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So states of un-satisfaction, objects which we see or which reveal an absence are the only performances to which the individual recovers in susceptive uniqueness. The city might fix it or establish it but I see it an existence of our own as a chance to see what the city must and can do, without the power to do it. It's all very well and precise to say that Baudelaire had mysterious wishes to be like the stone in the statue without posing the ability. You cannot present the poet is eager to extract some petrifiable image from this of the past. But the images which he left are situated in a life which was open and infinate in Baudelaire's sense of the word.
[A time to ease your solace, a time to be so small]
We saw you from the urchin's side,
from under the boat
We saw you making knots,
we saw you get the rope
The boy appearing on the deck, you're making it lurch
The bubble of your interest's ready to burst, burst
He whistles and he runs
[Oooooooh]
[Ooooooooooh]
[Ooooooh]
We saw you in distraction:
a sleeping slow despair
Rehearsing interaction, he wasn't even there
A creature is a creature,
though you wish you were the wind
The boat will not stop moving
if you tie him up until the end
He whistles and he runs so hold him fast
Breathe the burn, he wants to let it last
He might succumb to what you haven't been
He has a keen eye for what you didn't see
When the cadaverous mob saves their doors for the dead men
You cannot leave
When the cadaverous mob saves it's doors for the dead men
You cannot leave
Ahhhhhhh
[Fancy summer's stall, a time to be so small]
[To the urchin, see our mirrored time for all]
[A summerside way of life, a time to be so small]
[Stronger by the urchin's side, a time to be so small]
[The urchin will lurch in there for this]
[The urchin will lurch in there for the facts]
[The urchin will lurch in there for the facts]
[The urchin will lurch in there for the facts]
Cadaverous mob saves their doors for the dead men
You cannot leave
When the cadaverous mob saves it's doors for the dead men
You cannot leave
[Lurching, lurching, searching, lurching]
[The urchin will lurch in there for the facts]
[The urchin will lurch in]
[It's all in the faded past]
[The bottom of the unwind]
[It's the end of the this]
[The bottom of the unwind]
[A time to ease your solace, a time to be so small]
We saw you from the urchin's side,
from under the boat
We saw you making knots,
we saw you get the rope
The boy appearing on the deck, you're making it lurch
The bubble of your interest's ready to burst, burst
He whistles and he runs
[Oooooooh]
[Ooooooooooh]
[Ooooooh]
We saw you in distraction:
a sleeping slow despair
Rehearsing interaction, he wasn't even there
A creature is a creature,
though you wish you were the wind
The boat will not stop moving
if you tie him up until the end
He whistles and he runs so hold him fast
Breathe the burn, he wants to let it last
He might succumb to what you haven't been
He has a keen eye for what you didn't see
When the cadaverous mob saves their doors for the dead men
You cannot leave
When the cadaverous mob saves it's doors for the dead men
You cannot leave
Ahhhhhhh
[Fancy summer's stall, a time to be so small]
[To the urchin, see our mirrored time for all]
[A summerside way of life, a time to be so small]
[Stronger by the urchin's side, a time to be so small]
[The urchin will lurch in there for this]
[The urchin will lurch in there for the facts]
[The urchin will lurch in there for the facts]
[The urchin will lurch in there for the facts]
Cadaverous mob saves their doors for the dead men
You cannot leave
When the cadaverous mob saves it's doors for the dead men
You cannot leave
[Lurching, lurching, searching, lurching]
[The urchin will lurch in there for the facts]
[The urchin will lurch in]
[It's all in the faded past]
[The bottom of the unwind]
[It's the end of the this]
[The bottom of the unwind]
Lyrics submitted by Interpolnyc
Track duration: 04:51
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An observer watching a woman fall for a man. The woman has never had the courage to tell anyone how she really feels but if she doesn't tell this particular guy (myself, if anyone's wondering about the significance to my own life), she'll lose him, (Not unlike the metaphor in the little mermaid).
The first verse tells the story of how she met him. Probably at work, she saw him more and more until they inevitably connected and their romance was born (or bubble burst).
The second verse is about how her passion for him intensified, "rehearsing interaction, he wasn't even there" I imagine masturbation, but that's just the Paul Banks part of my mind maybe. The whole theme to it seems like a passion growing but her resenting the fact that she is falling for him because she can't stand being vulnerable.
The chorus describes the man.
He whistles and he runs, (he has his own life and will be fine without her.)
Breathe the burn, you wanna let it last, (their sex is amazing, but casual romances are fleeting.)
But he might succumb to what she hasn't been. (If she can open up to him, he may fall for her too.)
He however has a keen eye for what you used to be, (he knows she is afraid of being vulnerable, but if she can't be vulnerable now, when would she ever be able to?)
Now my favourite line of the whole song:
When the cadaverous mob saves its doors for the dead men, you cannot leave.
