segment_id string | segment_index int64 | song_id string | track_number int64 | track_description string | track_group string | track_player string | source_audio_file string | segment_audio_file string | midi_file string | start_seconds float64 | end_seconds float64 | duration_seconds float64 | has_audio bool | has_midi bool | lyric_text string | structure_section string | segment_type string | original_start_seconds float64 | original_end_seconds float64 | has_structure_adjustments bool | structure_adjustments string | is_sub_segment bool | sub_segment_info string | lrc_line_number float64 | lyric_char_count uint32 | lyric_word_count uint32 | start_adjustment_seconds float64 | end_adjustment_seconds float64 | content_type string | manifest_track_key string | bpm int64 | tempo_numerator float64 | tempo_denominator float64 | key_signature_note string | key_signature_mode string | rainbow_color string | rainbow_color_temporal_mode string | rainbow_color_objectional_mode string | rainbow_color_ontological_mode string | transmigrational_mode string | title string | release_date string | total_running_time string | vocals bool | lyrics bool | lrc_lyrics string | sounds_like string | mood string | genres string | lrc_file string | concept string | training_data dict | song_structure string | midi_group_file string |
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03_02_seg_0011_track_03 | 10 | 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_0011_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.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_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_0011_track_04 | 10 | 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_0011_track_04.wav | null | 96.184 | 100.073 | 3.889 | true | false | 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_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_0011_track_05 | 10 | 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_0011_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.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_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_0011_track_06 | 10 | 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_0011_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.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_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_0011_track_09 | 10 | 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_0011_track_09.wav | null | 96.184 | 100.073 | 3.889 | true | false | 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_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_0011_track_10 | 10 | 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_0011_track_10.wav | null | 96.184 | 100.073 | 3.889 | true | false | 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_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_0011_track_12 | 10 | 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_0011_track_12.wav | null | 96.184 | 100.073 | 3.889 | true | false | 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_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_0012_track_01 | 11 | 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_0012_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 100.073 | 103.22 | 3.147 | true | true | that wrote nothing and nothing no more | Garage Punk Interlude | combined | 100.073 | 103.22 | true | Start aligned to Verse 2 boundary at 100.073s | false | null | 27 | 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_0012_track_04 | 11 | 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_0012_track_04.wav | null | 100.073 | 103.22 | 3.147 | true | false | that wrote nothing and nothing no more | Garage Punk Interlude | combined | 100.073 | 103.22 | true | Start aligned to Verse 2 boundary at 100.073s | false | null | 27 | 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_0012_track_11 | 11 | 03_02 | 11 | Garage Punk Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_20_electric_guitar_4.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0012_track_11.wav | null | 100.073 | 103.22 | 3.147 | true | false | that wrote nothing and nothing no more | Garage Punk Interlude | combined | 100.073 | 103.22 | true | Start aligned to Verse 2 boundary at 100.073s | false | null | 27 | 38 | 7 | 0 | 0 | audio_only | 03_02_11 | 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_0012_track_12 | 11 | 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_0012_track_12.wav | null | 100.073 | 103.22 | 3.147 | true | false | that wrote nothing and nothing no more | Garage Punk Interlude | combined | 100.073 | 103.22 | true | Start aligned to Verse 2 boundary at 100.073s | false | null | 27 | 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_0013_track_01 | 12 | 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_0013_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 103.22 | 107.114 | 3.894 | true | true | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 103.22 | 107.114 | false | false | null | 29 | 37 | 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_0013_track_04 | 12 | 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_0013_track_04.wav | null | 103.22 | 107.114 | 3.894 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 103.22 | 107.114 | false | false | null | 29 | 37 | 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_0013_track_11 | 12 | 03_02 | 11 | Garage Punk Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_20_electric_guitar_4.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0013_track_11.wav | null | 103.22 | 107.114 | 3.894 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 103.22 | 107.114 | false | false | null | 29 | 37 | 7 | 0 | 0 | audio_only | 03_02_11 | 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_0013_track_12 | 12 | 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_0013_track_12.wav | null | 103.22 | 107.114 | 3.894 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 103.22 | 107.114 | false | false | null | 29 | 37 | 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_0013_track_13 | 12 | 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_0013_track_13.wav | null | 103.22 | 107.114 | 3.894 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 103.22 | 107.114 | false | false | null | 29 | 37 | 7 | 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 | |
