| The Notwist – Consequence Lyrics | 13 years ago |
|
The "experience" of this song is muddled by the romantic feelings it emotes as juxtaposed by the pensive "longing for more" type of feeling implied by the lyrics. The reference to color, movement, and spin artfully depict ineffable yet clearly palpable feelings of attraction. However, the next three lines seem to temper this sensation to a temporary and passing experience (i.e., "Never, Could it stay with me, The whole day long"). So, apparently there was attraction but why didn't deeper connection develop? Was the other s/he not the right one? Possibly . . . but not likely. It seems more obvious that this song really is describing a fucked-up attempt--as opposed to a successful connection--with finding the one who sustains "love." "Failing with consequence" seems to imply a concerted effort to move beyond attraction to something deeper, yet this effort is in vain and things clearly don't work out. . . "Lose with elegance" and "smile" seem to imply that the singer/protagonist is somewhat okay and accustomed to having attraction fade and connection fail to develop, at least to a degree that s/he can put on a superficial smile. These lines scream that this has happened before. . . Then, the lyrics deviate from a romanticized or commonly socialized view of "love." In other words, the experiences reflected do not parallel traditional notions of love in the U.S. The singer cannot claim Disney-esque romance yet s/he still is enthralled with the notion of being bowled over by love--overtaken to such a degree that s/he is paralyzed and hypnotized by it. In conclusion, the lyrics of this song produce two viable interpretations: 1) The lyrics describe an individual who pines for a deeper connection yet repeatedly fails to make this happen because of some perceived problem or deficit. OR 2) The lyrics describe someone who is used to being attracted to and maybe connecting with others on some level (e.g., having sex), yet still wants something deeper out of relationships but does not know how to get it. |
|
| Au Revoir Simone – Shadows Lyrics | 13 years ago |
| The lyrics of this song speak for someone who is trying to be honest yet is subtly and concomitantly disingenuous about a budding relationship. Clearly both parties have a history and some baggage. However, the singer initially assumes a dominant position and emphatically tolerates the other person's erratic behavior under the assumption that he/she eventually will be able to join and connect emotionally with her. On one level, the singer seems to desire to impart some degree of self-assurance or direction in the other person to help mitigate his or her own problems in previously failed relationships, yet we are left with the feeling that the alluded reassurance only magnify doubts . . . Toward the end of the song, it becomes more obvious that the singer identifies with the struggles and turmoil of the other. She wishes for the other to move past his/her failed relationship(s), drop the baggage, and connect with her on a deeper level. However, the singer's intentions are somewhat self-motivated and a reflection of her own deep rooted insecurities (nice mirroring). Although she is in a better place than the other person is, she still pines for the other person and needs validation . . . | |
| Kanye West – Runaway Lyrics | 13 years ago |
|
I think this song describes the difficulties that one experiences with relationships--especially intimate ones--when he or she is unclear of who he or she is. In a world in which such a large part of one's identity is derived from record sales, itunes downloads, MTV appearances, being the life of the party, living up to the image of a brilliant musician, and so on . . , one's identity is inherently externally validated and tenuous. It must be continually bolstered and reinforced. In turn, this produces a mercurial existence in which one must continually struggle to be new, fresh, and dominant. To do this, to stay on top of the mountain, one must be aggressive and defensive. Thus, on the other hand, to become too comfortable or complacent is to run the risk of being replaced, forgotten, or even usurped. Stars burn out or blow up. Clearly, burning out is not an option for Kayne. When in the presence of a supernova, one must wear more than sunglasses to prevent oneself getting burned. In this vein, the warnings to runaway suggest an understanding on Kayne's part that "good girls" who value consistency, intimacy, and reciprocity in relationships likely will be incinerated by his brilliant existence (i.e., the massive need to consume to exist). Further, they will be blamed for their own demise as to protect a self-effacing yet also self-protective "douchebag," "asshole," "scumbag" and persistent "jerkoff" who can't help himself and cannot protect the other (his quotes--not mine). The resolution: accept one and a semi-tragic yet culpable figure. Further, radically accept oneself and a flawed figure and get lost in distractions. This begs the question, who really is the runaway? |
