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03_01_seg_0025_track_09 | 24 | 03_01 | 9 | CMI Synth | shared_keyboard | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_01/03_01_12_CMI.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_01/03_01_seg_0025_track_09.wav | null | 147.041 | 158.124 | 11.083 | true | false | "finite space and its revolving planets. But to know greater things, and preserve these things, more than in globes" | Outro | combined | 147.041 | 158.124 | false | false | null | 51 | 116 | 19 | 0 | 0 | audio_only | 03_01_9 | 127 | 6 | 8 | C | major | Orange | Past | Thing | Imagined | null | Moonrakers | 2020-06-23T00:00:00 | [02:47.060] | true | true | What it seems may not be where a hidden beam falls on your hair Scrape the waves and shoot the flare Moonlight bathes what wasn't there It wasn't there We knew then the end was soon but time don't bend so rake the moon Years ago I knew none except the glow, a braid undone Kept away, kept for fun You did stay while I did run I did run I knew this road I knew this room well time don't slow so rake the moon "finite space and its revolving planets. But to know greater things, and preserve these things, more than in globes" "or fluid substances, but the hyper-fluid must-ah be preserved in the mind!" | The Space Spectrum, discogs_id: 3623833, Animal Collective, discogs_id: 207958 | otherworldly, intense, frenetic, unsettling, chaotic | Electronic, Experimental, Pop, Rock, Electropop, Noise Pop | 03_01.lrc | The term 'Moonraker' is a colloquialism for the people of Wiltshire and originates from a folk tale about smugglers. There are many communities who lay claim to originating the story but the one we favour is set in Devizes where a group of sixteenth century smugglers were forced to hide their contraband in The Crammer after being surprised by a visit from the excisemen. As a ruse, the smugglers pretended they were attempting to rake a 'cheese' that had rolled into the water. The excisemen, seeing the men were in fact raking the moon's reflection, left the simple country-folk to their labours and rode out of town, unaware that the Wiltshire men were having the last laugh! It is in this spirit that Ruine "misremembers" the past, specifically my early years in rural New Jersey and New York - the past is not forgotten but a memory rebracketed to gain new context and meaning. In such it is an overture to the "orange" album in The Rainbow Table as the word "orange" has evolved phonetically rebracketed and then rebracketed again to blend the object with the color, the map with the territory. In the song we get the first and perhaps most drastic sounds of the 1990s rave and heavy metal scene with the double-kick drum machine pattern. The vocals are ethereal and high-pitched as if trying to rise above the cacophony of sounds. The odd time signatures and shifting tempos are disorienting as if the listener is being taken on a journey through an alien landscape. The "past thing imagined" is of course the smuggler's wheel of cheese. | {
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} | Overture : This cacophony of synth sounds sets the the listener on edge looking for purchase as the odd tempos disorient., [00:00.000]-[00:11.083] | Overture 2 : To the already overwhelming sound a hard panned, synthetic double-kick is added signifying a 1990s style or allusion to heavy metal and rave music., [00:11.084]-[00:28.085] | Verse 1 : The vocal begin they are almost falsetto and ethereal., [00:28.086]-[00:39.171] | Verse 2 : The vocals continue and reach toward higher registers as if riding the bucking odd tempo., [00:39.172]-[00:53.213] | Chorus 1 : The noisy elements calm to make way for the chorus. The last note of the vocals freezes and becomes a droning sustain., [00:53.214]-[01:09.091] | Verse 3 : As we return to the chorus with the overhanging frozen note the synths are less busy but occasionally creep up as if uncontrolled, unwielded., [01:09.092]-[01:09.091] | Verse 4 : The vocals are doubled for emphasis as the verse continues., [01:09.092]-[01:34.240] | Chorus 2 : The chorus builds in intensity, [01:34.241]-[01:44.220] | Outro : Again the last note of the vocals is frozen and the whole wobbly enterprise goes off the rails with samples and synths jumping off the temp grid as the bass line maniacally repeats., [01:44.221]-[02:33.016] | Coda : As the music fades we hear a sample of a man describing some sort of alien, new age experience., [02:33.017]-[02:47.060] | null | |
03_01_seg_0025_track_11 | 24 | 03_01 | 11 | Soft Clavinet | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_01/03_01_15_clav.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_01/03_01_seg_0025_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_01/03_01_14_clav.mid | 147.041 | 158.124 | 11.083 | true | true | "finite space and its revolving planets. But to know greater things, and preserve these things, more than in globes" | Outro | combined | 147.041 | 158.124 | false | false | null | 51 | 116 | 19 | 0 | 0 | audio_midi | 03_01_11 | 127 | 6 | 8 | C | major | Orange | Past | Thing | Imagined | null | Moonrakers | 2020-06-23T00:00:00 | [02:47.060] | true | true | What it seems may not be where a hidden beam falls on your hair Scrape the waves and shoot the flare Moonlight bathes what wasn't there It wasn't there We knew then the end was soon but time don't bend so rake the moon Years ago I knew none except the glow, a braid undone Kept away, kept for fun You did stay while I did run I did run I knew this road I knew this room well time don't slow so rake the moon "finite space and its revolving planets. But to know greater things, and preserve these