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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_0014_track_04 | 13 | 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_0014_track_04.wav | null | 107.114 | 111.01 | 3.896 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 107.114 | 111.01 | false | false | null | 31 | 37 | 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_0014_track_11 | 13 | 03_02 | 11 | Garage Punk Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_20_electric_guitar_4.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0014_track_11.wav | null | 107.114 | 111.01 | 3.896 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 107.114 | 111.01 | false | false | null | 31 | 37 | 7 | 0 | 0 | audio_only | 03_02_11 | 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_0014_track_12 | 13 | 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_0014_track_12.wav | null | 107.114 | 111.01 | 3.896 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 107.114 | 111.01 | false | false | null | 31 | 37 | 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_0014_track_13 | 13 | 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_0014_track_13.wav | null | 107.114 | 111.01 | 3.896 | true | false | It wrote nothing and nothing no more! | Garage Punk Interlude | combined | 107.114 | 111.01 | false | false | null | 31 | 37 | 7 | 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_0015_track_01 | 14 | 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_0015_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 111.01 | 114.155 | 3.145 | true | true | It wrote nothing and nothing no more. | Garage Punk Interlude | combined | 111.01 | 114.155 | false | false | null | 33 | 37 | 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_0015_track_04 | 14 | 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_0015_track_04.wav | null | 111.01 | 114.155 | 3.145 | true | false | It wrote nothing and nothing no more. | Garage Punk Interlude | combined | 111.01 | 114.155 | false | false | null | 33 | 37 | 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_0015_track_11 | 14 | 03_02 | 11 | Garage Punk Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_20_electric_guitar_4.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0015_track_11.wav | null | 111.01 | 114.155 | 3.145 | true | false | It wrote nothing and nothing no more. | Garage Punk Interlude | combined | 111.01 | 114.155 | false | false | null | 33 | 37 | 7 | 0 | 0 | audio_only | 03_02_11 | 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_0015_track_12 | 14 | 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_0015_track_12.wav | null | 111.01 | 114.155 | 3.145 | true | false | It wrote nothing and nothing no more. | Garage Punk Interlude | combined | 111.01 | 114.155 | false | false | null | 33 | 37 | 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_0015_track_13 | 14 | 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_0015_track_13.wav | null | 111.01 | 114.155 | 3.145 | true | false | It wrote nothing and nothing no more. | Garage Punk Interlude | combined | 111.01 | 114.155 | false | false | null | 33 | 37 | 7 | 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_0016_track_01 | 15 | 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_0016_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 114.155 | 118.051 | 3.896 | true | true | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 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_0016_track_04 | 15 | 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_0016_track_04.wav | null | 114.155 | 118.051 | 3.896 | true | false | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 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_0016_track_05 | 15 | 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_0016_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 114.155 | 118.051 | 3.896 | true | true | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 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_0016_track_08 | 15 | 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_0016_track_08.wav | null | 114.155 | 118.051 | 3.896 | true | false | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 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_0016_track_11 | 15 | 03_02 | 11 | Garage Punk Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_20_electric_guitar_4.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0016_track_11.wav | null | 114.155 | 118.051 | 3.896 | true | false | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 3 | 0 | 0 | audio_only | 03_02_11 | 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_0016_track_12 | 15 | 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_0016_track_12.wav | null | 114.155 | 118.051 | 3.896 | true | false | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 3 | 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_0016_track_13 | 15 | 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_0016_track_13.wav | null | 114.155 | 118.051 | 3.896 | true | false | It wrote nothing! | Garage Punk Interlude | combined | 114.155 | 118.051 | true | End aligned to Garage Punk Interlude boundary at 118.051s | false | null | 35 | 17 | 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_0017_track_01 | 16 | 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_0017_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 118.051 | 123.032 | 4.981 | true | true | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_04 | 16 | 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_0017_track_04.wav | null | 118.051 | 123.032 | 4.981 | true | false | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_05 | 16 | 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_0017_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 118.051 | 123.032 | 4.981 | true | true | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_08 | 16 | 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_0017_track_08.wav | null | 118.051 | 123.032 | 4.981 | true | false | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_09 | 16 | 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_0017_track_09.wav | null | 118.051 | 123.032 | 4.981 | true | false | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_10 | 16 | 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_0017_track_10.wav | null | 118.051 | 123.032 | 4.981 | true | false | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_12 | 16 | 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_0017_track_12.wav | null | 118.051 | 123.032 | 4.981 | true | false | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0017_track_14 | 16 | 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_0017_track_14.wav | null | 118.051 | 123.032 | 4.981 | true | false | Just