breeze --Everything is finally coming together, pleasant (like a breeze). the sun becomes her he agrees --This new light she's living in is fitting for her. what’s holding up her face? nothing but blue skies --She is just happy. You can't point at anything material as being the cause of the happiness. passage ways to windows that don’t close --The passage ways are part of what's making her so happy, and what they represent becomes clearer when they're mentioned in the last verse of the song. where do you live? --It's not a physical place being discussed, the singer is asking to figure out why the girl is so happy. love is a place --I'm loved/in love is the response. I live in love. where are you from? --Still trying to understand this disposition the girl has. She says, ask yourself ask anyone --It's a useless question. It doesn't lead to the information the singer wants. what’s holding up her face nothing but blue skies --Still telling us that it's no tangible thing that leads to this happiness. passage ways the mind’s eye contemplate --And here is the reveal that the happiness is coming from within. She's been through the passageways of her thoughts. Her happiness comes from a love that is within, love of/for herself. Love is a place inside everyone, one needs only to navigate the passageways of their mind, to look through windows that don't close. |
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| Metric – On a Slow Night Lyrics | 15 years ago |
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True beautiful one What have you gone and done I can see all your moves are new Tell me what did that salesman do to you --The singer's acquaintance/friend (or something else once thought to be pure) is completely different from what she remembers. She's been perverted by the constant cues of what is normal, accepted, or even exemplary, given by media (salesman). That catalog replaced the fine mind behind your face --She's become corrupted by the lifestyle imposed by major media, replacing what was once a good mind with the same sheep attitude everyone else is content with. no human trio can compete when that three way mirror meets your eye --Narcissism. Self-absorption with being society's idea of perfect. When she looks at herself she becomes enthralled, further fueling her desire to fit in to the mold cut out for her by society. It's become cyclical now. She's told what to be, and when she sees her success it only encourages her more. The peer approval is like a high that no one else can beat. on a slow night on a slow night --Here is where I'm undecided about the meaning. The slow night may refer to times past, when she wasn't so caught up in the fickle and fast paced 'norm', or it may just be talking about nights when she has no one to appease, allowing her to remove the veil of conformity she's decided to don. How you would walk the fashion mile Hand me down and call it style Your boots were scratchy black Your hat was just a hat The lips on you were plain The better to a kiss sustain --And the last verse is the singer remembering how the subject used to be. She used to just live life and be herself, and to the singer she was a better person then. Her plain lips were better to kiss than the lipstick-smeared version. In other words, she liked her better before she became what everyone else told her to be. on a slow night on a slow night |
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| Metric – Wet Blanket Lyrics | 15 years ago |
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Falling for the creep the body leech here he comes Vicious hypnosis, a clenched fist saying it’s wrong to want more than a folk song --The singer is observing a friend falling for an abusive significant other. He's a creep, a body leech, a parasite of happiness. He draws her in with a facade and then tells her that what she has is the pinnacle of what she needs, that she can't ask for more. underneath the shaker knit he’s a brick wall she keep falling for the trick vegetariate sing-along --He comes off as a good partner on the surface, but beneath it he is cold and uncaring about her. Unfortunately he's blinded her to the fact, giving her the vegetariate sing-along. He's manipulating her, making her believe that this empty song is what she deserves or should desire. give a little kick with your fine thigh high --All she has to do is make an effort to get out of it, but he's put her so far under his spell that she can't even give that little kick. doo-doo-doo we’re on to you tearing her down, talking her down under your breath making a mess, see she is happy you wanna break it doo-doo-doo we’re on to you tearing her down, talking her down under your breath making a mess, see she is happy you wanna break it --All the girl's friends can see what's happening, are watching him keep crushing any worthwhile aspirations or dreams she might have for her life. He's destroying her, taking away her happiness and rendering her helpless and submissive to his manipulation and control. doo-doo-doo we’re on to you your phony roots, borrowed guitar --They all see through the image that he forces the girl to see where she's blinded. telling her what to think we are you the number one wet blanket --His manipulation and control extends to tampering with her opinions of the people who actually care about her, most likely to cut her off from anything that might actually enlighten her to what's really going on. He tells her they don't want her to be happy with him, when he's the one that's causing the unhappiness her friends are trying to point out to her. hardly a day goes by you don’t try to break down no I don’t buy it --The abuse is constant. While the creep might try to come off as having her best interests in mind, those outside of the relationship know it's all a lie to imprison the girl. you’re still around I wonder why --She doesn't understand how the girl hasn't picked up on what the creep is is doing to her. And from this point on the song is just a rehash of the situation. The singer still sees it, but the girl is still unaware. This song really doesn't have a resolution. It's a bit sad when you stop to realize that, as far as the song tells us, the creep wins in the end, the singer and gang unable to do