things, more than in globes" "or fluid substances, but the hyper-fluid must-ah be preserved in the mind!" | The Space Spectrum, discogs_id: 3623833, Animal Collective, discogs_id: 207958 | otherworldly, intense, frenetic, unsettling, chaotic | Electronic, Experimental, Pop, Rock, Electropop, Noise Pop | 03_01.lrc | The term 'Moonraker' is a colloquialism for the people of Wiltshire and originates from a folk tale about smugglers. There are many communities who lay claim to originating the story but the one we favour is set in Devizes where a group of sixteenth century smugglers were forced to hide their contraband in The Crammer after being surprised by a visit from the excisemen. As a ruse, the smugglers pretended they were attempting to rake a 'cheese' that had rolled into the water. The excisemen, seeing the men were in fact raking the moon's reflection, left the simple country-folk to their labours and rode out of town, unaware that the Wiltshire men were having the last laugh! It is in this spirit that Ruine "misremembers" the past, specifically my early years in rural New Jersey and New York - the past is not forgotten but a memory rebracketed to gain new context and meaning. In such it is an overture to the "orange" album in The Rainbow Table as the word "orange" has evolved phonetically rebracketed and then rebracketed again to blend the object with the color, the map with the territory. In the song we get the first and perhaps most drastic sounds of the 1990s rave and heavy metal scene with the double-kick drum machine pattern. The vocals are ethereal and high-pitched as if trying to rise above the cacophony of sounds. The odd time signatures and shifting tempos are disorienting as if the listener is being taken on a journey through an alien landscape. The "past thing imagined" is of course the smuggler's wheel of cheese. | {
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} | Overture : This cacophony of synth sounds sets the the listener on edge looking for purchase as the odd tempos disorient., [00:00.000]-[00:11.083] | Overture 2 : To the already overwhelming sound a hard panned, synthetic double-kick is added signifying a 1990s style or allusion to heavy metal and rave music., [00:11.084]-[00:28.085] | Verse 1 : The vocal begin they are almost falsetto and ethereal., [00:28.086]-[00:39.171] | Verse 2 : The vocals continue and reach toward higher registers as if riding the bucking odd tempo., [00:39.172]-[00:53.213] | Chorus 1 : The noisy elements calm to make way for the chorus. The last note of the vocals freezes and becomes a droning sustain., [00:53.214]-[01:09.091] | Verse 3 : As we return to the chorus with the overhanging frozen note the synths are less busy but occasionally creep up as if uncontrolled, unwielded., [01:09.092]-[01:09.091] | Verse 4 : The vocals are doubled for emphasis as the verse continues., [01:09.092]-[01:34.240] | Chorus 2 : The chorus builds in intensity, [01:34.241]-[01:44.220] | Outro : Again the last note of the vocals is frozen and the whole wobbly enterprise goes off the rails with samples and synths jumping off the temp grid as the bass line maniacally repeats., [01:44.221]-[02:33.016] | Coda : As the music fades we hear a sample of a man describing some sort of alien, new age experience., [02:33.017]-[02:47.060] | null | |
03_01_seg_0026_track_11 | 25 | 03_01 | 11 | Soft Clavinet | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_01/03_01_15_clav.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_01/03_01_seg_0026_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_01/03_01_14_clav.mid | 158.124 | 161.124 | 3 | false | true | "or fluid substances, but the hyper-fluid must-ah be preserved in the mind!" | Coda | combined | 158.124 | 161.124 | false | false | null | 53 | 76 | 12 | 0 | 0 | midi_only | 03_01_11 | 127 | 6 | 8 | C | major | Orange | Past | Thing | Imagined | null | Moonrakers | 2020-06-23T00:00:00 | [02:47.060] | true | true | What it seems may not be where a hidden beam falls on your hair Scrape the waves and shoot the flare Moonlight bathes what wasn't there It wasn't there We knew then the end was soon but time don't bend so rake the moon Years ago I knew none except the glow, a braid undone Kept away, kept for fun You did stay while I did run I did run I knew this road I knew this room well time don't slow so rake the moon "finite space and its revolving planets. But to know greater things, and preserve these things, more than in globes" "or fluid substances, but the hyper-fluid must-ah be preserved in the mind!" | The Space Spectrum, discogs_id: 3623833, Animal Collective, discogs_id: 207958 | otherworldly, intense, frenetic, unsettling, chaotic | Electronic, Experimental, Pop, Rock, Electropop, Noise Pop | 03_01.lrc | The term 'Moonraker' is a colloquialism for the people of Wiltshire and originates from a folk tale about smugglers. There are many communities who lay claim to originating the story but the one we favour is set in Devizes where a group of sixteenth century smugglers were forced to hide their contraband in The Crammer after being surprised by a visit from the excisemen. As a ruse, the smugglers pretended they were attempting to rake a 'cheese' that had rolled into the water. The excisemen, seeing the men were in fact raking the moon's reflection, left the simple country-folk to their labours and rode out of town, unaware that the Wiltshire men were having the last laugh! It is in this spirit that Ruine "misremembers" the past, specifically my early years in rural New Jersey and New York - the past is not forgotten but a memory rebracketed to gain new context and meaning. In such it is an overture to the "orange" album in The Rainbow Table as the word "orange" has evolved phonetically rebracketed and then rebracketed again to blend the object with the color, the map with the territory. In the song we get the first and perhaps most drastic sounds of the 1990s rave and heavy metal scene with the double-kick drum machine pattern. The vocals are ethereal and high-pitched as if trying to rise above the cacophony of sounds. The odd time signatures and shifting tempos are disorienting as if the listener is being taken on a journey through an alien landscape. The "past thing imagined" is of course the smuggler's wheel of cheese. | {
