a spoonful of sugar, maybe love letters sealed by wolves.
music scrapbook, stolen (all impromptu, see) from kick:
.carrie brownstein's guitar part on "dance song '97" (...the kicks on live tv help, too)
.around 2:20 of "once more to the afterlife" when the sparkling snow starts to fall, after the whale-sized/oceanic breeze has blown through to establish this-one landscape (only to prove it was built to be connected by another. and yet so singular. grandiose yet fragile. spindly as a result of expanding out far, as far as it can go)...also, 5:30. so hopeful the close.
.the piano noise (and it closes it, too) on "so said kay," which, given the delicate yet straightforward layering all throughout the song, makes all the difference
.when the bass spidercreeps in on "i received a levitation" and things get dimmer, sort of fainter yet smokier, deeper, more resonant, just in a tinier pinprick woodfloor hallway space. in your belly or in your head is it?
.uh, just, the whole Thing in piano magic's "dark secrets look for light." sad and weird as usual, often. baking cookies yes...
.when greg dulli bursts during "the killer," says and i caught a fever, an unholy fire...
.this is a mouth that needs religion...
.my blues are black... which shows up elsewhere too, oddly enough
addition, march 28 2004:
.the walls breathe/we're locked in tight/it's a lovely end/to an ugly night
.kind of a pain, actually, because you have to wait the entire song (well, sure it's only two minutes to wait, but still!) to get to it: the instrumental closing flap of "no 13 baby," anticipated by the bass marching in place in drops all along throughout. especially that 2.50 thing
.the opening and the prompt-enough, shiny escalation in "the bachelor and the bride." and it has words/phrases like "willow", "timber," "belly," "furrowed brow," "medallion locked inside her hand," "and his fingers," and "do his callouses cure her," PLUS the correspondence between "sleet rain" and "slate roof."
.the angry-tin-can-rattled-by-a-vicious-monkecalgary galilee.
.the open barren landscape thing so much late 80s early 90s shoegaze-aesthetic provokes. right now my favorite new example is maybe i am kloot's "because." but yeah, those sarah records kids were pros too at constructing that swirly violently-hued nothing setting.
.oh, don't carve me out. don't let your silly dreams fall in between the crack of the bed and the wall.
.little-kid can-rattling clanging is great just in general.
.the anticipation of "nothing lies still long"
.carrie brownstein's guitar part on "dance song '97" (...the kicks on live tv help, too)
.around 2:20 of "once more to the afterlife" when the sparkling snow starts to fall, after the whale-sized/oceanic breeze has blown through to establish this-one landscape (only to prove it was built to be connected by another. and yet so singular. grandiose yet fragile. spindly as a result of expanding out far, as far as it can go)...also, 5:30. so hopeful the close.
.the piano noise (and it closes it, too) on "so said kay," which, given the delicate yet straightforward layering all throughout the song, makes all the difference
.when the bass spidercreeps in on "i received a levitation" and things get dimmer, sort of fainter yet smokier, deeper, more resonant, just in a tinier pinprick woodfloor hallway space. in your belly or in your head is it?
.uh, just, the whole Thing in piano magic's "dark secrets look for light." sad and weird as usual, often. baking cookies yes...
.when greg dulli bursts during "the killer," says and i caught a fever, an unholy fire...
.this is a mouth that needs religion...
.my blues are black... which shows up elsewhere too, oddly enough
addition, march 28 2004:
.the walls breathe/we're locked in tight/it's a lovely end/to an ugly night
.kind of a pain, actually, because you have to wait the entire song (well, sure it's only two minutes to wait, but still!) to get to it: the instrumental closing flap of "no 13 baby," anticipated by the bass marching in place in drops all along throughout. especially that 2.50 thing
.the opening and the prompt-enough, shiny escalation in "the bachelor and the bride." and it has words/phrases like "willow", "timber," "belly," "furrowed brow," "medallion locked inside her hand," "and his fingers," and "do his callouses cure her," PLUS the correspondence between "sleet rain" and "slate roof."
.the angry-tin-can-rattled-by-a-vicious-monke
.the open barren landscape thing so much late 80s early 90s shoegaze-aesthetic provokes. right now my favorite new example is maybe i am kloot's "because." but yeah, those sarah records kids were pros too at constructing that swirly violently-hued nothing setting.
.oh, don't carve me out. don't let your silly dreams fall in between the crack of the bed and the wall.
.little-kid can-rattling clanging is great just in general.
.the anticipation of "nothing lies still long"