segment_id string | segment_index int64 | song_id string | track_number int64 | track_description string | track_group string | track_player string | source_audio_file string | segment_audio_file string | midi_file string | start_seconds float64 | end_seconds float64 | duration_seconds float64 | has_audio bool | has_midi bool | lyric_text string | structure_section string | segment_type string | original_start_seconds float64 | original_end_seconds float64 | has_structure_adjustments bool | structure_adjustments string | is_sub_segment bool | sub_segment_info string | lrc_line_number float64 | lyric_char_count uint32 | lyric_word_count uint32 | start_adjustment_seconds float64 | end_adjustment_seconds float64 | content_type string | manifest_track_key string | bpm int64 | tempo_numerator float64 | tempo_denominator float64 | key_signature_note string | key_signature_mode string | rainbow_color string | rainbow_color_temporal_mode string | rainbow_color_objectional_mode string | rainbow_color_ontological_mode string | transmigrational_mode string | title string | release_date string | total_running_time string | vocals bool | lyrics bool | lrc_lyrics string | sounds_like string | mood string | genres string | lrc_file string | concept string | training_data dict | song_structure string | midi_group_file string |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
02_01_seg_0023_track_07 | 22 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0023_track_07.wav | null | 123.256 | 142.105 | 18.849 | true | false | from being so close up | Interlude 1 | combined | 123.256 | 142.105 | true | End aligned to Interlude 1 boundary at 142.105s | false | null | 49 | 22 | 5 | 0 | 0 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0023_track_09 | 22 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0023_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 123.256 | 142.105 | 18.849 | false | true | from being so close up | Interlude 1 | combined | 123.256 | 142.105 | true | End aligned to Interlude 1 boundary at 142.105s | false | null | 49 | 22 | 5 | 0 | 0 | midi_only | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_01 | 23 | 02_01 | 1 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_01.wav | null | 142.105 | 146.112 | 4.007 | true | false | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_only | 02_01_1 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_02 | 23 | 02_01 | 2 | Bass synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_02.wav | null | 142.105 | 146.112 | 4.007 | true | false | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_only | 02_01_2 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_03 | 23 | 02_01 | 3 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.mid | 142.105 | 146.112 | 4.007 | true | true | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_midi | 02_01_3 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | 02_01_04.mid |
02_01_seg_0024_track_04 | 23 | 02_01 | 4 | Electric guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_04.wav | null | 142.105 | 146.112 | 4.007 | true | false | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_only | 02_01_4 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_06 | 23 | 02_01 | 6 | Arpeggiated synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_06.wav | null | 142.105 | 146.112 | 4.007 | true | false | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_only | 02_01_6 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_07 | 23 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_07.wav | null | 142.105 | 146.112 | 4.007 | true | false | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_08 | 23 | 02_01 | 8 | Doubled vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_08.wav | null | 142.105 | 146.112 | 4.007 | true | false | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_only | 02_01_8 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0024_track_09 | 23 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0024_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 142.105 | 146.112 | 4.007 | true | true | I've been watching | Verse 2 - Bridging | combined | 142.105 | 146.112 | true | Start aligned to Interlude 1 boundary at 142.105s | false | null | 51 | 18 | 3 | 0 | 0 | audio_midi | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0025_track_01 | 24 | 02_01 | 1 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_01.wav | null | 146.112 | 150.042 | 3.93 | true | false | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_only | 02_01_1 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0025_track_02 | 24 | 02_01 | 2 | Bass synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_02.wav | null | 146.112 | 150.042 | 3.93 | true | false | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_only | 02_01_2 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0025_track_03 | 24 | 02_01 | 3 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.mid | 146.112 | 150.042 | 3.93 | true | true | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_midi | 02_01_3 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | 02_01_04.mid | |
