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 |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
03_02_seg_0024_track_04 | 23 | 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_0024_track_04.wav | null | 152.027 | 155.205 | 3.178 | true | false | 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_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_0024_track_05 | 23 | 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_0024_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_11_farfisa.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_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_0024_track_06 | 23 | 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_0024_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.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_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_0024_track_08 | 23 | 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_0024_track_08.wav | null | 152.027 | 155.205 | 3.178 | true | false | 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_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_0024_track_09 | 23 | 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_0024_track_09.wav | null | 152.027 | 155.205 | 3.178 | true | false | 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_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_0024_track_10 | 23 | 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_0024_track_10.wav | null | 152.027 | 155.205 | 3.178 | true | false | 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_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_0024_track_12 | 23 | 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_0024_track_12.wav | null | 152.027 | 155.205 | 3.178 | true | false | 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_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_0024_track_16 | 23 | 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_0024_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.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_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_0025_track_01 | 24 | 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_0025_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 155.205 | 164.081 | 8.876 | true | true | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 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_0025_track_02 | 24 | 03_02 | 2 | Hand claps and snaps | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_07_snaps.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0025_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_06_snaps.mid | 155.205 | 164.081 | 8.876 | false | true | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 0 | midi_only | 03_02_2 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0025_track_03 | 24 | 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_0025_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_08_synth_bass.mid | 155.205 | 164.081 | 8.876 | false | true | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 0 | midi_only | 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_0025_track_04 | 24 | 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_0025_track_04.wav | null | 155.205 | 164.081 | 8.876 | true | false | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 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_0025_track_06 | 24 | 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_0025_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 155.205 | 164.081 | 8.876 | true | true | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 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_0025_track_08 | 24 | 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_0025_track_08.wav | null | 155.205 | 164.081 | 8.876 | true | false | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 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_0025_track_12 | 24 | 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_0025_track_12.wav | null | 155.205 | 164.081 | 8.876 | true | false | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 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_0025_track_15 | 24 | 03_02 | 15 | Remez Background Vocal | null | RainbowPlayer.REMEZ | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_24_bg_remez.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0025_track_15.wav | null | 155.205 | 164.081 | 8.876 | true | false | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 0 | audio_only | 03_02_15 | 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_0025_track_16 | 24 | 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_0025_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 155.205 | 164.081 | 8.876 | true | true | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 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_0025_track_17 | 24 | 03_02 | 17 | Ladies Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_28_ladies.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0025_track_17.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_27_ladies.mid | 155.205 | 164.081 | 8.876 | true | true | It's not true: the brutality of youth | 1950s Interlude | combined | 156.065 | 164.081 | true | Start aligned to 1950s Interlude boundary at 155.205s | false | null | 53 | 37 | 7 | -0.86 | 0 | audio_midi | 03_02_17 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null |
03_02_seg_0026_track_01 | 25 | 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_0026_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 164.081 | 173.07 | 8.989 | true | true | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 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_0026_track_02 | 25 | 03_02 | 2 | Hand claps and snaps | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_07_snaps.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0026_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_06_snaps.mid | 164.081 | 173.07 | 8.989 | false | true | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 0 | 0 | midi_only | 03_02_2 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0026_track_04 | 25 | 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_0026_track_04.wav | null | 164.081 | 173.07 | 8.989 | true | false | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 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_0026_track_06 | 25 | 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_0026_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 164.081 | 173.07 | 8.989 | true | true | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 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_0026_track_08 | 25 | 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_0026_track_08.wav | null | 164.081 | 173.07 | 8.989 | true | false | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 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_0026_track_12 | 25 | 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_0026_track_12.wav | null | 164.081 | 173.07 | 8.989 | true | false | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 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_0026_track_15 | 25 | 03_02 | 15 | Remez Background Vocal | null | RainbowPlayer.REMEZ | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_24_bg_remez.