|
| The New Amsterdams – The Death of Us Lyrics | 13 years ago |
|
The lyrics of this song are beautifully opaque yet the raw emotions behind them are transparent and fluid. It's almost as if the song alludes to something that is too personal to be described openly or in a barefaced manner. My guess is that this song describes a failing (or recently terminated) relationship and the swirling emotions that result from separating. The reference to "chrome" and "rusting from deep within" while maintaining a shiny veneer seem to describe a person who is inauthentic and always dissembling behind some facade to maintain a certain image. The ghost town reference seems to imply that the singer has realized just how vapid this person really is and the "serious" reference may suggest that this questionable person also is insincere or even insouciant . . . There also appears to be a hint of disillusionment and self-compromise expressed in the song. "Wanted to like your way. It's hard for me to tell you're wrong," seems to suggest that the singer tried to accommodate, except, and modify his own ways for the other person more than s/he did in return. Over time this sort of dynamic inevitably breeds resentment and even anger. Thus, the singer wants the other person punished, yet does not want to be responsible for the act: "Pray to God. Let him strike you dead. Before I get back--fear my wrath." However, things get more intense, personal, and deliberate: "With a smile, the way to hell with your arms and legs bound. All the way down." Essentially, this is a beautifully melodic song about the anger that accompanies the death of some relationships, especially relationships in which you lose objectivity. A song about an emotion that may be self-protective--or even justified--yet always is poignant, overpowering, and potentially destructive. |
|
| Arcade Fire – City with No Children Lyrics | 13 years ago |
|
A city with no children is a city with no future. However, the reference to this feeling is less about the external environment (i.e., the city) and more about the singer's internal world as he struggles with his weighty past and disillusionment. As an emerging adult, he is trying to reconcile feelings of adolescent idealism with the stark reality of living in a world that is less than perfect, confusingly ambiguous, and mired in shades of grey. The song begins with a reference to being hurt and expecting some type of compassionate response from an absent caregiver in return. Yet this response does not come, the singer becomes bitter, and he realizes that he cannot fully rely on this person. He then laments about not fully embracing this person when his world was simpler and it was easier for him to risk loving, a time in which he was not jaded. Thus, in this vein, my guess is that the "world war" is more about drawn out interpersonal conflicts between family members and less about our somewhat tenuous geopolitical environment. Ostensibly, it is a war between a child and parent and it engenders feelings of uncertainty and uneasiness. The dream about the trip back to Houston then refers to atavistic family drama and not knowing (being in the dark) exactly how things will will go but knowing that they will not go well (kind of a similar vibe to "This Year" by the Mountain Goats). Moreover, given that the singer is dreaming about this, the uneasiness he feels about his past still presses on his subconscious even if he is able to adequately distract himself while awake. Continuing with the emerging adult theme, flash forward a few years and the singer is prosperous but due to the weight of his past, he does not feel free or liberated by his new wealth. Instead, he feels like a prisoner of the past and his new circumstances. He hides underground to escape inclement weather. In other words, he retreats from elements in the external world (i.e., interpersonal relationships) to avoid future loss or pain. He tries to justify his lifestyle and previous decisions to himself in questioning: "Do you think your righteousness can pay the interest on your debt?" Here he really seems to be saying: "To get by, I changed because I had to." However, it is interesting that he says "interest on the debt" as if he has accepted his debt and now wants to just get by in an imperfect world that he cannot fix. This makes me question whether "debt" implies a financial debt. Now, let's break down the chorus to pull this together. The city with no children is an environment that is bereft of youthful nativity or adolescent idealism. The garden is the singer's view of himself and his potential to change the world (his world) at a younger age. The millionaire is the unsatisfied adult that struggles with his own financial success, disillusionment from deviating from previously held values, and a personal history that is littered with disappointment, conflict, longing, and emptiness. He has simply yet painfully lost his youthful spark. Damn, I wish I could write songs like this. |