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} | Overture : This cacophony of synth sounds sets the the listener on edge looking for purchase as the odd tempos disorient., [00:00.000]-[00:11.083] | Overture 2 : To the already overwhelming sound a hard panned, synthetic double-kick is added signifying a 1990s style or allusion to heavy metal and rave music., [00:11.084]-[00:28.085] | Verse 1 : The vocal begin they are almost falsetto and ethereal., [00:28.086]-[00:39.171] | Verse 2 : The vocals continue and reach toward higher registers as if riding the bucking odd tempo., [00:39.172]-[00:53.213] | Chorus 1 : The noisy elements calm to make way for the chorus. The last note of the vocals freezes and becomes a droning sustain., [00:53.214]-[01:09.091] | Verse 3 : As we return to the chorus with the overhanging frozen note the synths are less busy but occasionally creep up as if uncontrolled, unwielded., [01:09.092]-[01:09.091] | Verse 4 : The vocals are doubled for emphasis as the verse continues., [01:09.092]-[01:34.240] | Chorus 2 : The chorus builds in intensity, [01:34.241]-[01:44.220] | Outro : Again the last note of the vocals is frozen and the whole wobbly enterprise goes off the rails with samples and synths jumping off the temp grid as the bass line maniacally repeats., [01:44.221]-[02:33.016] | Coda : As the music fades we hear a sample of a man describing some sort of alien, new age experience., [02:33.017]-[02:47.060] | null | |
03_01_seg_0026_track_15 | 25 | 03_01 | 15 | Sample | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_01/03_01_19_sample.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_01/03_01_seg_0026_track_15.wav | null | 158.124 | 161.124 | 3 | true | false | "or fluid substances, but the hyper-fluid must-ah be preserved in the mind!" | Coda | combined | 158.124 | 161.124 | false | false | null | 53 | 76 | 12 | 0 | 0 | audio_only | 03_01_15 | 127 | 6 | 8 | C | major | Orange | Past | Thing | Imagined | null | Moonrakers | 2020-06-23T00:00:00 | [02:47.060] | true | true | What it seems may not be where a hidden beam falls on your hair Scrape the waves and shoot the flare Moonlight bathes what wasn't there It wasn't there We knew then the end was soon but time don't bend so rake the moon Years ago I knew none except the glow, a braid undone Kept away, kept for fun You did stay while I did run I did run I knew this road I knew this room well time don't slow so rake the moon "finite space and its revolving planets. But to know greater things, and preserve these things, more than in globes" "or fluid substances, but the hyper-fluid must-ah be preserved in the mind!" | The Space Spectrum, discogs_id: 3623833, Animal Collective, discogs_id: 207958 | otherworldly, intense, frenetic, unsettling, chaotic | Electronic, Experimental, Pop, Rock, Electropop, Noise Pop | 03_01.lrc | The term 'Moonraker' is a colloquialism for the people of Wiltshire and originates from a folk tale about smugglers. There are many communities who lay claim to originating the story but the one we favour is set in Devizes where a group of sixteenth century smugglers were forced to hide their contraband in The Crammer after being surprised by a visit from the excisemen. As a ruse, the smugglers pretended they were attempting to rake a 'cheese' that had rolled into the water. The excisemen, seeing the men were in fact raking the moon's reflection, left the simple country-folk to their labours and rode out of town, unaware that the Wiltshire men were having the last laugh! It is in this spirit that Ruine "misremembers" the past, specifically my early years in rural New Jersey and New York - the past is not forgotten but a memory rebracketed to gain new context and meaning. In such it is an overture to the "orange" album in The Rainbow Table as the word "orange" has evolved phonetically rebracketed and then rebracketed again to blend the object with the color, the map with the territory. In the song we get the first and perhaps most drastic sounds of the 1990s rave and heavy metal scene with the double-kick drum machine pattern. The vocals are ethereal and high-pitched as if trying to rise above the cacophony of sounds. The odd time signatures and shifting tempos are disorienting as if the listener is being taken on a journey through an alien landscape. The "past thing imagined" is of course the smuggler's wheel of cheese. | {
