The Tower, Momentum, and Gravity

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Reileen
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The Tower, Momentum, and Gravity

Postby Reileen » Fri Nov 26, 2010 10:49 pm

I don't know if this was ever noticed elsewhere on this board, but while practicing the sheet music for "The Tower" (finally getting around to really learning it, lol), it occurred to me that the first three songs off Waking Hour kind of accidentally(?) constitute a complete storyline in a way.

THE TOWER - Speaker/song subject is "coming apart" under the weight of the "services she renders to those who come knocking", and she's looking for "the one who can change/save me".

MOMENTUM - Speaker actually DOES find someone, and after some tentative waffling around, the speaker finally gets together with that person.

GRAVITY - Is a song about the tumultuous relationship between the speaker and their beloved someone, ending with...acceptance(?) of the situation.
"You've made us swear our souls to you
And blamed us for your poisoned grace."


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http://www.voxgraphicastudio.com

tanthalas
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Postby tanthalas » Sat Nov 27, 2010 10:57 am

then they have a daughter, which for awhile is the third one between who consumes both their attention... the couple then has to split up for a little while as one goes off to somewhere far away. during this time, an uncle in the family passes away, wrapping life in the brilliance of death to humble them all. after a few seasons of dried up hopes for the one who was left behind, the one who went off returns with the earth of a hundred nations in his feet, barely recognizable. but the couple, reunited, realizes that their love for each other is enough to go by, so they forgive each other, having each seen how the other lives. and together, they work to face some of the larger problems of the world and its people, and together they raise their daughter as well, singing her lullabyes on stormy nights. then, a decade and one later...

(i know i skipped unwritten letter #1, but it just wouldn't quite fit, unless you talk about the daughter growing up and having a crush on someone.

it's also 2am, so i'm not really thinking very straight as i write all of this...)

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Postby Reileen » Sat Nov 27, 2010 11:45 am

tanthalas wrote:(i know i skipped unwritten letter #1, but it just wouldn't quite fit, unless you talk about the daughter growing up and having a crush on someone.

Well, if the couple splits up after Between and get back together again after Enough to Go By, then you could interpret Unwritten Letter #1 as a retrospective/reflection on a crush or infatuation that occurred in the interval between Between and Enough to Go By. The speaker knows that they can be "only your friend", because by Enough to Go By, their other half has returned. So now the speaker is just reflecting on a dizzying infatuation and perhaps making fun of themselves a little bit for it, but in the end it's a secret they'll take with them to their grave. And then, with Eric's Song, the couple's love for each other is rediscovered...
"You've made us swear our souls to you
And blamed us for your poisoned grace."




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http://www.voxgraphicastudio.com

Fred
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Postby Fred » Sun Nov 28, 2010 1:16 am

I can't wait to hear your narrative for Inland Territory. :wink:
Ain't praying for miracles, I'm just down on my knees
Listening for the song behind everything I think I know
And everything I think I know is just static on the radio.

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Postby aaparallel » Sun Nov 28, 2010 3:13 am

Fred wrote:I can't wait to hear your narrative for Inland Territory. :wink:


Oh, Inland Territory's about an old person (The Last Snowfall) who starts remembering and regretting the mistakes she made in the past (White Light) including a relationship that evaporated (Antebellum) and moving on after that (Kansas). Then the person gets all philosophical and starts reflecting on past lives (In Another Life) and what she could have been if Grandma had her way (G'ma Song). More regret about not taking in a new love (Stray Italian Greyhound). Some reflection about lost and found faith (Augustine) and hallucination about the end of the world (No Gringo, Watershed - which could also be just what's happening outside of her mind - and Radio). Then a final dream/flashback/hallucination about finding her lover again (St. Stephen's Cross).

If any of you have seen Wild Strawberries (brilliant little film), this would make total sense. Basically, Inland Territory is an old person's dreams, memories, and hallucinations dancing around in the person's head... :lol:
"Drowning my pain in lemonade. . . Singing along to 'feelin' alright'"

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Postby Reileen » Thu Dec 30, 2010 7:05 am

In honor of the WS sheet music being released, I figured I might as well try my hand at interpreting the album's songs into a coherent storyline. ;)