02_01_seg_0025_track_04 | 24 | 02_01 | 4 | Electric guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_04.wav | null | 146.112 | 150.042 | 3.93 | true | false | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_only | 02_01_4 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0025_track_06 | 24 | 02_01 | 6 | Arpeggiated synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_06.wav | null | 146.112 | 150.042 | 3.93 | true | false | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_only | 02_01_6 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0025_track_07 | 24 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_07.wav | null | 146.112 | 150.042 | 3.93 | true | false | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0025_track_08 | 24 | 02_01 | 8 | Doubled vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_08.wav | null | 146.112 | 150.042 | 3.93 | true | false | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_only | 02_01_8 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0025_track_09 | 24 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0025_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 146.112 | 150.042 | 3.93 | true | true | I've been checking | Verse 2 - Bridging | combined | 146.112 | 150.042 | false | false | null | 53 | 18 | 3 | 0 | 0 | audio_midi | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_01 | 25 | 02_01 | 1 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_01.wav | null | 150.042 | 153.235 | 3.193 | true | false | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_only | 02_01_1 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_02 | 25 | 02_01 | 2 | Bass synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_02.wav | null | 150.042 | 153.235 | 3.193 | true | false | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_only | 02_01_2 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_03 | 25 | 02_01 | 3 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.mid | 150.042 | 153.235 | 3.193 | true | true | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_midi | 02_01_3 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | 02_01_04.mid | |
02_01_seg_0026_track_04 | 25 | 02_01 | 4 | Electric guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_04.wav | null | 150.042 | 153.235 | 3.193 | true | false | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_only | 02_01_4 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_06 | 25 | 02_01 | 6 | Arpeggiated synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_06.wav | null | 150.042 | 153.235 | 3.193 | true | false | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_only | 02_01_6 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_07 | 25 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_07.wav | null | 150.042 | 153.235 | 3.193 | true | false | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_08 | 25 | 02_01 | 8 | Doubled vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_08.wav | null | 150.042 | 153.235 | 3.193 | true | false | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_only | 02_01_8 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0026_track_09 | 25 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0026_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 150.042 | 153.235 | 3.193 | true | true | I've tried to tell you | Verse 2 - Bridging | combined | 150.042 | 153.235 | false | false | null | 55 | 22 | 5 | 0 | 0 | audio_midi | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_01 | 26 | 02_01 | 1 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_01.wav | null | 153.235 | 157.176 | 3.941 | true | false | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_only | 02_01_1 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_02 | 26 | 02_01 | 2 | Bass synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_02.wav | null | 153.235 | 157.176 | 3.941 | true | false | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_only | 02_01_2 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_03 | 26 | 02_01 | 3 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.mid | 153.235 | 157.176 | 3.941 | true | true | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_midi | 02_01_3 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | 02_01_04.mid | |
02_01_seg_0027_track_04 | 26 | 02_01 | 4 | Electric guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_04.wav | null | 153.235 | 157.176 | 3.941 | true | false | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_only | 02_01_4 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_06 | 26 | 02_01 | 6 | Arpeggiated synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_06.wav | null | 153.235 | 157.176 | 3.941 | true | false | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_only | 02_01_6 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_07 | 26 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_07.wav | null | 153.235 | 157.176 | 3.941 | true | false | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_08 | 26 | 02_01 | 8 | Doubled vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_08.wav | null | 153.235 | 157.176 | 3.941 | true | false | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_only | 02_01_8 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0027_track_09 | 26 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0027_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 153.235 | 157.176 | 3.941 | true | true | that something was lacking | Verse 2 - Bridging | combined | 153.235 | 157.176 | false | false | null | 57 | 26 | 4 | 0 | 0 | audio_midi | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_01 | 27 | 02_01 | 1 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_01.wav | null | 157.176 | 161.045 | 3.869 | true | false | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_only | 02_01_1 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_02 | 27 | 02_01 | 2 | Bass synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_02.wav | null | 157.176 | 161.045 | 3.869 | true | false | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_only | 02_01_2 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_03 | 27 | 02_01 | 3 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.mid | 157.176 | 161.045 | 3.869 | true | true | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_midi | 02_01_3 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | 02_01_04.mid | |
