Post by Julie on May 4, 2005 19:29:22 GMT -5
concertina
clouds descending I'm not
policing what you think and
dream I run into your thought
from across the room just
another trick can I weater
this I've got a fever above my
waist you got a squeeze box
on your knee I know the truth
is in between the 1st and the
40th drink concertina
concertina a chill that bends
this I swear you're the fiercest
calm I've been in concertina
concertina try infrared this I
swear you're the fiercest calm
I've been in the soul-quake
happened here in a glass
world particle by particle she
slowly changes she likes
hanging chinese paper cuts
just another fix can I weather
this I got my fuzz all tipped to
play I got a dub on your
landscape then there's your
policy of trancing the sauce
without the blame too far too
far too far it could all get way
too cheerful concertina I know
the truth lies in between the
1st and the 40th drink clouds
descending
I think "Concertina" is that feeling that we can all get that is very dreadful and that is the tension of uncomfortable or akward silence.
Here's Tori's description of it:
"Do you ever feel like you walk in a room, and you don't know why, but you're just so uncomfortable you're crawling out of your skin, even though nobody's touched you, physically? That's in Concertina, when you feel like you haven't excavated enough of your different personalities that when one pops up, you're not sure where it came from, and you try to hack it out of yourself. It shocks you that you could have this kind of fault, or that other people could bring it out in you."
-- Tori; A.P. Magazine, Oct 99
“Concertina... It’s like a squeezebox.” [WHFS, Washington D.C (radio) - August 25, 1999]
“You always have to be listening to the song itself and to the soul of the song. Because sometimes there were different directions I could have taken the songs into and it’s not where the song itself wanted to go. It’s funny, during Concertina, the band all looked at me and said, ‘Oh, just do it like you played it this morning on the piano’. But I cut it to a loopy click track and said, ‘Get in there and pick up your instruments and we’ll find it’. I wanted those electronic drums that Matt was playing with because particle by particle, she slowly changes, and I wanted the sense of the acoustic piano with the electronic drums. That also re-occurs in ‘Lust’. So there was this dichotomy going on and I’m really drawn to that.” [Time-Off - November 24, 1999]
clouds descending I'm not
policing what you think and
dream I run into your thought
from across the room just
another trick can I weater
this I've got a fever above my
waist you got a squeeze box
on your knee I know the truth
is in between the 1st and the
40th drink concertina
concertina a chill that bends
this I swear you're the fiercest
calm I've been in concertina
concertina try infrared this I
swear you're the fiercest calm
I've been in the soul-quake
happened here in a glass
world particle by particle she
slowly changes she likes
hanging chinese paper cuts
just another fix can I weather
this I got my fuzz all tipped to
play I got a dub on your
landscape then there's your
policy of trancing the sauce
without the blame too far too
far too far it could all get way
too cheerful concertina I know
the truth lies in between the
1st and the 40th drink clouds
descending
I think "Concertina" is that feeling that we can all get that is very dreadful and that is the tension of uncomfortable or akward silence.
Here's Tori's description of it:
"Do you ever feel like you walk in a room, and you don't know why, but you're just so uncomfortable you're crawling out of your skin, even though nobody's touched you, physically? That's in Concertina, when you feel like you haven't excavated enough of your different personalities that when one pops up, you're not sure where it came from, and you try to hack it out of yourself. It shocks you that you could have this kind of fault, or that other people could bring it out in you."
-- Tori; A.P. Magazine, Oct 99
“Concertina... It’s like a squeezebox.” [WHFS, Washington D.C (radio) - August 25, 1999]
“You always have to be listening to the song itself and to the soul of the song. Because sometimes there were different directions I could have taken the songs into and it’s not where the song itself wanted to go. It’s funny, during Concertina, the band all looked at me and said, ‘Oh, just do it like you played it this morning on the piano’. But I cut it to a loopy click track and said, ‘Get in there and pick up your instruments and we’ll find it’. I wanted those electronic drums that Matt was playing with because particle by particle, she slowly changes, and I wanted the sense of the acoustic piano with the electronic drums. That also re-occurs in ‘Lust’. So there was this dichotomy going on and I’m really drawn to that.” [Time-Off - November 24, 1999]