|
| The Magnetic Fields – Papa Was A Rodeo Lyrics | 13 years ago |
| Good call. I think they've stayed together and worked through some significant drama during those years. Let's face it, drama can make for good romance although the verdict is still out on what exactly accounts for "good love" over time. Somehow the two people in the song seem to have found the right balance between drama (i.e., passion) and sustainable love while they wizened. On a side note, I guess that trust, security, and mutual comfort bridge the gap between white-hot infatuation and the warm glow of love in the twilight of a mature relationship. | |
| The Magnetic Fields – The Book of Love Lyrics | 14 years ago |
|
On the second floor of the Florida Holocaust Museum a special gallery exists that presents personal testimonies of holocaust survivors along with the chorus of this song. The experience of reading these testimonies as juxtaposed against this song is incredibly overwhelming. Some survivors describe unimaginable acts of love, courage, valor, and dedication while others describe the daily struggle to procure enough food to survive. Some survivors describe sublime acts of personal dedication whereas others describe banal experiences and daily travails. The book of love is relivent to all as it is a catalog of personal attachment. In fact, the book of love is a complete an integrated account of attachment. It includes often described "fairy-tale like moments" as well as the moments of boredom that exist between emotional high peaks. Moreover, the book of love is a personal history. When moments are recapitulated, commiserated, or ego-syntonic, they are most palpable. Hence, the text becomes all the more sublime when read by a lover, as the process of reading itself can substantiate the text. The book of love really is a metaphor to describe the various behaviors we assume (or more accurately: have assumed) to express our affection to others. Love often is described as an altruistic commitment to another. However, in reality, we generally love those who "love" us back for our "loving" actions. Thus, being read to from the book of love is analogous to being loved as the mere act of "reading" is analogous to "loving." |
|
| Sufjan Stevens – Romulus Lyrics | 14 years ago |
|
I agree mostly with what has been written before; however, it is important to consider when the child is “ashamed” and when he “is ashamed of her.” In the beginning, he is ashamed. Ostensibly, because he did something wrong to drive his mother away. Children often blame themselves for causing their parents to separate and for their own abandonment even if their blame is irrational. Perhaps, the belief that one is responsible for causing something bad to happen is more comforting than is the alternative: that caregivers can be undependable and mothers can be unloving. Nevertheless, as people mature with age, develop a unified sense of self, and are no longer as dependent, they may better recognize imperfections in caregivers (notice that adolescents are good at this!). Thus, the last line of the song (i.e., “I was ashamed of her”) suggests that the shame has been redirected to the mother. The child has matured and now is able to see her for what she is: narcissistic, disinterested, self-indulgent, and unloving. She is less a mother and he is less a child. |
|
| Monsters of Folk – Map of the World Lyrics | 14 years ago |
| This song invokes feelings of restlessness, existential longing, and ennui–feelings that seem ubiquitous to living in a post-modern world. The individual described in the song seems to be stuck in a moratorium as he or she resorts to numerous distractions (i.e., TV, popular culture, psychoactive substances) to dull a sense of discomfort that is both palpable and obscure. His or her life is mundane and devoid of meaning. Moreover, the person lacks a clear sense of identity (i.e., an integrated sense of self, values, and direction in life) and subsequently feels listless, confused, and resorts to actively clinging to ephemeral things. However, instead of this being a personal failure, the song seems to point the finger at the environment in which the person lives. The culprit is the destruction of traditional, direct, and perhaps spiritually fulfilling ways of existing (i.e., Indian graves) to pave the way for modernity and empty consumerism. That far off feeling is existential angst. That up-close ache is mundane dysphoria. The wide-screen reason to look the other way describes our tendency to distract ourselves with contemporary palliatives instead of finding something more fulfilling–-whatever it may be. | |
