What's interesting is to compare this to "Green". Tanya ruminates over a disastrously bad relationship, and it's all about the power and the madness of love. Kristin, on the other hand, just takes heartbreak as a jumping-off point for everything that's wrong in her head, in her life, and in the whole world. The affair is irrelevant; the aftermath—and being alone with her own head—is what matters.
What's interesting is to compare this to "Green". Tanya ruminates over a disastrously bad relationship, and it's all about the power and the madness of love. Kristin, on the other hand, just takes heartbreak as a jumping-off point for everything that's wrong in her head, in her life, and in the whole world. The affair is irrelevant; the aftermath—and being alone with her own head—is what matters.
Also, of course, the first song on the first album captures everything that's great about the Muses. It starts off with Kristin spitting out poetic but barely-coherent violent imagery,...
Also, of course, the first song on the first album captures everything that's great about the Muses. It starts off with Kristin spitting out poetic but barely-coherent violent imagery, then collapsing into despair and despondency (and, instead of just ending there, wallows in it), all while Tanya and the rest of the band somehow manage to keep up with the changes.
The first of a trilogy of some of the most powerful songs in pop music.
This one is a break up song.
Something's gone Something's over
First she is expressing the sheer rage and primal violent frustration of the failure:
I can't love nothing I mate, kill
She acknowledges death and separations are the ways of the world, of nature:
There's a shape over the ocean As we're picked off one by one Summer's gone Summer's over
And expresses the overwhelming power of intimacy:
Peter said "Thanks for letting me hold you Calling me moonshine I can take you there and call you that" This is your name
And she finallly, by the end of the song collapses into the defeat of the failed relationship, and the feeling of being doomed to eternal loneliness.
What's interesting is to compare this to "Green". Tanya ruminates over a disastrously bad relationship, and it's all about the power and the madness of love. Kristin, on the other hand, just takes heartbreak as a jumping-off point for everything that's wrong in her head, in her life, and in the whole world. The affair is irrelevant; the aftermath—and being alone with her own head—is what matters.
What's interesting is to compare this to "Green". Tanya ruminates over a disastrously bad relationship, and it's all about the power and the madness of love. Kristin, on the other hand, just takes heartbreak as a jumping-off point for everything that's wrong in her head, in her life, and in the whole world. The affair is irrelevant; the aftermath—and being alone with her own head—is what matters.
Also, of course, the first song on the first album captures everything that's great about the Muses. It starts off with Kristin spitting out poetic but barely-coherent violent imagery,...
Also, of course, the first song on the first album captures everything that's great about the Muses. It starts off with Kristin spitting out poetic but barely-coherent violent imagery, then collapsing into despair and despondency (and, instead of just ending there, wallows in it), all while Tanya and the rest of the band somehow manage to keep up with the changes.