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0026_track_15.wav | null | 164.081 | 173.07 | 8.989 | true | false | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 0 | 0 | audio_only | 03_02_15 | 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_0026_track_16 | 25 | 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_0026_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 164.081 | 173.07 | 8.989 | true | true | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 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_0026_track_17 | 25 | 03_02 | 17 | Ladies Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_28_ladies.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0026_track_17.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_27_ladies.mid | 164.081 | 173.07 | 8.989 | true | true | A car mirror cracked and a broken front tooth | 1950s Interlude | combined | 164.081 | 173.07 | false | false | null | 55 | 45 | 9 | 0 | 0 | audio_midi | 03_02_17 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0027_track_01 | 26 | 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_0027_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 173.07 | 182.114 | 9.044 | true | true | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 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_0027_track_02 | 26 | 03_02 | 2 | Hand claps and snaps | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_07_snaps.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0027_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_06_snaps.mid | 173.07 | 182.114 | 9.044 | false | true | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 8 | 0 | 0 | midi_only | 03_02_2 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0027_track_04 | 26 | 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_0027_track_04.wav | null | 173.07 | 182.114 | 9.044 | true | false | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 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_0027_track_06 | 26 | 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_0027_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 173.07 | 182.114 | 9.044 | true | true | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 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_0027_track_08 | 26 | 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_0027_track_08.wav | null | 173.07 | 182.114 | 9.044 | true | false | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 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_0027_track_12 | 26 | 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_0027_track_12.wav | null | 173.07 | 182.114 | 9.044 | true | false | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 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_0027_track_15 | 26 | 03_02 | 15 | Remez Background Vocal | null | RainbowPlayer.REMEZ | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_24_bg_remez.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0027_track_15.wav | null | 173.07 | 182.114 | 9.044 | true | false | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 8 | 0 | 0 | audio_only | 03_02_15 | 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_0027_track_16 | 26 | 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_0027_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 173.07 | 182.114 | 9.044 | true | true | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 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_0027_track_17 | 26 | 03_02 | 17 | Ladies Choir | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_28_ladies.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0027_track_17.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_27_ladies.mid | 173.07 | 182.114 | 9.044 | true | true | Oh, these reflections they weren't meant to last | 1950s Interlude | combined | 173.07 | 182.114 | false | false | null | 57 | 48 | 8 | 0 | 0 | audio_midi | 03_02_17 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0028_track_01 | 27 | 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_0028_track_01.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_04_drums.mid | 182.114 | 185.114 | 3 | true | true | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 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_0028_track_02 | 27 | 03_02 | 2 | Hand claps and snaps | drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_07_snaps.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0028_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_06_snaps.mid | 182.114 | 185.114 | 3 | false | true | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 0 | 0 | midi_only | 03_02_2 | 134 | 4 | 4 | G | minor | Orange | Past | Thing | Imagined | null | Broken Front Tooth | 2020-06-23T00:00:00 | [04:17.114] | true | true | Do you mind if I mind if you stop by? Well, Damn Straight! You're my alibi. And not for nothing. See if I care. You this place is dead, and the whole town, they already stare Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? There's a house by your boyfriend's stash The glass is broken and the TV smashed There's a typewriter on the second floor that wrote nothing and nothing no more It wrote nothing and nothing no more! It wrote nothing and nothing no more! It wrote nothing and nothing no more. It wrote nothing! Just remember, when you stop by I'll be on the floor, pretending I died And not for nothing, see if I care You know I'm not sticking 'round, I'm leaving town with my half of the share Can't you see that tar and feather? It's meant for me. Don't you need another friendly face for you to read? It's not true: the brutality of youth A car mirror cracked and a broken front tooth Oh, these reflections they weren't meant to last The captain sees the land, but is tied to the mast | My Bloody Valentine, discogs_id: 6516, The Dead Boys, discogs_id: 266431, The Rolling Stones, discogs_id: 20991 | chaotic, nostalgic, surreal, intense, eclectic, energetic | Rock, Shoegaze, Garage Rock, Punk, Experimental, Indie Rock, Omnipop | 03_02.lrc | A nostalgic reflection of my high school band days is re-bracketed in a surreal manner with abrupt genre shifts and eclectic instrumentation. The shoegaze guitars are anachronistic - filtered by LFO, Let It Bleed style boys choir buts up against 70s garage punk and 50s rock and roll. The song is a chaotic yet harmonious blend of these disparate elements, creating a unique soundscape that is both intense and eclectic. The past thing imagined is the broken front tooth which was incorrectly remembered as happening in an accident rather than on a beer bottle. | {
