I think it's giving our planet a voice as something seperated, and over all opposed, to humanity. We are the worm-like subjects of it's ironically human-like narrative, suggesting the pervesity not of the hyuman genus, but of human progression. The lyrics establish itself on the notion of heiarchy amoungst humans, one of our most distinct traits of division, and automatically asserts the idea that the globe is speaking as a subject to us as parasites. The nursury rhyme like nature of the first verse also asserts an air of infantile simplicity in this panthiest, yet nihilistic vision of us, and creates an eerie sense of inevitability and immediancy in our coming demise mentioned at the end, the 'avalanche' of our customs- as it is reminiscent of the taunting, mechanuical nature of a child's chant.
I'm drawn to the line 'Or was it day that invaded night' as it is a very direct inversion of human ideals- we feel as an innate habit that nocturnal hours are contrary to life, thus are evil and restrictive, yet by the definitions of the ambivalant earth night and day intersect equally- our 'season' is given no special significance against the behemoth of prevalant nature, which will indeed be our demise over 'persistantly plastic things'.
I also find the notion of 'tiny kings' impressive as this is conveyed clearly by the childlike simplicity of the stanza, which observes us from a celestial perspective, making human-contrived status irrelivant so long as the world, or at least us, are terminated. In fact, our death means little compared to the rest of nature: are drawn lines and borders are virulent and needs to be purged.
The reference to burying and planting of humanity's customs shows the persistance of our existance, and the selectivity of burying the 'dead', the 'battle' and the 'dancing' as opposed to the planting of 'songs', 'laughter' and 'stories' shows prefence to man in metaphysical form, the spiritual outlets of humanity, as human in activity (thus the movement invovle in dancing as oppsed to singing) equates to death, or at least pestilance and ultimately pointlessness.
Overall, as is typical of Sleepytime Gorilla Museum, humanity is made a spectacle as something meaningless, a spectacle to things we cannot deny nor understand- thus the ironic use of a very human voice for the earth. It is contradictorary that we are seen as meaningless, yet these lyrics are a meaningful striving to understand things (art), and ironically done or not, this only in turn shows their is more beyond us, whether it is the worms below our feet or the skies above.
I think it's giving our planet a voice as something seperated, and over all opposed, to humanity. We are the worm-like subjects of it's ironically human-like narrative, suggesting the pervesity not of the hyuman genus, but of human progression. The lyrics establish itself on the notion of heiarchy amoungst humans, one of our most distinct traits of division, and automatically asserts the idea that the globe is speaking as a subject to us as parasites. The nursury rhyme like nature of the first verse also asserts an air of infantile simplicity in this panthiest, yet nihilistic vision of us, and creates an eerie sense of inevitability and immediancy in our coming demise mentioned at the end, the 'avalanche' of our customs- as it is reminiscent of the taunting, mechanuical nature of a child's chant. I'm drawn to the line 'Or was it day that invaded night' as it is a very direct inversion of human ideals- we feel as an innate habit that nocturnal hours are contrary to life, thus are evil and restrictive, yet by the definitions of the ambivalant earth night and day intersect equally- our 'season' is given no special significance against the behemoth of prevalant nature, which will indeed be our demise over 'persistantly plastic things'. I also find the notion of 'tiny kings' impressive as this is conveyed clearly by the childlike simplicity of the stanza, which observes us from a celestial perspective, making human-contrived status irrelivant so long as the world, or at least us, are terminated. In fact, our death means little compared to the rest of nature: are drawn lines and borders are virulent and needs to be purged. The reference to burying and planting of humanity's customs shows the persistance of our existance, and the selectivity of burying the 'dead', the 'battle' and the 'dancing' as opposed to the planting of 'songs', 'laughter' and 'stories' shows prefence to man in metaphysical form, the spiritual outlets of humanity, as human in activity (thus the movement invovle in dancing as oppsed to singing) equates to death, or at least pestilance and ultimately pointlessness. Overall, as is typical of Sleepytime Gorilla Museum, humanity is made a spectacle as something meaningless, a spectacle to things we cannot deny nor understand- thus the ironic use of a very human voice for the earth. It is contradictorary that we are seen as meaningless, yet these lyrics are a meaningful striving to understand things (art), and ironically done or not, this only in turn shows their is more beyond us, whether it is the worms below our feet or the skies above.