From the album New Years Project
Lyrics
Salicylamide overdose – cascading disenchantment
March rolls in like a man – out like a cow
How quickly we forget marriage is a solely financial endeavor
When our freedom is on the line
A heated debate becomes simple sleight-of-hand
My lover: a quota to fill
My drug: an expensive walk down with the apes
My crush: the hazards of hunting big game
Imply that I set aside my pride and die this time
This time I reject your supine generosity
Fake, love-scorned and war torn evolutionary tie
It’s time now –
I did not ride out my Father’s dime to have to do his time
This increasing debt so self-sufficient
Temporary, yet still thankless
I remain imprisoned – trapped
And there’s nothing He can say to make us right
This brings the fight to your doorstep
I’ll ring the bell on your pink slip
An irregular cyclical pattern of points
Set to waste away
On a predetermined path of destruction
Fan this flame more, and stake your caste
Watching the floor, pushing time past
Fan this flame more, and stake your caste – a slave
Holding peers for ransom, bleeding to concede
Are we nothing more than the sum of the last hundred years of war -
Just weak weeding frail?
You’re frail.
Notes
Rug (click to show)
Rug (click to hide)
One of my favorite songs to play from this album . One one hand, you’ve got the Meshuggah rip-off for the main riff, and on the other hand, there’s a bunch of neat little descending chromatic riffs that I swiped from Nothingface – another of my muses when it comes to writing killer riffs. A friend of ours, Mike Lynick, was someone who originally helped us out when starting this song, and almost entirely by accident. We were down in our practice space at the house where Jim and I lived, and he just came over and was hanging out. Axel and I had played him the main riff, and he just kinda sat down at the drums, and instead of doubling the riff with the kick, he ended up just double kicking the whole way through the riff. And that’s when we decided to do both variations – a decision that we have repeated again and again through the history of the band. If we have two or three cool variations on a part, rather than choose one, we just do ALL of them.
A really neat recording moment was when we were tracking the feedback that floats above the bridge between the first and second half of the song. We were over at Sam’s parents house, with Tim and Erik Knudtson, and Erik the mad scientist had rigged all of our amps and one of his (a Soldano, I think) together by having the preamp from one amp feed the power amp of another, back and forth between all of the amps. We had the amps in a big semicircle and there were cables EVERYWHERE. We cranked all of the amps, and I went in there and recorded about 5 different feedback tracks, and Tim was able to mix them all together and make it sound cohesive. On one track I somehow ended up playing a descending feedback “melody” of sorts, and amazingly it ended up sounding in key and like I meant to do it, and that’s the last feedback thing you can hear before the song really switches gear. One of those nice, happy accidents that sounds great.
