Category: soft

The Magnetic Fields – I Don’t Believe You (I, 2004)

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To be honest, this song is not so much about the instruments for me – a laid back jazz kit for percussion, a nice plucky meandering banjo line, supporting deep strings, that’s not what’s important here. What’s important is the incredible well written lyrics:

So you quote-love-unquote me
Well, stranger things have come to be
But let’s agree to disagree
Cause I don’t believe you
I don’t believe you

The last two lines for each verse (excluding the one bridge) will always be “I don’t believe you, I don’t believe you,” so I’ll skip them after this – but what a way to start out strong: “So you quote-love-unquote me.” It’s an incredibly literary way of expression sentiment – the concept of someone “loving” someone else and the implications of those added quotation marks is delightful.

You tell me I’m not not cute
Its truth or falsity is moot
Cause honesty’s not your strong suit

Intentional use of double-negative also racks up points, and the complicated phrasing in “Its truth or falsity is moot,” is great – what it means it, “Although your statement might be true, it doesn’t matter because you often lie.”

You tell me of what once was
And all about Buck, Butch, and Buzz
How they were not like me because…

Alliteration in ‘Buck, Butch, and Buzz’, but otherwise not quite as interesting as the other verses. And now, for the bridge:

I had a dream and you were in it
The blue of your eyes was infinite
You seemed to be
In love with me
Which isn’t very realistic

It’s a nice little way to break up the otherwise strict AAABB-rhyming format of the verses, and somewhat droning instrumentation – and if you look closely at the bridge, can you see what it is? It’s a limerick: AABBA, with an almost identical rhythm. Neat, huh? Also, the bridge literally straddles the center of the song – three versus, one bridge, and then another three verses.

You may sing me “They Were You”
And I start crying halfway through
But nothing else you say is true

Like ‘Butch, Buck, and Buzz’, this verse isn’t as intricately crafted, although “They Were You”, from The Fantasticks is an interesting reference to make – I’m not really familiar with the play at all.

You may set your charm on stun
And say I’m delightful and fun
But you say that to everyone

Star Trek (or possibly Star Wars) reference with ‘on stun’, which is always appreciated, and finally -

So you’re brilliant gorgeous and
ampersand after ampersand
You think I just don’t understand

Remember the “quote-love-unquote me” line in the first verse? This last verse closes the loop with “So you’re brilliant, gorgeious and ampersand after ampersand,” – once again, it evokes visions of typography, which is incredibly unique – I can’t think of many other songs where this happens. You’re brilliant & gorgeous & & &. It’s like another way of saying ‘et cetera’.

Anyway, it shouldn’t come as much of a surprise that Daniel Handler (also known as Lemony Snicket) is involved with The Magnetic Fields – although as far as I know Stephin Merrit writes the lyrics.

The Killers – Spaceman (Day And Age, 2008)

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I’m not a huge fan of The Killers – but this latest album has had more good tracks then bad, and this one is arguably is one of my favorites (a couple others are probably as enjoyeable, if not as quantifiably good).

So we get a nice electronic intro, which jumps into a sort of updated Killers groove at 0:15. Vocalizing is a good way to make a track fun. The drop down to simpler instrumentation works great for the first verse, keeping the percussion and a guitar or two.

It started with a low light
Next thing I knew, they ripped me from my bed
And then they took my blood type
It left a strange impression in my head

You know that I was hoping
That I could leave this star-crossed world behind
But when they cut me open
I guess I changed my mind

And you know I might have just flown too far
from the floor this time, ’cause they’re calling me by my name
And they’re zipping white light beams
Disregarding bombs and satellites

And that was the turning point
That was one lonely night

Can you hear the accoustic guitar panned left on the second part of the verse, at ‘and you know I might have just flown too far’? Could this be a Bowie reference? Maybe it’s just the title, but I’m going to guess that there’s a ‘Space Oddity‘ connection her, because it seems intentionally distinctive. Anyway, here comes the chorus, which is once again very ‘Killers’, but with sort of a new poppy twist:

The star maker says it ain’t so bad
The dream maker’s gonna make you mad
The spaceman says everybody look down
it’s all in your mind

It makes me think a little of Flaming Lips too, maybe because I went and saw Christmas on Mars recently, and I’ve seen their UFO Show, in a state where I’m prone to make strong sensory associations.

There isn’t much new going on past the first verse and chorus – the return to the verse at 1:31 is a nice comfortable fall into the previously established theme, and the lyrics continue to be ingruigin:

But now I’m back at home and
I’m looking forward to this life I live
You know it’s gonna haunt me
So hesitation to this life I give

You think you might cross over
You’re caught between the devil and the deep blue sea
You better look it over
Before you make that leap

And you know I’m fine
But I hear those voices at night sometimes
And they justify my claim
And the public don’t dwell on my transmission
‘Cause it wasn’t televised

But it was a turning point, oh what a lonely night

There’s a nice quiet break at 2:45, though, which adds a bit of mystery to the song, and the line “They say the nile used to run from east to west” evokes time-travel imagery – was he a space traveler who set off to find the earth, but arrived much later then he expected, and (like The Man Who Fell To Earth) just decided to stay, and become human?

Anyway, the vocalizing comes back at the end, which fades out to some appropriately spacey synth pads – the ride is over.

Enya – Caribbean blue (Shepherd Moons, 1991)

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This is one of my favorite Enya songs – as an artist, her music can be a little hit-or-miss for me. Sometimes it’s too ethereal for its own good, and loses its appeal in spaced-out vocals and ‘world music’ instrumentation. Caribbean Blue doesn’t have this problem.