| Sea Wolf – I Made a Resolution Lyrics | 14 years ago |
| I think this song is about trying to develop a sense of integrity through not succumbing to self-pity, false pretenses, or self-destructive behavior. On one hand, the singer seems to accept his difficult background and its indelible influence on his life (i.e., "these hills will never leave me"). However, on the other hand, he also aspires to confront the impetus to follow in his father's footsteps to his own demise. The personified voice of the father: "son my hands are strong," suggests that the signer is aware of the challenge to break an intergenerational cycle that seems to leading him toward antisocial or self-destructive behavior. The line "I hope you have the strength to shake us free," seems to imply that the singer has a somewhat mixed view of his the father--not necessarily fully bad or harmful. More importantly, the singer can liberate himself (and his father's spirit by proxy) through escaping the negative influences impinging on his life. Thus, this paints the father as a victim to his circumstances and the singer as an individual who actively eschews the victim role (i.e., no more sad songs) through self-determination (i.e., the resolution). The resolution then protects the singer by reminding him to cope with adversity and not indulge too deeply in self-loathing, pity, or self-destruction. Will he succeed in theses pursuits? It is too early to tell by my judgement . . . | |
| The Magnetic Fields – Papa Was A Rodeo Lyrics | 14 years ago |
|
I think Merritt was delving pretty deep with this one. The comparison between the singer's ambivalence about the relationship, as well as Papa being a rodeo and Mama being a rock-and-roll band is an artful way to describe the effects of inconsistent/unavailable parents on a person's ability to develop intimate attachments. In other words, the rodeo comparison seems to suggests that the father was mercurial, unpredictable, and perhaps volatile, thus needing to be tamed. On the other hand, the rock-and-roll comparison suggests that the mother probably was absent/distant (i.e., on the road) and unable to provide the singer with comfort and security when it was most needed (i.e., in childhood). I take the lyric: "I could play guitar and rope a steer before I learned to stand" to highlight the singer's awareness of his early attempts to deal with his inadequate parents (i.e., through attempting to tame/avoid his father's wrath and harmonize with his mother to bring her closer). It appears that the singer has learned to deal with his untenable situation through adopting some of his parent's qualities even though these qualities are not fulfilling and limit his ability to fully trust or open up to others. From this early arrangement, the singer has developed insecurities about relationships and expects to be abandoned by others. Thus, to protect himself from the pain of loss, he chooses to take control of the situation and leave others first so that they cannot abandon him after he lets his guard down and invests in them emotionally. The singer also describes a desire to protect this other person from the pains of loss that s/he may feel in his absence when things get too intimate, unfamiliar, and emotionally overwhelming. To me, it seems as if the singer is projecting his fear of abandonment on this other person as evidenced by his attempts to deescalate the developing romance to protect this other person from the pain of loss. However, somewhat surprisingly, instead of leaving this other person, the singer has revelation: Every moment someone dies so it is time to live in the moment and live with the risk of being hurt again. Perhaps, he realized that the opportunity cost of living so cautiously is an unfulfilled existence. The singer then takes a chance and rationalizes his irrational decision (by his previous standards) through believing that he is removing this other person from a negative environment/situation (i.e., undoing what was done to him). He accepts the kiss (expressed intimacy) with some hesitation and then leaves with the other person. In hindsight (55 years later), the singer looks back at the consequences of the chance he took in opening up to this other person and becomes emotional. He realizes that the process of engendering "the romance of a century" also entails "wrestling gators" (i.e., overcoming a painful and vicious past relationships) along the way. He also realizes that he is not alone in his struggle to achieve intimacy and is fortunate to have had a partner who was willing to take a chance on him. A partner in which he can identify; a partner who makes him feel understood from having a similar past. |
|
* This information can be up to 15 minutes delayed.