FEATHER MOON is someone's meditation to calm and compose themselves before they see a loved one off in HARBOR. Said loved one is the narrator of HOPE ON FIRE, having left home inspired to actively make a difference in the world and hoping she can get others in on it. SHINE is like if the narrator's aspirations towards revolutionizing the world had matured a bit from her firebrand days, perhaps refined by revelations gained as a result of living in a place like MISSION STREET. Then the narrator hits a super dark time in her life in MY MEDEA, to the point where she decides she needs to kill her unborn child. Then here we get into some familiar territory: SHASTA is the narrator traveling to get an abortion but deciding not to after talking to the nice Christian lady outside of the clinic, HOMECOMING is the from the narrator's boyfriend's POV, and ANNA ROSE is the child that the narrator (Carrie) has. PASSAGE is sung from the POV of an older (deceased) Anna Rose (I know, depressing, right?), and THE ATHEIST CHRISTMAS CAROL is sort of a multi-generational song, encompassing the narrator of FEATHER MOON/HARBOR, Carrie, and Anna Rose, along with all of their loved ones. GREEN ISLAND SERENADE, however, kind of casts a shadow on the feel-good holiday atmosphere, because it's about Carrie suddenly finding herself still grieving the loss of Anna Rose, even after all this time. Perhaps it even happens during THE ATHEIST CHRISTMAS CAROL, but Carrie just didn't want to let her feelings overshadow the joyous celebration, so instead the song is a hidden track on the album, kind of a postscript.

:shock: :lol: :wink:
"You've made us swear our souls to you
And blamed us for your poisoned grace."




Reileen van Kaile

http://www.voxgraphicastudio.com

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Re: The Tower, Momentum, and Gravity

Postby Reileen » Mon Jun 10, 2013 9:15 pm

Apparently I never came back to do this exercise for DTTN! So I've returned to complete the set -- at least until the new album comes out. :wink: This one's a little tricky: I decided to structure it as a set of three vignettes regarding the evolution and travails of romantic love. Also, I know this forum isn't as active as it used to be, but I figured I'd post this here anyway for completeness' sake.

VIGNETTE #1:
BLUE CARAVAN is a compressed description of the protagonist's first relationship, one that was all in her head due to her extreme loneliness. She settles with someone in WHATEVER YOU WANT, but her husband is a workaholic who is never home (possibly because he's also involved in something shady). Frustrated, she leaves the marriage in a blaze of glory, and eventually finds someone else. However, LOVE TURNS 40 sees her unhappy in her second marriage, with a possible cause for it is hinted at right in the first stanza: "The myth is not supposed to retire, we'd rather it lit itself on fire, or overdosed in a 4-star hotel." Could it be that she continually holds unrealistic expectations about love (as she did in BLUE CARAVAN)?

VIGNETTE #2:
I DON'T FEEL SO WELL is our second protagonist's breakup song to her husband-to-be right at the altar. She claims that it's because she "doesn't feel so well," but the truth of the matter is perhaps explained in CITY HALL, where she marries a lovely woman instead. (With her previous fiance being completely unsurprised by the news of his ex being a lesbian.) Not all is sugar and roses, though. This protagonist also harbors a dramatic streak, waxing lyrical about her apparent loneliness in NOTHING WITHOUT YOU despite being married to someone she loves. Her wife finds out, and storms off cross-continent in a fit of hurt anger, or maybe the confrontation occurs just before the wife is leaving on a business trip or something. Desperate not to lose something good, the protagonist tries to make amends in TRANSCONTINENTAL 1:30AM. It's not clear whether her other half was listening, but whatever the case, "I'm here. I'm here."

VIGNETTE #3:
In 1BR/1BA, our third and final protagonist moves into her new apartment. Exciting, of course, but not without its pitfalls. She settles down enough to find a lover and have a kid with him in NOW THREE, but practically everything good in their life is ripped away with PONTCHARTRAIN. RECESSIONAL as a whole seems to suggest that all they have left are the memories of how they got to that point, yet the first line of the song implies that even in the midst of everything, "it's so beautiful here . . . this moment now, and this moment, now." Recovery will take time; for now, they have to take it moment by moment and cherish whatever is left to them.
"You've made us swear our souls to you
And blamed us for your poisoned grace."




Reileen van Kaile

http://www.voxgraphicastudio.com

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Re: The Tower, Momentum, and Gravity

Postby katar » Tue Jun 11, 2013 5:27 pm

How did Galileo discover conservation of linear MOMENTUM and acceleration due to GRAVITY?
By dropping things from a TOWER.

The Waking Hour album is a thinly veiled tribute to 16th century science (Da Vienna Code).
The lover knows much more about absolute good and universal beauty than any logician or theologian, unless the latter, too, be lovers in disguise. --George Santayana


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