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} | Intro : Insanely distorted guitars like shoegaze with LFO modulation blast immediately - underneath we can hear a metronome or clock sound ticking away at 134 bpm., [00:00.000]-[00:14.081] | Intro 2 : A bass guitar is added, but it's cheerful and bouncy like a Beach Boys bass. This juxtaposition of the heavy, distorted guitars and the upbeat bass creates a unique tension., [00:14.082]-[00:35.204] | Verse 1 : The song shifts with more 60's guitar lines now with a back beat and a Farfisa organ and the vocals begin, [00:35.205]-[00:51.234] | Bridge : A little Beatles-ish flourish moves the song into the chorus, [00:51.235]-[01:00.233] | Chorus 1 : The chorus starts the vocals hanging on the last not and overdubs picking up the next phrase, [01:00.234]-[01:15.054] | Angelic Interlude : While the bass continues the rock instrumentation drops and we hear a heavenly female choir. It's a jolting and strange transition., [01:15.055]-[01:29.136] | Verse 2 : Back full-scream ahead with the shoegaze guitars and the vocals continue, [01:29.137]-[01:40.073] | Garage Punk Interlude : Okay, what is happening? The song veers into a 70s garage punk style with a raw, lo-fi aesthetic. The guitars are more aggressive and the energy is high. The vocals are shrill and snotty., [01:40.074]-[01:58.051] | Verse 3 : And back to the neo-shoegaze stuff and if nothing happened., [01:58.052]-[02:12.133] | Bridge 2 : Some Beatles-y guitar transitions again, [02:12.134]-[02:21.122] | Chorus 2 : Return to the chorus with similar vocal layering, [02:21.123]-[02:35.204] | 1950s Interlude : Another odd shift - as if someone is listening to Buddy Holly and The Spiders from Mars between radio stations. There's snaps and claps and breaking style vocal., [02:35.205]-[03:11.160] | Angelic 1950s Interlude : The previously heavenly boys choir returns but now with a 1950s backing percussion. It's a surreal combination., [03:11.161]-[03:40.073] | Outro : Now here comes everybody, shoegazers, boys choir, garage punks and proto-rockers all jamming together in a glorious cacophony of sound that is both chaotic and strangely harmonious., [03:40.074]-[04:08.237] | An actual bit of cassette : The song ends with a snippet of cassette recording of my actual high school band practicing. It's lo-fi and nostalgic. The stop button snaps and ends the track abruptly., [04:08.238]-[04:17.114] | null | |
03_02_seg_0028_track_04 | 27 | 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_0028_track_04.wav | null | 182.114 | 185.114 | 3 | true | false | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 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_0028_track_06 | 27 | 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_0028_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_13_wurlitzer.mid | 182.114 | 185.114 | 3 | true | true | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 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_0028_track_08 | 27 | 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_0028_track_08.wav | null | 182.114 | 185.114 | 3 | true | false | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 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_0028_track_12 | 27 | 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_0028_track_12.wav | null | 182.114 | 185.114 | 3 | true | false | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 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_0028_track_15 | 27 | 03_02 | 15 | Remez Background Vocal | null | RainbowPlayer.REMEZ | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_24_bg_remez.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_02/03_02_seg_0028_track_15.wav | null | 182.114 | 185.114 | 3 | true | false | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 0 | 0 | audio_only | 03_02_15 | 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_0028_track_16 | 27 | 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_0028_track_16.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_02/03_02_25_boys.mid | 182.114 | 185.114 | 3 | true | true | The captain sees the land, but is tied to the mast | 1950s Interlude | combined | 182.114 | 185.114 | false | false | null | 59 | 50 | 11 | 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_03_seg_0001_track_02 | 0 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 50.193 | 56.171 | 5.978 | true | true | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_03 | 0 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_03.wav | null | 50.193 | 56.171 | 5.978 | true | false | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_05 | 0 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 50.193 | 56.171 | 5.978 | true | true | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_06 | 0 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 50.193 | 56.171 | 5.978 | false | true | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_07 | 0 | 03_03 | 7 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_11_corrupted_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_07.wav | null | 50.193 | 56.171 | 5.978 | true | false | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_only | 03_03_7 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_08 | 0 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_08.wav | null | 50.193 | 56.171 | 5.978 | true | false | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_09 | 0 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_09.wav | null | 50.193 | 56.171 | 5.978 | true | false | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_10 | 0 | 03_03 | 10 | Dbl vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_14_dbl_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_10.wav | null | 50.193 | 56.171 | 5.978 | true | false | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_only | 03_03_10 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0001_track_12 | 0 | 03_03 | 12 | Woozy CS-80 synth lead | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_19_woozy_synth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0001_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_16_woozy_synth.mid | 50.193 | 56.171 | 5.978 | true | false | Soft shell in the ghost trap | Verse 1 | combined | 50.163 | 56.171 | true | Start aligned to Intro boundary at 50.193s | false | null | 5 | 28 | 6 | 0.03 | 0 | audio_only | 03_03_12 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0002_track_02 | 1 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 56.171 | 58.204 | 2.033 | true | true | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_03 | 1 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_03.wav | null | 56.171 | 58.204 | 2.033 | true | false | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_05 | 1 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 56.171 | 58.204 | 2.033 | true | true | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_06 | 1 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 56.171 | 58.204 | 2.033 | false | true | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_07 | 1 | 03_03 | 7 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_11_corrupted_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_07.wav | null | 56.171 | 58.204 | 2.033 | true | false | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_only | 03_03_7 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_08 | 1 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_08.wav | null | 56.171 | 58.204 | 2.033 | true | false | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_09 | 1 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_09.wav | null | 56.171 | 58.204 | 2.033 | true | false | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0002_track_10 | 1 | 03_03 | 10 | Dbl vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_14_dbl_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0002_track_10.wav | null | 56.171 | 58.204 | 2.033 | true | false | waiting