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} | Overture : This cacophony of synth sounds sets the the listener on edge looking for purchase as the odd tempos disorient., [00:00.000]-[00:11.083] | Overture 2 : To the already overwhelming sound a hard panned, synthetic double-kick is added signifying a 1990s style or allusion to heavy metal and rave music., [00:11.084]-[00:28.085] | Verse 1 : The vocal begin they are almost falsetto and ethereal., [00:28.086]-[00:39.171] | Verse 2 : The vocals continue and reach toward higher registers as if riding the bucking odd tempo., [00:39.172]-[00:53.213] | Chorus 1 : The noisy elements calm to make way for the chorus. The last note of the vocals freezes and becomes a droning sustain., [00:53.214]-[01:09.091] | Verse 3 : As we return to the chorus with the overhanging frozen note the synths are less busy but occasionally creep up as if uncontrolled, unwielded., [01:09.092]-[01:09.091] | Verse 4 : The vocals are doubled for emphasis as the verse continues., [01:09.092]-[01:34.240] | Chorus 2 : The chorus builds in intensity, [01:34.241]-[01:44.220] | Outro : Again the last note of the vocals is frozen and the whole wobbly enterprise goes off the rails with samples and synths jumping off the temp grid as the bass line maniacally repeats., [01:44.221]-[02:33.016] | Coda : As the music fades we hear a sample of a man describing some sort of alien, new age experience., [02:33.017]-[02:47.060] | null | |
03_02_seg_0001_track_01 | 0 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 35.205 | 42.133 | 6.928 | true | true | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_04 | 0 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_04.wav | null | 35.205 | 42.133 | 6.928 | true | false | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_05 | 0 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 35.205 | 42.133 | 6.928 | true | true | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_08 | 0 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_08.wav | null | 35.205 | 42.133 | 6.928 | true | false | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_09 | 0 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_09.wav | null | 35.205 | 42.133 | 6.928 | true | false | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_10 | 0 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_10.wav | null | 35.205 | 42.133 | 6.928 | true | false | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_12 | 0 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_12.wav | null | 35.205 | 42.133 | 6.928 | true | false | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0001_track_14 | 0 | 03_02 | 14 | Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_23_bg_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0001_track_14.wav | null | 35.205 | 42.133 | 6.928 | true | false | Do you mind if I mind if you stop by? | Verse 1 | combined | 37.152 | 42.133 | true | Start aligned to Verse 1 boundary at 35.205s | false | null | 5 | 37 | 10 | -1.947 | 0 | audio_only | 03_02_14 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0002_track_01 | 1 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 42.133 | 47.226 | 5.093 | true | true | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_04 | 1 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_04.wav | null | 42.133 | 47.226 | 5.093 | true | false | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_05 | 1 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 42.133 | 47.226 | 5.093 | true | true | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_08 | 1 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_08.wav | null | 42.133 | 47.226 | 5.093 | true | false | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_09 | 1 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_09.wav | null | 42.133 | 47.226 | 5.093 | true | false | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_10 | 1 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_10.wav | null | 42.133 | 47.226 | 5.093 | true | false | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_12 | 1 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_12.wav | null | 42.133 | 47.226 | 5.093 | true | false | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0002_track_14 | 1 | 03_02 | 14 | Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_23_bg_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0002_track_14.wav | null | 42.133 | 47.226 | 5.093 | true | false | Well, Damn Straight! You're my alibi. | Verse 1 | combined | 42.133 | 47.226 | false | false | null | 7 | 37 | 6 | 0 | 0 | audio_only | 03_02_14 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0003_track_01 | 2 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 47.226 | 51.235 | 4.009 | true | true | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_04 | 2 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_04.wav | null | 47.226 | 51.235 | 4.009 | true | false | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_05 | 2 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 47.226 | 51.235 | 4.009 | true | true | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_08 | 2 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_08.wav | null | 47.226 | 51.235 | 4.009 | true | false | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_09 | 2 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_09.wav | null | 47.226 | 51.235 | 4.009 | true | false | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_10 | 2 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_10.wav | null | 47.226 | 51.235 | 4.009 | true | false | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_12 | 2 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_12.wav | null | 47.226 | 51.235 | 4.009 | true | false | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0003_track_14 | 2 | 03_02 | 14 | Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_23_bg_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0003_track_14.wav | null | 47.226 | 51.235 | 4.009 | true | false | And not for nothing. See if I care. | Verse 1 | combined | 47.226 | 53.077 | true | End aligned to Bridge boundary at 51.235s | false | null | 9 | 35 | 8 | 0 | -1.842 | audio_only | 03_02_14 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_01 | 3 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 