9/02/2006

Poles Apart - Grasping At Straws and other meditations

Roy made this one perk up. For sure.
Get your Quicktime out - it's an m4a file.

The underlying original tracks (guitar, vibes, piano, reeeeveerb) don't make an apearance until the appropriate time now. I think by bringing them in after the first verse, they make more of a statement. the dropping the 'lectric piana for the second verse, the ghosty original tracks really come home and nestel themselves up in you earballs.

Roy and I were both on the same wavelength, it seems, with the importance of the portamento synth that echos the vocal line (in actuallity it's the other way around - that synth helped write the melody) stands out and should be a little dry. Although he may have his own reaons for mixing it that way, I consider it to be the part of a conversation that the other person doesn't want to hear - the "truth hurts" bit of an evasive conversation, which you can't ignore but which seems to make sense. kind of a punctuation for the scenario that the lyrics are setting up - I am more at home with them than in the previous post, by the way - it took some time for them to grow on me because they are so different (at least in my brain) from what we'd been producing thus far. I didn't even share them last time. i shall now. look out.

I don't know if I should give a reason
I don't know if you're still friends
All I know is that the last time he was leaving
You missed the exclamation point at the end.

If you think that I'm unreasonable
you are not paying attention
Watching you is like a dydream that i can't control
half the fun is my intention
I don't know if I should give a reason
I don't know if we're still friends
All I know is that this last time I was leaving
I turned around and saw the end
All i know is that the last time I was leaving
I saw the ending of the end.

The reason is spaces are hard to fill up with a hole in you heart.

-------------
I'm totally guilty of penning a WB scenario here - one that has definite roots in teen movies of yore. Sometimes I do that. Onlooker's Low Soft Shoulder and Revolver for instance. Instead of the World Falling Apart in an environmental sense or some sort of topic like that, the World Falls Apart on the inside first. The scene that is set up in Grasping At Straws is one of fiction, like the others wherein some horrible end is coming to the through external means that are beyond our control - however, in G@S the thing that destroys the narrator is that one thread of truth behind hanging-out (think of the portamento synth here), which is the Crush and the I Love You Why Don't You Love Me Too After All I've Given You.

There is an action missing in the song - the action for which there needs to be a "reason." That's the spot where the listener is sent to retrieve their pown personal data to construct the rest of the scene. The song is only as cold and heartless as you are.

No comments: