Eдин от сериозните потребители в HOME
, който ползва ника Condemned
публикува интересно мнение относно текстовете
в Sounds of the Universe
и връзките между тях и стари текстове. Реших, че, може би, ще е интересно да се препубликува това мнение, с което до голяма степен съм съгласен. Ето го и въпросния пост.
Straight-up, this song conjures "The Sweetest Condition"
, right down to the shared "shackled and bound" line. Whereas "Sweetest..." was all about intricate and clever word-play, "In Chains" is much more straightforward and simplistic (obvious "yearning/burning" rhymes), yet arguably much more powerful. As well, the fatalistic mood of "In Chains" suggests the 1998 b-side, "Surrender"
, with the attitude that Martin's devotion is out of his hands, uncontrollable ("Shackled like an animal / Chained to my desires"). So, while readily comparable to elements of his past work, I think "In Chains" works well on its own merits... though Mart's taken this theme about as far as it can go, I think...Hole to Feed
If Martin has 3 topics his songs tend to focus on, Dave may have only 2. In the same vein as PTA's "I Want It All"
(and countless solo efforts such as "Dirty Sticky Floors"), Dave loves to talk about his addictive tendencies as often as he's allowed to, whether it be during interviews or in song. Though "IWIA" is much more self-centered, "Hole to Feed" attempts to at least somewhat look outward rather than being all about Dave again (lots of "we" references rather than "me"), as the "hole" (desire) always needs satiating regardless of what the addict attempts to feed it with. Kudos to Dave for at least putting a new spin on the tired topic, though I think the verses seem to have little to do with the chorus and that ultimately damages the theme Dave seemed to be going for.Wrong
To me, this song is a throwback lyrically to the Ultra era, where Martin's main obsession was with fate, destiny, and the cruel nature of life as seen through that kind of prism. Directly, I get a strong "Barrel of a Gun"
vibe (which is awesome) from "Wrong", as both songs deal with the frustration of feeling that the world is against you, you can never do right, that luck or fate is set upon keeping you down. "Barrel of a Gun" seems to focus more on Martin's feeling of never living up to expectations ("whatever you've planned for me / I'm not the one"), whereas "Wrong" takes a more cosmic view of always being wrong no matter what the decision ("I was in the wrong place / At the wrong time"). Either way, both seem to be explorations of the same general theme of Martin fighting his apparent fate.
This one struck me instantly as a cross between "I Am You"
and "Damaged People"
... kind of the "we're fucked up people that somehow found each other but we don't understand how or why" genre. Rather than go tit-for-tat line by line from each song, just a quick listing of similar lines draws the parallels well enough:
(FT: "There's a strange obsession / That's drawing us nearer / We don't understand it / It never gets clearer")
(DP: "We're damaged people / Drawn together / By subtleties that we are not aware of")
(IAY: "Strange compulsions that I can't control", "Dark obsession in the name of love")
More concretely, I would say that "Fragile Tension" is a more realistic, mature approach to the topic of love/relationships than the fatalistic devotion of IAY (perhaps a realization that came via divorce). When IAY talks about being destined to be together ("No excuses to give / I'm the one you're with / We've no alternative"), FT counters with "It may not last forever / But oh, when it's flowing". Because of that difference, though it's the same general subject matter, I definitely think FT stands well on its own and represents a new spin on the theme.
Really hard to find a precedent or comparison for this little song...! That's great. About all I could think of was that it carries the mysticism of "Macro"
or "When the Body Speaks"
with the arrogance of "Judas"
, though it has a distinct tongue-in-cheek element that sets it apart. A very interesting piece about a seemingly insignificant human life leaving a legacy...In Sympathy
As many have pointed out, this song seems to be an interesting spin on the old "A Question of Time"
format - except in this case the subject (a woman - Mart's gf, ex, or daughter?) is more than prey - she's actually smarter than the guys falling all over her...and ends up alone in the end. Another song that draws favorable comparisons is "Little 15"
, as a world-wise (and frustrated) woman may just be the object of affection there too. On another level, "Sister of Night"
is in the same ballpark, except the woman subject in that piece seems to long for the attention rather than deflect it.Peace
Naturally, the first logical comparison is to album-mate "Little Soul"
, as Martin has been saying that he wrote the two pieces back-to-back. They both have a strong mystical nature that can be interpreted as arrogant or tongue-in-cheek. Personally, I feel that Martin writes intentionally in a way that leaves ambiguity... so it can and is either way you want to think it is. However, with such earnest lines as "Giving all the positivity that I possess", I think it leans to the sincere side rather than the comical.Come Back
Dave has a less extensive back catalogue, so you have to look at his solo work... and I'll confess I'm no expert on DG solo stuff. The parallel that I noticed is that "Come Back" has the simplistic longing nature of "Stay"
, in that it pines for closeness with a loved one. Not really anything deeper than that, is there?Perfect
Another idea that I strained to find an existing history for...this longing for things to be different. Certain lines seem personal ("
In another lonely universe / We're laying side by side"), and then another line will seem universal ("There are never any conflicts / There are never any fights"). The closest I can compare is Martin's distant past, including such universal odes to a better world like "People Are People"
and "And Then..."
. Also, "Policy of Truth"
's hindsight and knowledge ("Things could be so different now / It used to be so civilised / You will always wonder how / It could have been if you'd only lied") have a parallel in "Perfect" ("And everything could have been perfect / Everything in the right place"). Again, Martin finding a new spin for some old topics.Miles Away / The Truth Is
Sigh. This is a scattershot piece that has no clear vision lyrically... the chorus is about someone not really being "there", being "miles away" mentally while still being there physically ("withdrawn but alive"). So, one is apt to think Dave is talking about someone he's close to, feeling distant from someone he wants a relationship with...then he tosses in lines such as "Excuse me for my hestitation, I've met you before / Your face seems so familiar..." and leaves the listener thinking "WTF?". Anyway, the song reminds me of "Suffer Well"
in that regard ("Something's changed and it's in your eyes / Please don't speak you'll only lie").Jezebel
Along with Wrong, my favorite off the album... But anyway... There's some strong comparisons to past work here.... the dangerous woman running amok, but Martin allowing her to and desiring that aspect of her... not wanting her to change her games. In that, I see "The Darkest Star"
here ("I don't want you to change anything you do / I don't want you to be someone else for me"). As well, with the feminine subject seeming to intentionally draw attention ("They call you Jezebel, for what you like to wear") is reminiscent of "Sister of Night"
("Sister of night / In your saddest dress / As you walk through the light / You're desperate to impress"). Finally, the power games that Jezebel uses call to mind "Blue Dress"
Another arrogant tune, in the mold of "The Dead of Night"
(though executed much better), featuring the sexuality of "World in My Eyes"
(and the hips/lips rhyme from "Happiest Girl"
). From TDON: "When delirious fun has seriously begun / You'll be down on your knees / You'll be begging us please") vs. Corrupt's "You'd be calling out my name". Is the sexual confidence in the song perhaps aimed at overzealous groupies?
Interestingly too, this could be a twist on "Lilian"
with Mart writing as Lilian from a male perspective... this time the guy that plays games and breaks hearts.
Overall, while comparisons can be drawn to prior work, I personally don't feel it detracts much (if at all) from SotU as a fresh piece of work. Though familiar DM and Martin themes run throughout, there's enough spin and differing perspectives to hold the interest of us diehard fans who know the entire catalogue by heart! That's a pretty special feat for a band 29 years on...