I can hardly even describe what this means in my mind but imagine her finally being forced to make her decision about him. She can't hide in her fabricated cynicisms about love anymore.
When the cadaverous mob, (the mass of people who don't believe love exists,)
has saved its doors for the dead men, (don't line up with what she believes anymore so she either has to admit she cares for this gentleman or forever fade into romantic obscurity)
You cannot leave, (there's no way to put off this choice anymore, either she loves him and tells him, or she can't overcome her fears and loses him forever.)
An observer watching a woman fall for a man. The woman has never had the courage to tell anyone how she really feels but if she doesn't tell this particular guy (myself, if anyone's wondering about the significance to my own life), she'll lose him, (Not unlike the metaphor in the little mermaid).
The first verse tells the story of how she met him. Probably at work, she saw him more and more until they inevitably connected and their romance was born (or bubble burst).
The second verse is about how her passion for him intensified, "rehearsing interaction, he wasn't even there" I imagine masturbation, but that's just the Paul Banks part of my mind maybe. The whole theme to it seems like a passion growing but her resenting the fact that she is falling for him because she can't stand being vulnerable.
The chorus describes the man.
He whistles and he runs, (he has his own life and will be fine without her.)
Breathe the burn, you wanna let it last, (their sex is amazing, but casual romances are fleeting.)
But he might succumb to what she hasn't been. (If she can open up to him, he may fall for her too.)
He however has a keen eye for what you used to be, (he knows she is afraid of being vulnerable, but if she can't be vulnerable now, when would she ever be able to?)
Now my favourite line of the whole song:
When the cadaverous mob saves its doors for the dead men, you cannot leave.
I can hardly even describe what this means in my mind but imagine her finally being forced to make her decision about him. She can't hide in her fabricated cynicisms about love anymore.
When the cadaverous mob, (the mass of people who don't believe love exists,)
has saved its doors for the dead men, (don't line up with what she believes anymore so she either has to admit she cares for this gentleman or forever fade into romantic obscurity)
You cannot leave, (there's no way to put off this choice anymore, either she loves him and tells him, or she can't overcome her fears and loses him forever.)
Picture this: A distant father and his son.
The son tries to connect with his father, tries to show him the things he can do (he's possibly an artist) but his father, against his will, always turns him down.
With this the boy becomed frustrated and starts to run into mischief.
"The boy appearing on the deck, you're making it lurch
The bubble of your interest's ready to burst, burst"
At a certain point, the son just gives up and goes on living his life without his father. This makes the father desperate and wanting to reconnect with his son, going to the extent of rehearsing their future interactions. Just wishing he could be there for his son, who he has neglected.
"A creature is a creature, though you wish you were the wind"
I believe the Observers are just saying that he should not worry too much. He was stupid but now he should focus on just trying to protect his son. It's time to be just a shield because his son has potential but without his father by his side he can succumb to very bad things.
"When the cadaverous mob saves their doors for the dead men you cannot leave"
"saw you from the urchin's side from under the boat,"- the woman first sees the man, up aboard the ship
"saw you making knots, saw you get the rope"-that line alludes to how things will turn out.
"Bubble of your interest ready to burst"- the woman is curious of this human and wants to meet him.
"Saw you in distraction in sleeping so despaired, rehearsing interaction, he wasn't even there" is where she's trying to figure out how to talk to him but is frustrated in her naivety and gets desperate-
"the boat will not stop moving until you tie him up until the end"- she doesn't want him to leave, but she's still not ready to face him and decides to forcefully take him.
"he whistles and he runs so hold him fast, breathe the burn you wanna let it last"- is when the woman tries to take him and he's trying to run, and during this struggle, she realizes this was the closest (physically) they've ever been, and even though it's not in the way she might want it, she still wants this moment to last just for this chance to touch him.
"he might succumb to what you haven't seen"- the woman didn't realize that he'd die in their struggle.
"When the cadaverous mob saves its doors for the dead men you cannot leave" sounds like she accidentally killed him. I can't help but to think the rift//solo in the last bit sounds more like his body slowly sinking.
In the end, she still couldn't figure out how to approach him, so she basically just grabs him out of sheer desperation and inability to communicate yet still wanting to be near him, but in her scramble to try to do so, she killed him.
an amazing song nonetheless.
Antics is beautiful definitely in my top ten all time.
reading over the lyrics it really does sound like a father hoping his child stays young and innocent. This line says it all:
"The boat will not stop moving
if you tie him up until the end"
it really sounds like he doesn't want his boy to grow, but the boat (life) will not stop even if you restrict/protect him. Cadaverous mob could mean "everybody else".
"he whistles and he runs"
sounds carefree and doesn't wanna be held down anymore.
""I love that all of ANTICS seems to have a maritime theme.""
I love how he sings about sailing love and romance. Paul Banks is one of the best lyricists I've heard, and his voice is just awesome.