anything but watch it happen. she just keep… Falling for the creep the body leech here he comes Vicious hypnosis, a clenched fist saying it’s wrong to want more than a folk song underneath the shaker knit he’s a brick wall she keep falling for the creep the body leech coming on vicious hypnosis, clenched fist saying it’s wrong to want more than a folk song I’m wrong to want more than a folk song I’m wrong to want more than a folk song underneath the shaker knit he’s a brick wall she keep falling for the trick vegetariate sing-along give a little kick with your fine thigh high doo-doo-doo doo-doo-doo we’re on to you tearing her down, talking her down under your breath making a mess, see she is happy you wanna break it doo-doo-doo we’re on to you your bathing suit, borrowed guitar telling her what to think we are you the number one wet blanket you’re still around I wonder why you the number one wet blanket “you’ll never believe me so why don’t you find out for yourself then you’ll see the glass hidden in the grass bad seeds come and go for which you must allow sick down to my heart that’s just the way it goes” |
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| Metric – Calculation (Theme) Lyrics | 15 years ago |
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I’m sick, you’re tired, let’s dance --They're both reaching the end of their desire to continue their relationship, and are now just going through the motions, aware that it's all they are. Motions. Break to love make lust I know it isn’t --I'm not certain about this line. I feel like maybe it's a reference to sex, the singer knowing that it's not the same as love, but they do it any way, trying to keep the relationship going, trying to keep the numbers above the red line. I’m sick, you’re tired, let’s dance Cold as numbers but let’s dance --The relationship is becoming more like an equation, or a situation where, when the math is all done it's still more beneficial to be together and fake the feelings. It's cold as numbers because that's what it's become. The numbers still say it's a passable relationship, even when the feelings are fading or gone. As though it were easy for you to lead me I could be passive gracefully --This feels like a continuation of the last line. "Let's dance as thought it were easy for you to lead me, I could be passive gracefully". She's offering justification to keep this loveless union going, saying that she can follow his lead and not make it difficult for them to keep going. Half the horizon’s gone for a skyline of numbers --The future that they originally envisioned for their relationship, full of satisfaction and enjoyment has started to change into what would be a more convenient future. Now they're simply calculating. It's turning into a form of accounting instead of love. Half the horizon’s gone we’re working the numbers ‘till I’m sick --Our dreams of happiness are fading and we're just continuing to move forward based on the benefits of staying together. It's daily routine and at the end of the day she's sick of going through the motions. Sleep don’t pacify us until Daybreak sky lights up the grid we live in --Here is where the breakdown finally seems to come. They stay up until sunrise talking about where their relationship stands. Dizzy when we talk so fast Fields of numbers streaming past --It's a difficult conversation, both parties still trying to add everything up, grasping for any remnants of what they once had. Still calculating, but being overwhelmed. I wish we were farmers, I wish we knew how To grow sweet potatoes and milk cows --And here she just wishes things could be simple. Being together has become complicated with the demands of life. It almost sounds like it's because of the complex and difficult states of their lives that they've developed these problems. I wish we were lovers, but it's for the best --She wishes they still had those original feelings, but even though they're gone staying together is still the best choice. Tonight your ghost will ask my ghost, Where is the love? --It's the realization that their relationship is an empty husk of what it once was. They're connecting on a deep level via the last few strands of love they share with one another, for once disregarding the 'numbers' and focusing on their feelings again. Tonight your ghost will ask my ghost, Who here is in line for a raise? --Are we both just doing this because it's convenient, because there are some minor benefits to the charade? Tonight your ghost will ask my ghost, Where is the love? --Again, they wonder what happened to result in their situation. Tonight your ghost will ask my ghost, Who put these bodies between us? --And finally the end, where the two lovers wonder how things ended up how they did. Who made this life that prevents us from being the soul mates we thought we were. |
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| Metric – Succexy Lyrics | 15 years ago |
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Lonesome for no one when the room was empty -The meaning doesn't become clear until later in the song, but it's referring to the television serving as a companion like a real person. Empty room, but the TV keeps you company. And war as we knew it was obsolete Nothing could beat complete denial -War isn't what it used to be. It's very impersonal now, with weapons that can dispatch targets from literally miles and miles away. You can't beat (stop/end) war when you can't even grasp the reality and seriousness of it. It's almost like a 'harmless' game now to many people. All we do is talk, sit, switch screens as the homeland plans enemies --We're complacent. All we do is sit around and keep letting this television entertain us, distract us while large mechanizations are at work All we do is talk, static split screens As the homeland plans enemies --Static, split screens. We just sit back and banter, maybe even reach the topic of war, but oh, static, split screens. Pay attention to this new thing we're showing you, we'll take care of the rest of the world. Invasion’s so succexxy --Besides, invasion is so succexxy. Let’s drink to the military The glass is empty Faces to fill and cars to feed Nothing could beat complete denial --Let's drink to the military, but oh wait we have