02_01_seg_0028_track_04 | 27 | 02_01 | 4 | Electric guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_04.wav | null | 157.176 | 161.045 | 3.869 | true | false | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_only | 02_01_4 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_06 | 27 | 02_01 | 6 | Arpeggiated synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_06.wav | null | 157.176 | 161.045 | 3.869 | true | false | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_only | 02_01_6 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_07 | 27 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_07.wav | null | 157.176 | 161.045 | 3.869 | true | false | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_08 | 27 | 02_01 | 8 | Doubled vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_08.wav | null | 157.176 | 161.045 | 3.869 | true | false | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_only | 02_01_8 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0028_track_09 | 27 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0028_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 157.176 | 161.045 | 3.869 | true | true | Let them come through | Verse 2 - Bridging | combined | 157.176 | 161.045 | false | false | null | 59 | 21 | 4 | 0 | 0 | audio_midi | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null | |
02_01_seg_0029_track_01 | 28 | 02_01 | 1 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_01.wav | null | 161.045 | 164.25 | 3.205 | true | false | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_only | 02_01_1 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0029_track_02 | 28 | 02_01 | 2 | Bass synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_02.wav | null | 161.045 | 164.25 | 3.205 | true | false | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_only | 02_01_2 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0029_track_03 | 28 | 02_01 | 3 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_04.mid | 161.045 | 164.25 | 3.205 | true | true | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_midi | 02_01_3 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | 02_01_04.mid |
02_01_seg_0029_track_04 | 28 | 02_01 | 4 | Electric guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_04.wav | null | 161.045 | 164.25 | 3.205 | true | false | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_only | 02_01_4 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0029_track_06 | 28 | 02_01 | 6 | Arpeggiated synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_06.wav | null | 161.045 | 164.25 | 3.205 | true | false | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_only | 02_01_6 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0029_track_07 | 28 | 02_01 | 7 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_07.wav | null | 161.045 | 164.25 | 3.205 | true | false | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_only | 02_01_7 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_01_seg_0029_track_09 | 28 | 02_01 | 9 | Vocoder vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_01/02_01_seg_0029_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_01/02_01_10.mid | 161.045 | 164.25 | 3.205 | true | true | Let them come through | Verse 2 - Bridging | combined | 161.045 | 164.045 | true | End aligned to Verse 2 - Bridging boundary at 164.250s | false | null | 61 | 21 | 4 | 0 | 0.205 | audio_midi | 02_01_9 | 128 | 4 | 4 | C | minor | Red | Past | Thing | Known | null | A Doorbell for Finite Beings | 2019-01-11T00:00:00 | [03:46.193] | true | true | Block the left side from the right side by lifting the door Usher the cold, usher the heat don't even the score Was that your doorman I passed down the block? Can you text him I'm coming? Leave the keys in the box Or maybe tomorrow I've lost track of time It won't take too long sorting your stuff from mine Block the right side from the left side, don't let them through Usher the heat usher the cold oh we're gonna split them in two Found an old photo while I was cleaning up it's still flowing from where you spilled the cup Miscalculations from being so close up I've been watching I've been checking I've tried to tell you that something was lacking Let them come through Let them come through | Neu!, discogs_id: 12636, Gary Numan, discogs_id: 12588, Steely Dan, discogs_id: 160906 | mysterious, raygun sci-fi, ethereal, space age, otherworldly, unsettling, mad scientist, hypnotic | Experimental, Psychedelic, Art Rock, Electronic, Analog Synth, Krautrock | 02_01.lrc | The first song on Light Reading which is an imaginary reading list comes from a book on entropy. In the song maxwell's demon and a doorman at a couple's apartment overlap in their duties. The boyfriend is trying to separate this belongings and feelings from his girlfriend. Like heat and cold in the Maxwell's demon thought experiment - but like the demon and his doorbell - there's just no way to separate them. The song is a metaphor for the futility of trying to control memories and feelings, and the inevitability of entropy in relationships. | {
"album_sequence": 2,
"avg_word_length": 4.768421052631579,
"boundary_fluidity_score": 0,
"concept_length": 547,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.21052631578947367,
"ontological_uncertainty": 0.21052631578947367,
"question_marks": 0,
"rebracketing_coverage": 0.05263157894736842,
"rebracketing_intensity": 10.526315789473683,
"rebracketing_type": "spatial",
"sentence_count": 5,
"temporal_complexity_score": 0.21052631578947367,
"track_duration": 226.193,
"track_id": "02_01",
"track_position": 1,
"uncertainty_level": 0,
"word_count": 95
} | Opening : Arpeggiated synths and strange effects, no drums or vocals, [00:00.000]-[00:22.142] | Opening Build : A bass is added, the mood becomes more ominous, [00:22.143]-[00:37.137] | Chorus 1 Intro : Drums are added to the driving bass it's dizzying and unsettling., [00:37.138]-[00:44.285] | Chorus 1 : The vocals begin, they are hushed, strained and doubled by a vocoder., [00:44.286]-[00:59.281] | Verse 1 : The vocals are no more projected and the track is grooving along., [00:59.282]-[01:29.272] | Chorus 2 : Back to the chorus in full swing., [01:29.273]-[01:44.266] | Interlude 1 : The synths are cranked up and sound like they are ripping the speakers up., [01:44.267]-[02:22.105] | Verse 2 - Bridging : The vocals continue and peak with energy before going into heavy vocoder., [02:22.106]-[02:44.250] | Jams 1 : Some motorik type jamming with the arpeggiated synths and a galloping bass., [02:44.251]-[03:07.093] | Jams 2 : A cruising speed has been reached and music becomes more hypnotic., [03:07.094]-[03:22.087] | Outro : The jam becomes more minor and the drums drop out leaving an arpeggiated synth trailing off., [03:22.088]-[03:46.193] | null |
