d'Demonstrator Lyrics

I haven't really seen anyone discuss lyrics here... whether it's because no one has figured them out or because no one really cares, I don't know. But the vocoder is one of the most interesting aspects of the album to me, and I love Into The Blue, so I'm gonna start there. I wrote down the best I could hear - hopefully you guys can fix it up or fill in the ?????s

INTO THE BLUE

lost in the (park?)

lost in the place where ???? quite moving

here in (hearing?) the dark

are you alive?

where did you go (back?) ????

the trace of memory winds me tight

how can it be?

vanish into clean air

disappear so gracefully, stranded somewhere

inside the voice

???????????

wake up my voice

??????

when will it be too late?

the search for you (my friend? afraid?) keeps me awake

can the sky see you?

while you're staring out to water neverending

into the blue

this static place

devoid is now the day that's fading(failing?)

?????????????

I know a bit of Plug Me In. Will post up when I'm @ the comp.

Plug Me In

I've got to get in sync with you

Do you want to sync up with me?

24 bits with lights

Is all I need to do it right

24 bit with beats, is all I need to feel at ease

Synchronize our song/soul?

Baby that's how we roll

I've got to show you, how we do it

Do you wanna see how it was?

???No idea what this line is???

Is all I need to synchronize ??the rest?? of the studio

You can see the signal flow

Never thought it could be

You'd be in sync with me

No idea for most of the refrain ends with:

Never thought it could be

Girl we've got the same timing

24 bits at night

Is all I need to do it right

24 bit with beats, is all I need to feel at ease

Synchronize our song/soul?

Baby that's how we roll

No idea for most of the refrain, but it ends with:

Never thought it could be

Girl we've got the same timing

I've got to get in sync with you

do you wanna sync up with me?

24 bits per night

it's all I need to do it right

24 bits per beat

is all I need to feel the heat (or, yeah. could be "all I need to feel at ease")

SYNCHRONIZE OUR SOUL

BABY THAT'S HOW WE ROLL

I'd like to show you how we do it

do you wanna see how it works?

especiallasi7324093840923049234goodbyes

is all I need to synchronize

the rest of the studio

you just see(?) us in the flow

NEVER THOUGHT IT COULD BE

YOU BE(ING) IN SYNC WITH ME

pluuuug meee iiinn babyyy

I fight/find eoitusitouos soo crazyyyy

plug me in baby

never thought it could be

girl you've got the sync I need (??)

mooohhmmm m-mmmm dudu dud

du du dud duduDUuuuuu

24 bits per night is all I need to do it right

24 bits per beat, is all I need to feel the heat

SYNCHRONIZE OUR SOUL

BABY THAT'S HOW WE ROLL

pluuug meee inn baby

I figdhghgsdhg something

plug me in baby

never thought it could be

girl you got the sync I need!

*lush part*

pluuug mee inn baby

I figdgshdg so carsr whatever

plug me in baby

never thought it could be

now I've got the sync I need!

*end*

this is what I hear. most of it is probably wrong, but considering the name "shobaleader one" was originally some lyrics Tom misheard in a song I think it's ok!

Megazine:

duuu deee de-i dee-e du de-eeeee

If we combine our lyrics for Plug Me In I think we've got it retape.

My Interpretation:

"The one thing about me, 13 / 4 kicks the night is all i need to do it right

13 / 4 kicks with beat is all i need to feel the heat"

  Quote

"Is this song a little funny, or did I have a stroke?"

 

These include songs where you can tell something's up, but it's subtle enough that you figure it must be you. You can't quite "get" the song, but it sounds normal enough that you don't catch on to the extra beats right away. Often these are in some abomination like 13/4, with several measures of normal 4/4 time interspersed with an occasional extra beat, so it's actually a mix of time signatures.

 

The Beatles have a few of these, which I suppose shouldn't be a surprise. "Here comes the sun" has an absolute train wreck of a time signature, 11/8 + 4/4 + 7/8, but fortunately it's confined to the bridge -- the verses are in your standard everyday 4/4. "All you need is love" uses 7/4 time in the verses, which sounds like two normal 4/4 measures with one extra beat tacked on -- that was my first "what the hell?" song, heard as a kid at the end of the Yellow Submarine animated movie, where I couldn't quite get a hang of the beat and wondered if I had broken my brain. A more obscure one is Joan Osborne's "Right Hand Man", which sounds like a rip roarin bluesy barn burner, except for the extra beat every few measures. I was too distracted to hear the "If God Was One of Us" singer actually belt out a non-annoying song to catch on that the song is in 7/4 time, though I could tell the beat was a little weird.

Mix of time signatures, like two hearts or souls beating together in sync. Its a great love song not just about love between individuals but also about the love for a piece of music.

Also: Tom stated he was inspired by Brian Wilson who said he wants the listener to feel loved.

  Quote

I read on the sleeve notes to a particular edition of the Beach Boys’ Pet Sounds that Brian Wilson had wanted to organize the sounds on that album such that the audience felt loved by them. When I first read that remark I found it very touching, but the sentiment was a long way from my own intentions, which were more along the lines of trying to stimulate and surprise. I was far more concerned with my lofty aims of trying to promote questioning of conventional musical ideas to take Brian Wilson’s comment seriously. However, it stuck in my mind.