remember, when you stop by | Verse 3 | combined | 118.051 | 123.032 | true | Start aligned to Garage Punk Interlude boundary at 118.051s | false | null | 37 | 31 | 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_0018_track_01 | 17 | 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_0018_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 123.032 | 128.125 | 5.093 | true | true | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0018_track_04 | 17 | 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_0018_track_04.wav | null | 123.032 | 128.125 | 5.093 | true | false | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0018_track_05 | 17 | 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_0018_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 123.032 | 128.125 | 5.093 | true | true | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0018_track_08 | 17 | 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_0018_track_08.wav | null | 123.032 | 128.125 | 5.093 | true | false | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0018_track_09 | 17 | 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_0018_track_09.wav | null | 123.032 | 128.125 | 5.093 | true | false | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0018_track_10 | 17 | 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_0018_track_10.wav | null | 123.032 | 128.125 | 5.093 | true | false | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0018_track_12 | 17 | 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_0018_track_12.wav | null | 123.032 | 128.125 | 5.093 | true | false | I'll be on the floor, pretending I died | Verse 3 | combined | 123.032 | 128.125 | false | false | null | 39 | 39 | 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_0019_track_01 | 18 | 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_0019_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 128.125 | 132.134 | 4.009 | true | true | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0019_track_04 | 18 | 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_0019_track_04.wav | null | 128.125 | 132.134 | 4.009 | true | false | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0019_track_05 | 18 | 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_0019_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 128.125 | 132.134 | 4.009 | true | true | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0019_track_08 | 18 | 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_0019_track_08.wav | null | 128.125 | 132.134 | 4.009 | true | false | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0019_track_09 | 18 | 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_0019_track_09.wav | null | 128.125 | 132.134 | 4.009 | true | false | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0019_track_10 | 18 | 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_0019_track_10.wav | null | 128.125 | 132.134 | 4.009 | true | false | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0019_track_12 | 18 | 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_0019_track_12.wav | null | 128.125 | 132.134 | 4.009 | true | false | And not for nothing, see if I care | Verse 3 | combined | 128.125 | 134.024 | true | End aligned to Bridge 2 boundary at 132.134s | false | null | 41 | 34 | 8 | 0 | -1.89 | 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_0020_track_01 | 19 | 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_0020_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 132.134 | 141.122 | 8.988 | true | true | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_03 | 19 | 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_0020_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 132.134 | 141.122 | 8.988 | true | true | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_04 | 19 | 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_0020_track_04.wav | null | 132.134 | 141.122 | 8.988 | true | false | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_05 | 19 | 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_0020_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 132.134 | 141.122 | 8.988 | true | true | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_06 | 19 | 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_0020_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 132.134 | 141.122 | 8.988 | true | true | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_08 | 19 | 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_0020_track_08.wav | null | 132.134 | 141.122 | 8.988 | true | false | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_09 | 19 | 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_0020_track_09.wav | null | 132.134 | 141.122 | 8.988 | true | false | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_10 | 19 | 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_0020_track_10.wav | null | 132.134 | 141.122 | 8.988 | true | false | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_12 | 19 | 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_0020_track_12.wav | null | 132.134 | 141.122 | 8.988 | true | false | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0020_track_14 | 19 | 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_0020_track_14.wav | null | 132.134 | 141.122 | 8.988 | true | false | You know I'm not sticking 'round, I'm leaving town with my half of the share | Bridge 2 | combined | 134.024 | 141.122 | true | Start aligned to Bridge 2 boundary at 132.134s | End aligned to Bridge 2 boundary at 141.122s | false | null | 43 | 76 | 15 | -1.89 | 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_0021_track_01 | 20 | 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_0021_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 141.122 | 145.016 | 3.894 | true | true | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_03 | 20 | 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_0021_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 141.122 | 145.016 | 3.894 | true | true | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_04 | 20 | 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_0021_track_04.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_05 | 20 | 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_0021_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 141.122 | 145.016 | 3.894 | true | true | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_06 | 20 | 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_0021_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 141.122 | 145.016 | 3.894 | true | true | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_08 | 20 | 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_0021_track_08.