51.235 | 60.233 | 8.998 | true | true | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_03 | 3 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 51.235 | 60.233 | 8.998 | true | true | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_04 | 3 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_04.wav | null | 51.235 | 60.233 | 8.998 | true | false | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_05 | 3 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 51.235 | 60.233 | 8.998 | true | true | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_06 | 3 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 51.235 | 60.233 | 8.998 | true | true | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_midi | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_08 | 3 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_08.wav | null | 51.235 | 60.233 | 8.998 | true | false | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_09 | 3 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_09.wav | null | 51.235 | 60.233 | 8.998 | true | false | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_10 | 3 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_10.wav | null | 51.235 | 60.233 | 8.998 | true | false | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_12 | 3 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_12.wav | null | 51.235 | 60.233 | 8.998 | true | false | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0004_track_14 | 3 | 03_02 | 14 | Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_23_bg_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0004_track_14.wav | null | 51.235 | 60.233 | 8.998 | true | false | You this place is dead, and the whole town, they already stare | Bridge | combined | 53.077 | 60.223 | true | Start aligned to Bridge boundary at 51.235s | End aligned to Bridge boundary at 60.233s | false | null | 11 | 62 | 12 | -1.842 | 0.01 | audio_only | 03_02_14 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_01 | 4 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 60.233 | 64.005 | 3.772 | true | true | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_03 | 4 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 60.233 | 64.005 | 3.772 | true | true | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_04 | 4 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_04.wav | null | 60.233 | 64.005 | 3.772 | true | false | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_05 | 4 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 60.233 | 64.005 | 3.772 | true | true | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_06 | 4 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 60.233 | 64.005 | 3.772 | true | true | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_midi | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_08 | 4 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_08.wav | null | 60.233 | 64.005 | 3.772 | true | false | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_09 | 4 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_09.wav | null | 60.233 | 64.005 | 3.772 | true | false | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_10 | 4 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_10.wav | null | 60.233 | 64.005 | 3.772 | true | false | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_13 | 4 | 03_02 | 13 | Double Track Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_22_dbl_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_13.wav | null | 60.233 | 64.005 | 3.772 | true | false | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_only | 03_02_13 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_14 | 4 | 03_02 | 14 | Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_23_bg_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_14.wav | null | 60.233 | 64.005 | 3.772 | true | false | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_only | 03_02_14 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0005_track_16 | 4 | 03_02 | 16 | Boys Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_26_boys.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0005_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 60.233 | 64.005 | 3.772 | true | true | Can't you see | Chorus 1 | combined | 60.223 | 64.005 | true | Start aligned to Bridge boundary at 60.233s | false | null | 13 | 13 | 3 | 0.01 | 0 | audio_midi | 03_02_16 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0006_track_01 | 5 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 64.005 | 68.125 | 4.12 | true | true | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_03 | 5 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 64.005 | 68.125 | 4.12 | true | true | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_04 | 5 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_04.wav | null | 64.005 | 68.125 | 4.12 | true | false | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_05 | 5 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 64.005 | 68.125 | 4.12 | true | true | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_06 | 5 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 64.005 | 68.125 | 4.12 | true | true | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_midi | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_08 | 5 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_08.wav | null | 64.005 | 68.125 | 4.12 | true | false | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_09 | 5 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_09.wav | null | 64.005 | 68.125 | 4.12 | true | false | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_10 | 5 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_10.wav | null | 64.005 | 68.125 | 4.12 | true | false | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_12 | 5 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_12.wav | null | 64.005 | 68.125 | 4.12 | true | false | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0006_track_16 | 5 | 03_02 | 16 | Boys Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_26_boys.