nothing to drink, we have faces to fill and cars to feed. The switch between filling faces instead of cars and feeding cars instead of faces, to me, suggests the interchangeability (and thus meaningless/misleading quality) of the excuses we make to go wage these wars and have these enemies. You can't beat the denial of the truth, though. All we do is talk, sit, switch screens As the homeland plans enemies All we do is talk, static split screens As the homeland plans enemies --And we don't even care about the truth. Television distracts us and allows the government to do as it pleases, as it's intended. Invasion’s so succexxy --Besides, remember how great invasion is? passive attraction, programmed reaction passive attraction, programmed reaction --People have a passive attraction to war, and we're programmed to treat news of new war a certain way, which is with general apathy and naivete. action distraction, more information --Again with misleading the willingly complacent sheep. Keep them entertained. flesh saturation, lips on a napkin ass ass ass --The people are getting what they want, oblivious to the costs. Our passive blood lust is sated, and we treat it like an every day meal, nonchalantly wiping away the blood of the devoured 'foes'. And we want it like sex, making it all the easier to let it happen. where does the time go? --Eventually the war becomes disconnected from time. Years pass and it's still active, as if it's the norm. You stop to think about when it started and wonder where you've been the whole time it's been going on. we’re waking up so slowly --It's taking us so long to realize what's really going on. The full ramifications of what's going on aren't being realized with even the slightest bit of haste. days are horizontal lately --We're just laying down through it all, letting the time continue to slip past us. out of body, watched from above out of body, watched from above --And we're so desensitized, disconnected from the true reality of it all it's like an out of body experience. We see that it's happening, but there's still such a strong disassociation between what's happening and the negative feelings that should accompany it that it's like seeing it from a place it doesn't even affect. passive attraction, programmed reaction --We're programmed this way. The television has done its job well. more information, cash masturbation --And even when we're waking up, they're still waving the 'benefits' in our face. Cash masturbation, completely baseless desires being filled to keep us content and occupied, further distracting us. follow the pattern- the hemlines, the headlines --Don't break the cycle. Continue to let the wars happen. The hemlines is a reference to the sex/power idea, war is sexy so keep letting us pursue it. Follow the headlines, we'll tell you what to concern yourself with, we'll tell you what you need to hear to let it all keep happening. action distraction,faster than fashion faster than fashion,faster than fashion --The media is so powerful that it can turn our heads away from what others don't want to see in an instant. Lonesome for no one when the room was empty and war as we knew it was obsolete Nothing could beat denial --We have the television to keep us company and tell us everything is okay. It's our babysitter so we don't have to go with daddy when he does the bad things we'd rather pretend or don't even realize are happening. |
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| Metric – Hustle Rose Lyrics | 15 years ago |
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Behold the fishnet slut tonight, Hustle Rose goes from limb to limb Hustle Rose is a stripper, looking for a customer, going from one man's arm to another Fingertip to painted lip, she sways her way up to him -She's trying to entice him, make him want to pay for a private dance Says, Now that your wallet is all lit up, you're gonna wanna wear it out -Potentially a double entendre about his arousal/desire for her. Hustle is very confident in herself. You've seen me and you want what I have to offer. You're going to want to wear your wallet out I'm so good. If you're looking for something life-like hit a sardine night-club -Kind of a cocky line from Hustle, still trying to make the sale. She's better than normal girls. If you want a real, boring girl, go to some packed nightclub If every surface you touch is cold, never go home -Nothing/no one else in life is making him happy, satisfying him, so she says stay here and let her make him happy He says, I can't feel a thing, my dreams are so tight -His dreams are being stretched to the limit, and he feels like he's starting to feel like he can't achieve them, like his life his leaving his control, leaving him apathetic Why wouldn't I stand in line tonight? -It's not like it matters what distraction he chooses, none of it is what he wants. It's just a fleeting form of escape from what he feels is a desolate reality, and ultimately meaningless. Why should he stay here? Now that your wallet is all lit up, you're gonna wanna wear it out -I've piqued your interest, you're going to want to see what I can do for you, spend your money on me, escape through me. She's almost commanding him. You could throw me a bone If I get too close, you wake me up, Remind me, softly, to go -This isn't really being said out loud, more of an understanding between Hustle and the patron. If I get too close (emotionally or physically, I'm not sure) cut me some slack and tell me to leave/discard those feelings. It's a moment of vulnerability and sympathy between Hustle and the patron. If I forget, won't you wake me up Remind me not to feel a thing Keep the dream tight -If I become placated with this meaningless get-away, remind me it's not real, remind me not to feel like this is what I want. Encourage me to keep the dream alive (held tight). I can't feel a thing, my dreams are so tight Can't feel anything, my dreams are so tight -He's back in reality, where his dreams are being pulled almost out of his grasp. Why wouldn't I stand in line tonight? -Regret. Why wouldn't I just stand in line at the sardine nightclub instead of wearing out my wallet? I'm back where I started. Hustled by Hustle Rose. |
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