Post by carljungfu on Sept 16, 2019 18:43:54 GMT -5
Track-by-track review, because I ain't know T.S. Eliot:
"Shockwave"-- something like Marc Bolan if he was a bottom to Iggy Pop, while in the other room Bob Dylan was telling Pete Seger off for being too much of the times-- I can see Ray Liota coming for Pesci in this too.
"One of Us"-- 'tis that time in TAKE CARE OF MY CAT when the Korean chick was pretend-sleeping when she senses that her friend was getting up to go on with her day-- friends drifting apart and whatnot. But I get more of a Henry Fonda fucking up people in ONCE UPON A TIME THE WEST and Charles Bronson telling him "Nigga, you're ain't shit-- Get off your high horse and eat shit like the rest of us."
"Once"-- 'tis like John Lennon, coming back, singing to McCartney while McCartney was lecturing Ringo about Brexit and some stupid irrelevant nonsense like that.
"Now That I've Found You"-- the sober, more mature sister to "Found Out About You" by the Gin Blossoms-- it's like telling the bitch I'm ready to get married to you now, if though you've got a shady past and a plethora of faults.
"Halo"-- what the fuck? This shit is that dude in Semisonic, on blow, singing to John Wick 1 where he's trying to console Keanu because Keanum was almost in tears thinking about when his dog was fucked by the Russian guy.
"Why Me? Why Not."-- what the fuck? X2, 'tis like a female black, trans-James Bond getting her fucking brains blown away by the fat psycho from FULL METAL JACKET, and coming to terms with it when she's missed her period for a straight 365 days now.
"Be Still"-- Ray Davies trying to cozy up to Paul Simon and Art Garfunkel under the bridge of troubled waters.
"Alright Now"-- 'tis like Mel Gibson in DRAGGED ACROSS CONCRETE trying to tell the black dude he's got shit to go through to and it ain't just reserved for the black folk-- everybody's got their own cross.
"Meadow"-- Renoir-impressionistic go, but instead of emotionally wound up chicks with parasols, they're Pagan bitches with an axes to grind-- sort of like the wide-faced chick in Tarkovsky's ANDREI RUBLEV when she was going through the Stockholm Syndrome when she was riding with the Tartars.
"The River"-- it's about THE RIVER'S EDGE and how Crispin Glover was playing the Lucifer character and eating their entrails with his tales of rebellion and how innocence was just an illusion-- how he implicates the Original Sin and how we are already victims of our own environment, meaning the world at-large.
"Gone"-- it's about the Lone Ranger and his dog Tonto, or a more culturally relevant in Sancho Panza and Quixote, and how we must all be responsible for our own lives in the end.