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0006_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 64.005 | 68.125 | 4.12 | true | true | that tar and feather? It's meant for me. | Chorus 1 | combined | 64.005 | 68.125 | false | false | null | 15 | 40 | 8 | 0 | 0 | audio_midi | 03_02_16 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_01 | 6 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 68.125 | 71.046 | 2.921 | true | true | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_03 | 6 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 68.125 | 71.046 | 2.921 | true | true | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_04 | 6 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_04.wav | null | 68.125 | 71.046 | 2.921 | true | false | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_05 | 6 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 68.125 | 71.046 | 2.921 | true | true | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_06 | 6 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 68.125 | 71.046 | 2.921 | true | true | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_midi | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_08 | 6 | 03_02 | 8 | Electric Guitar with Re-amp | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_17_electric_guitar_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_08.wav | null | 68.125 | 71.046 | 2.921 | true | false | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_only | 03_02_8 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_09 | 6 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_09.wav | null | 68.125 | 71.046 | 2.921 | true | false | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_10 | 6 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_10.wav | null | 68.125 | 71.046 | 2.921 | true | false | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_13 | 6 | 03_02 | 13 | Double Track Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_22_dbl_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_13.wav | null | 68.125 | 71.046 | 2.921 | true | false | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_only | 03_02_13 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_14 | 6 | 03_02 | 14 | Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_23_bg_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_14.wav | null | 68.125 | 71.046 | 2.921 | true | false | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_only | 03_02_14 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0007_track_16 | 6 | 03_02 | 16 | Boys Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_26_boys.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0007_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 68.125 | 71.046 | 2.921 | true | true | Don't you need | Chorus 1 | combined | 68.125 | 71.046 | false | false | null | 17 | 14 | 3 | 0 | 0 | audio_midi | 03_02_16 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0008_track_01 | 7 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 71.046 | 89.136 | 18.09 | true | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_02 | 7 | 03_02 | 2 | Hand claps and snaps | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_07_snaps.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_06_snaps.mid | 71.046 | 89.136 | 18.09 | false | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | midi_only | 03_02_2 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_03 | 7 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 71.046 | 89.136 | 18.09 | true | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_04 | 7 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_04.wav | null | 71.046 | 89.136 | 18.09 | true | false | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_05 | 7 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 71.046 | 89.136 | 18.09 | true | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_06 | 7 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 71.046 | 89.136 | 18.09 | false | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | midi_only | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_07 | 7 | 03_02 | 7 | Romantic string section | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_16_strings.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_15_strings.mid | 71.046 | 89.136 | 18.09 | true | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_midi | 03_02_7 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_10 | 7 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_10.wav | null | 71.046 | 89.136 | 18.09 | true | false | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_12 | 7 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_12.wav | null | 71.046 | 89.136 | 18.09 | true | false | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_16 | 7 | 03_02 | 16 | Boys Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_26_boys.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 71.046 | 89.136 | 18.09 | true | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_midi | 03_02_16 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0008_track_17 | 7 | 03_02 | 17 | Ladies Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_28_ladies.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0008_track_17.