02_02_seg_0001_track_01 | 0 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0001_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 27.106 | 33.24 | 6.134 | true | true | It's not too loud, it's merely deafening, | Verse 1 | combined | 27.213 | 33.24 | true | Start aligned to Verse 1 boundary at 27.106s | false | null | 5 | 41 | 7 | -0.107 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0001_track_06 | 0 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0001_track_06.wav | null | 27.106 | 33.24 | 6.134 | true | false | It's not too loud, it's merely deafening, | Verse 1 | combined | 27.213 | 33.24 | true | Start aligned to Verse 1 boundary at 27.106s | false | null | 5 | 41 | 7 | -0.107 | 0 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0001_track_07 | 0 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0001_track_07.wav | null | 27.106 | 33.24 | 6.134 | true | false | It's not too loud, it's merely deafening, | Verse 1 | combined | 27.213 | 33.24 | true | Start aligned to Verse 1 boundary at 27.106s | false | null | 5 | 41 | 7 | -0.107 | 0 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0001_track_08 | 0 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0001_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 27.106 | 33.24 | 6.134 | true | true | It's not too loud, it's merely deafening, | Verse 1 | combined | 27.213 | 33.24 | true | Start aligned to Verse 1 boundary at 27.106s | false | null | 5 | 41 | 7 | -0.107 | 0 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0001_track_09 | 0 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0001_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 27.106 | 33.24 | 6.134 | true | true | It's not too loud, it's merely deafening, | Verse 1 | combined | 27.213 | 33.24 | true | Start aligned to Verse 1 boundary at 27.106s | false | null | 5 | 41 | 7 | -0.107 | 0 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0001_track_11 | 0 | 02_02 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_21_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0001_track_11.wav | null | 27.106 | 33.24 | 6.134 | true | false | It's not too loud, it's merely deafening, | Verse 1 | combined | 27.213 | 33.24 | true | Start aligned to Verse 1 boundary at 27.106s | false | null | 5 | 41 | 7 | -0.107 | 0 | audio_only | 02_02_11 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0002_track_01 | 1 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0002_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 33.24 | 41.114 | 7.874 | true | true | the way the straight and narrow fall and send the past trembling | Verse 1 | combined | 33.24 | 41.114 | false | false | null | 7 | 64 | 12 | 0 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0002_track_06 | 1 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0002_track_06.wav | null | 33.24 | 41.114 | 7.874 | true | false | the way the straight and narrow fall and send the past trembling | Verse 1 | combined | 33.24 | 41.114 | false | false | null | 7 | 64 | 12 | 0 | 0 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0002_track_07 | 1 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0002_track_07.wav | null | 33.24 | 41.114 | 7.874 | true | false | the way the straight and narrow fall and send the past trembling | Verse 1 | combined | 33.24 | 41.114 | false | false | null | 7 | 64 | 12 | 0 | 0 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0002_track_08 | 1 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0002_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 33.24 | 41.114 | 7.874 | true | true | the way the straight and narrow fall and send the past trembling | Verse 1 | combined | 33.24 | 41.114 | false | false | null | 7 | 64 | 12 | 0 | 0 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0002_track_09 | 1 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0002_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 33.24 | 41.114 | 7.874 | true | true | the way the straight and narrow fall and send the past trembling | Verse 1 | combined | 33.24 | 41.114 | false | false | null | 7 | 64 | 12 | 0 | 0 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0002_track_11 | 1 | 02_02 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_21_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0002_track_11.wav | null | 33.24 | 41.114 | 7.874 | true | false | the way the straight and narrow fall and send the past trembling | Verse 1 | combined | 33.24 | 41.114 | false | false | null | 7 | 64 | 12 | 0 | 0 | audio_only | 02_02_11 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_01 | 2 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 41.114 | 48.08 | 6.966 | true | true | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_02 | 2 | 02_02 | 2 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_05_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_04_wurlitzer.mid | 41.114 | 48.08 | 6.966 | true | true | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_midi | 02_02_2 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_06 | 2 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_06.wav | null | 41.114 | 48.08 | 6.966 | true | false | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_07 | 2 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_07.wav | null | 41.114 | 48.08 | 6.966 | true | false | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_08 | 2 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 41.114 | 48.08 | 6.966 | true | true | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_09 | 2 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 41.114 | 48.08 | 6.966 | true | true | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0003_track_11 | 2 | 02_02 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_21_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0003_track_11.wav | null | 41.114 | 48.08 | 6.966 | true | false | The frogs, the lobsters they do venerate | Verse 1 | combined | 41.114 | 48.08 | false | false | null | 9 | 40 | 7 | 0 | 0 | audio_only | 02_02_11 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null | |
