BipTunia

“Too Many Notes for the Royal Ear” – fast hardcore synth punk from BipTunia

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LYRICS:
I second that.
We always have a poem in progress. Yeah…It was nice.
I always picture the little skinny guy at the door handing out feathers.
Sinnin’. (laughs).
Vomitoriums, that was pretty cool, hygiene was terrible but…

They don’t know how to show up, so…
They don’t know how to show up, so…

I thought it was interesting that one of the
strategies a teacher suggested was
for students to hold their textbooks up in front of their faces.

There was blood smeared all the way down the hall, right?
So somebody got stabbed in the park during the night
and all I can imagine is the guy or whoever was
pounding on people’s doors to get some help
but nobody helped him

It was like, Biblically wrong to him somehow
that I tasted his blood.

…out of state,
usually they’re drug mules
They’re lookin’ at federal time, most of ’em.
The amount of drug-related offenses here
I would say it’s probably 75% of the total jail.

…can be paying for places like Massachusetts
to be warehousing the prisoners here

Nice catch!
you said “We….I mean the state of Maine…”

That language is important though.
You know, when people say “We…” like
“Oh, WE need to pull our troops back from Syria.”
Well, yea, they need to be pulled back,
but they’re not our troops.

And a lot of people in society have this collectivist attitude
way back in public school like the turn of the century
like punishing the whole class for something one kid did

That’s how people feel about society
and they train you say things like that,
to use language, and it’s so
effortless to so many people.

And you think about the people that enable them.
The whole thing that was going through my mind was
“Where’s the authentic feedback?”

If everyone just gotten up and walked
out of the coliseum after he wrecked his chariot the first time
and laughed at him and threw their tickets up in the air
in disgust,
the outcome coulda been totally different.


NOTES:
This chord progression is the chords from “The Last Shaman” played backwards, then altered, by raising the middle note or notes in the chord by two semi-tones.

Most people would never recognize this song as related to that song in any way. I wanted to try that as an experiment, and I’m happy with the results.

The words are pulled out of context from two different Freedom Feens radio episodes that Phil Wormuth and I did.

–Michael W. Dean


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