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_27_ladies.mid | 71.046 | 89.136 | 18.09 | true | true | another friendly face for you to read? | Angelic Interlude | combined | 71.046 | 89.136 | true | End aligned to Angelic Interlude boundary at 89.136s | false | null | 19 | 38 | 7 | 0 | 0 | audio_midi | 03_02_17 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_01 | 8 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 89.136 | 93.144 | 4.008 | true | true | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_03 | 8 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 89.136 | 93.144 | 4.008 | true | true | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_04 | 8 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_04.wav | null | 89.136 | 93.144 | 4.008 | true | false | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_05 | 8 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 89.136 | 93.144 | 4.008 | true | true | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_06 | 8 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 89.136 | 93.144 | 4.008 | true | true | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_midi | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_07 | 8 | 03_02 | 7 | Romantic string section | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_16_strings.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_15_strings.mid | 89.136 | 93.144 | 4.008 | true | false | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_only | 03_02_7 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_09 | 8 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_09.wav | null | 89.136 | 93.144 | 4.008 | true | false | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_10 | 8 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_10.wav | null | 89.136 | 93.144 | 4.008 | true | false | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_12 | 8 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_12.wav | null | 89.136 | 93.144 | 4.008 | true | false | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0009_track_17 | 8 | 03_02 | 17 | Ladies Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_28_ladies.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0009_track_17.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_27_ladies.mid | 89.136 | 93.144 | 4.008 | true | false | There's a house by your boyfriend's stash | Verse 2 | combined | 89.136 | 93.144 | true | Start aligned to Angelic Interlude boundary at 89.136s | false | null | 21 | 41 | 7 | 0 | 0 | audio_only | 03_02_17 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0010_track_01 | 9 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 93.144 | 96.184 | 3.04 | true | true | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_03 | 9 | 03_02 | 3 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_09_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 93.144 | 96.184 | 3.04 | true | true | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_midi | 03_02_3 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_04 | 9 | 03_02 | 4 | Bass Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_10_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_04.wav | null | 93.144 | 96.184 | 3.04 | true | false | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_only | 03_02_4 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_05 | 9 | 03_02 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_12_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 93.144 | 96.184 | 3.04 | true | true | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_midi | 03_02_5 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_06 | 9 | 03_02 | 6 | Wurlitzer Electric Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_14_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 93.144 | 96.184 | 3.04 | true | true | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_midi | 03_02_6 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_09 | 9 | 03_02 | 9 | Electric Guitar with LFO modulation | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_18_electric_guitar_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_09.wav | null | 93.144 | 96.184 | 3.04 | true | false | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_only | 03_02_9 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_10 | 9 | 03_02 | 10 | Electric Guitar with LFO modulation and granular synthesis | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_19_electric_guitar_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_10.wav | null | 93.144 | 96.184 | 3.04 | true | false | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_only | 03_02_10 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0010_track_12 | 9 | 03_02 | 12 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_21_main_vox.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0010_track_12.wav | null | 93.144 | 96.184 | 3.04 | true | false | The glass is broken and the TV smashed | Verse 2 | combined | 93.144 | 96.184 | false | false | null | 23 | 38 | 8 | 0 | 0 | audio_only | 03_02_12 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0011_track_01 | 10 | 03_02 | 1 | Drums | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_03_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0011_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 96.184 | 100.073 | 3.889 | true | true | There's a typewriter on the second floor | Verse 2 | combined | 96.184 | 100.073 | true | End aligned to Verse 2 boundary at 100.073s | false | null | 25 | 40 | 7 | 0 | 0 | audio_midi | 03_02_1 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
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