02_02_seg_0004_track_01 | 3 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 48.08 | 54.213 | 6.133 | true | true | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0004_track_02 | 3 | 02_02 | 2 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_05_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_04_wurlitzer.mid | 48.08 | 54.213 | 6.133 | true | true | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_midi | 02_02_2 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0004_track_06 | 3 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_06.wav | null | 48.08 | 54.213 | 6.133 | true | false | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0004_track_07 | 3 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_07.wav | null | 48.08 | 54.213 | 6.133 | true | false | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0004_track_08 | 3 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 48.08 | 54.213 | 6.133 | true | true | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0004_track_09 | 3 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 48.08 | 54.213 | 6.133 | true | true | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0004_track_11 | 3 | 02_02 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_21_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0004_track_11.wav | null | 48.08 | 54.213 | 6.133 | true | false | they will burn too, no more ash heap for them to renovate | Verse 1 | combined | 48.08 | 54.213 | true | End aligned to Verse 1 boundary at 54.213s | false | null | 11 | 57 | 12 | 0 | 0 | audio_only | 02_02_11 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_01 | 4 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 54.213 | 68.114 | 13.901 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_02 | 4 | 02_02 | 2 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_05_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_04_wurlitzer.mid | 54.213 | 68.114 | 13.901 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_midi | 02_02_2 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_06 | 4 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_06.wav | null | 54.213 | 68.114 | 13.901 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_07 | 4 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_07.wav | null | 54.213 | 68.114 | 13.901 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_08 | 4 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 54.213 | 68.114 | 13.901 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_09 | 4 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 54.213 | 68.114 | 13.901 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_11 | 4 | 02_02 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_21_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_11.wav | null | 54.213 | 68.114 | 13.901 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_only | 02_02_11 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_12 | 4 | 02_02 | 12 | Vocal 2 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_22_vocal_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_12.wav | null | 54.213 | 68.114 | 13.901 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_only | 02_02_12 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0005_track_13 | 4 | 02_02 | 13 | Vocal 3 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_23_vocal_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0005_track_13.wav | null | 54.213 | 68.114 | 13.901 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 1 | combined | 54.213 | 68.114 | true | Start aligned to Verse 1 boundary at 54.213s | false | null | 13 | 102 | 20 | 0 | 0 | audio_only | 02_02_13 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_01 | 5 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 68.114 | 98.114 | 30 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_02 | 5 | 02_02 | 2 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_05_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_04_wurlitzer.mid | 68.114 | 98.114 | 30 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_midi | 02_02_2 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_06 | 5 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_06.wav | null | 68.114 | 98.114 | 30 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_07 | 5 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_07.wav | null | 68.114 | 98.114 | 30 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_08 | 5 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 68.114 | 98.114 | 30 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_09 | 5 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 68.114 | 98.114 | 30 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_11 | 5 | 02_02 | 11 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_21_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_11.wav | null | 68.114 | 98.114 | 30 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_only | 02_02_11 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_12 | 5 | 02_02 | 12 | Vocal 2 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_22_vocal_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_12.wav | null | 68.114 | 98.114 | 30 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_only | 02_02_12 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0006_track_13 | 5 | 02_02 | 13 | Vocal 3 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_23_vocal_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0006_track_13.wav | null | 68.114 | 98.114 | 30 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 1/2 | 15 | 102 | 20 | 0 | -4.099 | audio_only | 02_02_13 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0007_track_01 | 6 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0007_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 96.114 | 102.213 | 6.099 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 2/2 | 15 | 102 | 20 | 28 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0007_track_02 | 6 | 02_02 | 2 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_05_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0007_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_04_wurlitzer.mid | 96.114 | 102.213 | 6.099 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 2/2 | 15 | 102 | 20 | 28 | 0 | audio_midi | 02_02_2 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0007_track_06 | 6 | 02_02 | 6 | Rhythm Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_13_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0007_track_06.wav | null | 96.114 | 102.213 | 6.099 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 2/2 | 15 | 102 | 20 | 28 | 0 | audio_only | 02_02_6 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0007_track_07 | 6 | 02_02 | 7 | Baritone | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_14_baritone.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0007_track_07.wav | null | 96.114 | 102.213 | 6.099 | true | false | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 2/2 | 15 | 102 | 20 | 28 | 0 | audio_only | 02_02_7 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0007_track_08 | 6 | 02_02 | 8 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_16_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0007_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_15_synth_bass.mid | 96.114 | 102.213 | 6.099 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 2/2 | 15 | 102 | 20 | 28 | 0 | audio_midi | 02_02_8 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0007_track_09 | 6 | 02_02 | 9 | Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_19_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0007_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_18_drums.mid | 96.114 | 102.213 | 6.099 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Bridge Jamz | combined | 68.114 | 102.213 | true | End aligned to Bridge Jamz boundary at 102.213s | true | 2/2 | 15 | 102 | 20 | 28 | 0 | audio_midi | 02_02_9 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
02_02_seg_0008_track_01 | 7 | 02_02 | 1 | Arp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_03_arp.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/02_02/02_02_seg_0008_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/02_02/02_02_02_arp.mid | 102.213 | 116.087 | 13.874 | true | true | Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. | Chorus 2 | combined | 102.213 | 116.087 | true | Start aligned to Bridge Jamz boundary at 102.213s | false | null | 17 | 102 | 20 | 0 | 0 | audio_midi | 02_02_1 | 140 | 4 | 4 | F | minor | Red | Past | Thing | Known | null | Underrepresented Harmonics | 2019-01-11T00:00:00 | [03:34.071] | true | true | It's not too loud, it's merely deafening, the way the straight and narrow fall and send the past trembling The frogs, the lobsters they do venerate they will burn too, no more ash heap for them to renovate Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. Tall, white columns topple down most every day. I'd like nothing more than to just get out of the way. The barricades are open, sand lies under stone. When you forge the world anew, you're next in line to dethrone. There's poison in the cradles, jet fighters in the lake. So go now and tear up fables, just don't take the bait. | Foo Fighters, discogs_id: 198282, Swervedriver, discogs_id: 159997, Steely Dan, discogs_id: 160906 | liberating, exciting, dreamy, floating, cruising, joyous, skeptical | Alternative Rock, Noise Pop, Post-Rock, Rock | 02_02.lrc | This song was based on a book about Black music the avant-garde - but it pivots to address the, at the time, successful steps BLM was making. Oh well here we are in 2025. | {
"album_sequence": 2,
"avg_word_length": 4.029411764705882,
"boundary_fluidity_score": 0,
"concept_length": 170,
"discrepancy_intensity": 0,
"exclamation_marks": 0,
"has_rebracketing_markers": true,
"memory_discrepancy_severity": 0,
"narrative_complexity": 0.8823529411764707,
"ontological_uncertainty": 0,
"question_marks": 0,
"rebracketing_coverage": 0.013157894736842105,
"rebracketing_intensity": 2.941176470588235,
"rebracketing_type": "spatial",
"sentence_count": 2,
"temporal_complexity_score": 0.8823529411764707,
"track_duration": 214.071,
"track_id": "02_02",
"track_position": 2,
"uncertainty_level": 0,
"word_count": 34
} | Intro : A filtered submix of synths and guitars starts giving a strobing, futuristic vibe to the song. The drums kick in with driving beat., [00:00.000]-[00:27.105] | Verse 1 : The vocals enter with a laid back, dreamy feel., [00:27.106]-[00:54.213] | Chorus 1 : During the chorus the vocals echo through dub-like sends, ricocheting the synths., [00:54.214]-[01:22.071] | Bridge Jamz : A flurry of arps and drums give a space-cruising sound., [01:22.072]-[01:42.213] | Chorus 2 : The vocals return with more intensity and the synths swell up., [01:42.214]-[02:10.071] | Verse 2 : The vocals return this time with more urgency., [02:10.072]-[02:37.176] | Chorus Jamz : There's a guitar line turned up in the mix the struts its stuff, [02:37.177]-[03:03.105] | Outro : All instruments plunge into the mad rush before the song fades., [03:03.106]-[03:34.071] | null |
Subsets and Splits
No community queries yet
The top public SQL queries from the community will appear here once available.