The beginning is a great way to introduce a concept – brief orchestral strings, which fade away to trancey plucked arpeggios and nice bass swells. The beuty of the chord progression is made clear, along with the sort of flowing, lilting rythem of the song. The brief ‘ah’ vocal sting at :25 should make it abundantly clear to anyone listening that this is, in fact, an early Enya song. The swirling vocals immediatly afterwards give way to the enchanting lyrics:

So the world goes round and round
With all you ever knew,
They say the sky
High above
Is Caribbean blue.

More orchestral strings follow, along with more vocalizing, keeping things interesting but not varying much from the original music premise of the song. Next verse:

If every man says all he can,
If every man is true,
Do I believe the sky above
Is Caribbean blue?

More vocals, more orchestal strings, a little stronger this time, with more bass, intensifying things a little until the bridge at 1:58, carrying the song swirling onwards with higher notes, until the last verse comes around, this time transposed upwards a bit:

If all you told was turned to gold
If all you dreamed were new,
Imagine sky high above
In Caribbean blue.

By now we’ve heard all the song is going to give us – things roll onwards to the ending at 3:50, which is as brilliant a way to usher the track out as was the intro to usher it in – everything drops off, leaving a lone vocal pad, which briefly hints at a solo, before abruptly fading down to silence.

What’s the song about? To begin with, there are a few observations we can make about the ‘narrator’ – the fact that “they say the sky” is blue, and that its blueness is questioned in the next verse, and finally imagined in the last, suggests that wherever this song takes place, the colour of the sky is not readily ascertainable. Are they underground? Are they in space? Are they in a world that’s perpetually cloudy? When I think of the colour ‘caribbean blue’, I think of the deep endless ocean off the shore of a tropical island – impossibly deep dark blueness, accompnied by a fring of shallow green and sandy yellow. It sort of feels like a yearning for a lush vegetative island paradise – something the world in the song is possibly missing.

The phrase “so the world goes round and round” pretty explicitly refers to the passage of time – after all, that’s how our chronology works, revolutions of planetary bodies. “with all you ever knew” seems like another reference to time, and perhaps a sort of elder wisdom – a world in the future, where all the secrets of the past are contained somewhere on the planet? A planet which has lost its island paradise? The other lines seem to suggest that it’s possible for this paradise to be reclaimed: “If every man says all he can, if all he says is true… If all you told was turned to gold, if all you dreamed was true…” If the shattered world worked together, imagined progress, dealt honestly, and communicated… would the sky high above once again become caribbean blue?

The Knife – Silent Shout (Silent Shout, 2007)

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Thing start out quiet – a bass line, a little bit of white noise shaking, a nice reverby kick, until something beautiful appears at :25… a cut-down trance lead with a little bit of echo to it, arpeggiates and dances its way around the chording, eventually leading into the vocals (accompanied by a nice splash of drum machine clapping)

I never knew this could happen to me
I know now fragility
I know there’s people who I haven’t told
I know of people who are getting old

The words are whispery with white noise, vocorded to a ‘singing robot’ degree, and as they finish up the trance synth gets expansive, brightening then filter-tweaking down to a muted sound, before bringing in the next verse. The second verse might as well be the first , and the third follows quickly after. Finally at 2:57 the instruments have had enough – they drop out for a second to give the vocals a chance to introduce the peak of the song, where the synth brightens up and starts rolling higher, accompanied by some additional percussion. This can’t keep up for too long, and relaxes at 3:45 to let the final verse have some breathing room, this one with less clutter then the others, allowing the depth of the vocal effects to be really appreciated. Things stay quiet for the rest of the song – the apex has come and gone, the song’s assets are played out, and it meekly returns to where it started – a bass line, and a kick drum.

It’s kind of like a sudden rainstorm, with hand clap clashes of thunder and lightning, washes of wind-swept rain, whispery streams suddenly engorged by an extra payload… not a very complicated song, or a very in-depth one, although it manages to run nearly 5 minutes without getting too repetitive. The excellent use of splashy hand claps, vocorded lyrics, and that trance synth line are what make this song irresistible to me. The “me/fragility” rhyme works really well too.

The Faint – A Battle Hymn for Children (Fasciinatiion, 2008)

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(the intro is quiet, and about 20 seconds long, so be patient)

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As usual, The Faint are addressing a social issue: whether we’re ‘teaching’ or ‘training’ our children.

Teacher, bring me to heaven or leave me alone
Why make me work so hard when you know I work slow
Don’t make us watch you scrape more powder on the walls 
Show us a laser, take to space, or let us go 
We got violent games on pause at home

I love the wording, too – “show us a laser, take us to space – we’ve got violent games on pause at home,” that’s what kids want. While the instrumentation is great on this track, it’s the words that really matter:

Sergeant, I don’t remember how you said to deal with guilt 
I’m haunted by families, even ghosts of soldiers’ kids
Is it god against god and the pawns are people?
If they’re both the same god then the battle’s over

You gave us guns for toys
Imposed beliefs then pride 
We were taught that God prefers the U.S.A. 
Just like the billboard sign: “This is God’s country”
If it’s true that God roots for the U.S.A. 
Is every bomb we drop in God’s name?

The peppy drums and occasionally blippy snap-crackle-pop sound effect accent the accusations, and the whole thing ends up feeling pretty heavy in subject, but almost light musically.

Preacher, am I going to make it? Am I going up?
Am I forgiven for the humans I dropped?
It’s not like a game once the guilt piles up

All in all, it’s a beutiful song, probably my favorite (or tied-for-favorite) song on the album.