sexta-feira, 25 de julho de 2014

Coil - Paint me as a dead soul



'Paint me as a dead soul'
from the album 'The new backwards'
Coil

Lyrics by John Balance:

Paint me as a dead soul 
with a halo of black joy 
Medusa in a mirror 
etched out in acid 
the flesh, the image, the reflection 
One who dwells in scarlet darkness 
like animals in palaces 
drawing blood 

The flesh, the image, the reflection 
let's complete the illusion 

Paint me as you see me 
from memory or history 
In a fever or a frenzy 
Paint your lucid dreams and visions 
in a chamber of nightmares 
in a temple of locusts 
so violent, vile, and vivid 
May the colors make you fearful 
blind and hypnotizing 
in our subterranean heaven 
Paint my cunt with dragonflies 
my eyes as bright as diamonds 
my heart open like an ulcer 
or a sacred crimson rose 
Bathed in blood 
or drowning in my bed 
with the fragrance from the flowers 
in the gardens of the dead 

Paint ghostly foxes, cats and camels 
a red dog and a black dog 
paint a putrid sunset 
in verdigris and violet 
ochre, amber, mauve 

Four monks 
carrying a goat 
over the snows 
to nowhere 
And paint the shades 
that come with evening 
Peacock angels 
dream of leaving 
Paint me as you see me 
paint me as I see me 
Paint me as a Dead Soul




notes about the song
From brainwashed.com:

"Paint Me As a Dead Soul" is the LP's most experimental track, a Nurse With Wound-like concoction of wandering piano and harpsichord melodies, creaks, sputters, hiccups, and Balance reading a dream monlogue suggested by Aleister Crowley's anecdote in his Confessions. It's a haunting and effective track, and a nice respite from the rest of the album, all of which heavily utilizes loops, rhythms and low-end sounds. It doesn't seem to take anything recognizable from the Backwards sessions, but "Princess Margaret's Man in the D'Jamalfina" is a near exact recreation of "Egyptian Basses," with perhaps a little hint of the strings in "Crumb Time" thrown in for good measure. As such, it is simulateously one of the most familiar and uncanny tracks on the album. Familiar because it follows the structure of those earlier sketches closely, and uncanny because it sounds so much more vibrant and new than the old demos, whose muddy, muted sounds I had gotten quite accustomed to. Either way, it's a brilliant track, occupying that weird liminal region that Coil mapped out so well: cryptic jazz, haunted melodies, idiosyncratic sampling and weird, druggy textures. At one point two-thirds of the way through the song, we hear a distorted voice saying "Okay, yeah." Who or what this is, we may never know, but it's little details like this that push The New Backwards over the top for me.

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