I have entertained radical opinions on the overtly melodic aspects of my music in the past. Out of my first few albums, the pieces that seemed most popular were the ones in which I had invoked the emotion-provoking melodic aspect. The fact that this emotion-provoking aspect seemed a clear-cut door to success led me to a conundrum: On the one hand I could capitalize on this ability and keep generating more popular records, with the disadvantage that I was negating my free exploration of musical possibilities for the sake of success. The alternative was to abandon the concept of explicit melody, thereby necessitating exploration of new ways to construct music and enhance creative momentum, with the possible risk of terminating my career if nobody turned out to agree.

 

.....

 

On my first albums I used melody ad hoc, wherever it seemed appropriate. More recently, I began to use and investigate it intentionally. Instead of making music by rigorously investigating musical principles, my inclination became to subsume these principles under the concept of making a music specifically for people. I shy away from making the claim that it would make somebody feel “loved”—that seems too simple. Nonetheless, I have attempted in this work to make my ideas tangible to listeners without specialist learning through the vehicle of melody. The age-old question is whether making this compromise does in any positive sense make more esoteric musical ideas more intelligible to non-specialist audiences. The criticism would be that in watering down these ideas, they change fundamentally and are thus no longer the same ideas. Regardless, they are represented more comprehensively on other records, and I hope Hello Everything can offer a less intimidating gateway to these.

  On 10/21/2010 at 9:20 PM, teetime said:

Also: Tom stated he was inspired by Brian Wilson who said he wants the listener to feel loved.

and aquire deeper knowledge music and the way it evolves - "works". Also you may find it adventuress, but cryptic motion is inspired in some way by Schopenhauer.

  On 10/21/2010 at 6:05 PM, Retape said:

 

24 bits per night is all I need to do it right

24 bits per beat, is all I need to feel the heat

 

  On 10/21/2010 at 9:46 PM, teetime said:

  On 10/21/2010 at 9:20 PM, teetime said:

Also: Tom stated he was inspired by Brian Wilson who said he wants the listener to feel loved.

 

 

and aquire deeper knowledge music and the way it evolves - "works". Also you may find it adventuress, but cryptic motion is inspired in some way by Schopenhauer.

Are you able to see it as well? I will explain it to you in detail later. I am courius if somebody sees the connection as well.

pigster: isn't that what I typed?

teetime: don't look too much into that brian wilson quote. for one he mentioned that around "hello everything", not shobaleader. also, I don't think it's the 13/4 timesig lyrics either. is the track even in 13/4?

teetime, what the fuck are you on about>

  On 10/21/2010 at 9:50 PM, pigster said:

  On 10/21/2010 at 6:05 PM, Retape said:

 

24 bits per night is all I need to do it right

24 bits per beat, is all I need to feel the heat

 

pretty sure the second line is

"24 ticks per beat"

I'll give it a shot:

Laser Rock

?????????????

everything else does apply

?????????????

are we really living in a dream?

ohh I think you're out too much

maybe you ??????????? look

??????????? you read it in a book

just because you (sounds like "smoked a lot of weed")

it really doesn't mean it doesn't ??????

?????????????

everything else is (caught?)

????????????????????? was

what it is

??????????

??????????

????????? nothing is true

????? that really is an excuse

???????????????????? wide

???????????????????? your kind/mankind

oh I think you're out too much

oh I think you're out too much

????????????????? way

would you cancel what we have to say

but we are sure to disagree

????????????????????????? fantasies

????????????????

Cryptic Motion

take placement

moves fall forevermore

where there's nothing but excess emotion/in motion

well potent

?????????? all doing to us

there is something that cannot be broken/proven

this journey

??????????

but is nothing that's surprising ?????

we hold this

strange extravagance

here is something that can't be denied you

  On 10/25/2010 at 7:30 PM, psn said:

24ppqn

I think you have got it!

It's an argument against the "bits" interpretation.

how do you pronounce ppgn in one word? does it sound like "bits"? I have no idea. I knew that was what he was reffering to, though.

  On 10/21/2010 at 5:51 AM, crono3 said:

inside the voice

???????????

wake up my voice

I think the first line is:

in silent noise

Plug Me In

I've got to get in

Sync with you

Do you wanna sync up with me?

24 ticks tonight

Is all I need to do it right

24 ticks per beat

Is all I need to feel the heat

Synchronize our soul

Baby that's how we roll

I'm going to show you

How I do it

Do you want to see how it works?

???????

Is all I need to synchronize

The rest of the studio

You can see the signal flow

Never thought it could be

You being sync(ed) with me

Plug me in baby

My five pin DIN's going crazy

Plug me in baby

Gonna plug in to feed

Gonna get the sync I need

24 ticks tonight

Is all I need to do it right

24 ticks per beat

Is all I need to feel the heat

Synchronize our soul

Baby that's how we roll

Plug me in baby

My five pin DIN's going crazy

Plug me in baby

Gonna plug in to feed

Going to get the sync I need

--

The fourth line in the second verse is a tricky one. I've played it dozens of times, but all the words I keep hearing don't make a whole lot of sense in context of the verse.

Thanks to hautlle and retape.

nice

Plug Me In

[from the second verse]

I'm going to show you

How I do it

Do you want to see how it works?

A special flowering device

Is all I need to synchronize

The rest of the studio

You can see the signal flow

Never thought it could be

You being synced with me

... ... ...

[the last line of the last chorus sounds more like]

Now I've got the sync I need

--

Please, if you hear a better interpretation of any part of the song, I want to hear it.