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_09 | 20 | 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_0021_track_09.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_10 | 20 | 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_0021_track_10.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_12 | 20 | 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_0021_track_12.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 3 | 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_0021_track_13 | 20 | 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_0021_track_13.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_14 | 20 | 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_0021_track_14.wav | null | 141.122 | 145.016 | 3.894 | true | false | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0021_track_16 | 20 | 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_0021_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 141.122 | 145.016 | 3.894 | true | true | Can't you see | Chorus 2 | combined | 141.122 | 145.016 | true | Start aligned to Bridge 2 boundary at 141.122s | false | null | 45 | 13 | 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_0022_track_01 | 21 | 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_0022_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 145.016 | 149.024 | 4.008 | true | true | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_03 | 21 | 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_0022_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 145.016 | 149.024 | 4.008 | true | true | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_04 | 21 | 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_0022_track_04.wav | null | 145.016 | 149.024 | 4.008 | true | false | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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 | |
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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_0022_track_06 | 21 | 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_0022_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 145.016 | 149.024 | 4.008 | true | true | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_08 | 21 | 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_0022_track_08.wav | null | 145.016 | 149.024 | 4.008 | true | false | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_09 | 21 | 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_0022_track_09.wav | null | 145.016 | 149.024 | 4.008 | true | false | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_10 | 21 | 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_0022_track_10.wav | null | 145.016 | 149.024 | 4.008 | true | false | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_12 | 21 | 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_0022_track_12.wav | null | 145.016 | 149.024 | 4.008 | true | false | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0022_track_16 | 21 | 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_0022_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 145.016 | 149.024 | 4.008 | true | true | that tar and feather? It's meant for me. | Chorus 2 | combined | 145.016 | 149.024 | false | false | null | 47 | 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_0023_track_01 | 22 | 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_0023_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 149.024 | 152.027 | 3.003 | true | true | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_03 | 22 | 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_0023_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 149.024 | 152.027 | 3.003 | true | true | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_04 | 22 | 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_0023_track_04.wav | null | 149.024 | 152.027 | 3.003 | true | false | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_05 | 22 | 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_0023_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.mid | 149.024 | 152.027 | 3.003 | true | true | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_06 | 22 | 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_0023_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 149.024 | 152.027 | 3.003 | true | true | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_08 | 22 | 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_0023_track_08.wav | null | 149.024 | 152.027 | 3.003 | true | false | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_09 | 22 | 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_0023_track_09.wav | null | 149.024 | 152.027 | 3.003 | true | false | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_10 | 22 | 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_0023_track_10.wav | null | 149.024 | 152.027 | 3.003 | true | false | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_13 | 22 | 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_0023_track_13.wav | null | 149.024 | 152.027 | 3.003 | true | false | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_14 | 22 | 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_0023_track_14.wav | null | 149.024 | 152.027 | 3.003 | true | false | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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_0023_track_16 | 22 | 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_0023_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 149.024 | 152.027 | 3.003 | true | true | Don't you need | Chorus 2 | combined | 149.024 | 152.027 | false | false | null | 49 | 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 | |
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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_0024_track_03 | 23 | 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_0024_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 152.027 | 155.205 | 3.178 | true | true | another friendly face for you to read? | Chorus 2 | combined | 152.027 | 156.065 | true | End aligned to 1950s Interlude boundary at 155.205s | false | null | 51 | 38 | 7 | 0 | -0.86 | 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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"track_id": "03_02",
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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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