for a pull that never comes | Verse 1 | combined | 56.171 | 58.204 | false | false | null | 7 | 35 | 7 | 0 | 0 | audio_only | 03_03_10 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_02 | 2 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 58.204 | 76.206 | 18.002 | true | true | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_03 | 2 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_03.wav | null | 58.204 | 76.206 | 18.002 | true | false | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_05 | 2 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 58.204 | 76.206 | 18.002 | true | true | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_06 | 2 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 58.204 | 76.206 | 18.002 | false | true | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_07 | 2 | 03_03 | 7 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_11_corrupted_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_07.wav | null | 58.204 | 76.206 | 18.002 | true | false | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_only | 03_03_7 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_08 | 2 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_08.wav | null | 58.204 | 76.206 | 18.002 | true | false | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_09 | 2 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_09.wav | null | 58.204 | 76.206 | 18.002 | true | false | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0003_track_10 | 2 | 03_03 | 10 | Dbl vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_14_dbl_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0003_track_10.wav | null | 58.204 | 76.206 | 18.002 | true | false | Golf carts float upside down out near where the markers washed away | Verse 1 | combined | 58.204 | 76.206 | false | false | null | 9 | 67 | 12 | 0 | 0 | audio_only | 03_03_10 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_02 | 3 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 76.206 | 82.234 | 6.028 | true | true | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_03 | 3 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_03.wav | null | 76.206 | 82.234 | 6.028 | true | false | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_05 | 3 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 76.206 | 82.234 | 6.028 | true | true | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_06 | 3 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 76.206 | 82.234 | 6.028 | false | true | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_07 | 3 | 03_03 | 7 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_11_corrupted_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_07.wav | null | 76.206 | 82.234 | 6.028 | true | false | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_only | 03_03_7 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_08 | 3 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_08.wav | null | 76.206 | 82.234 | 6.028 | true | false | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_09 | 3 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_09.wav | null | 76.206 | 82.234 | 6.028 | true | false | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0004_track_10 | 3 | 03_03 | 10 | Dbl vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_14_dbl_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0004_track_10.wav | null | 76.206 | 82.234 | 6.028 | true | false | Rot tide tugs pilings down | Verse 1 | combined | 76.206 | 82.234 | false | false | null | 11 | 26 | 5 | 0 | 0 | audio_only | 03_03_10 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0005_track_02 | 4 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 82.234 | 89.278 | 7.044 | true | true | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0005_track_03 | 4 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_03.wav | null | 82.234 | 89.278 | 7.044 | true | false | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0005_track_05 | 4 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 82.234 | 89.278 | 7.044 | true | true | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0005_track_06 | 4 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 82.234 | 89.278 | 7.044 | false | true | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0005_track_07 | 4 | 03_03 | 7 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_11_corrupted_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_07.wav | null | 82.234 | 89.278 | 7.044 | true | false | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | audio_only | 03_03_7 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0005_track_08 | 4 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_08.wav | null | 82.234 | 89.278 | 7.044 | true | false | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0005_track_09 | 4 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0005_track_09.wav | null | 82.234 | 89.278 | 7.044 | true | false | That dock is buoyed up by prayers alone | Verse 1 | combined | 82.234 | 90.071 | true | End aligned to Chorus 1 boundary at 89.278s | false | null | 13 | 39 | 8 | 0 | -0.793 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_02 | 5 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 89.278 | 96.235 | 6.957 | true | true | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_03 | 5 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_03.wav | null | 89.278 | 96.235 | 6.957 | true | false | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_05 | 5 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 89.278 | 96.235 | 6.957 | true | true | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_06 | 5 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 89.278 | 96.235 | 6.957 | false | true | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_07 | 5 | 03_03 | 7 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_11_corrupted_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_07.wav | null | 89.278 | 96.235 | 6.957 | true | false | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_only | 03_03_7 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_08 | 5 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_08.wav | null | 89.278 | 96.235 | 6.957 | true | false | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_09 | 5 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_09.wav | null | 89.278 | 96.235 | 6.957 | true | false | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_10 | 5 | 03_03 | 10 | Dbl vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_14_dbl_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_10.wav | null | 89.278 | 96.235 | 6.957 | true | false | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_only | 03_03_10 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0006_track_11 | 5 | 03_03 | 11 | Backing vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_15_bg_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0006_track_11.wav | null | 89.278 | 96.235 | 6.957 | true | false | The outside men they talk of carbon, they talk of apes | Chorus 1 | combined | 90.071 | 96.235 | true | Start aligned to Chorus 1 boundary at 89.278s | false | null | 15 | 54 | 11 | -0.793 | 0 | audio_only | 03_03_11 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
03_03_seg_0007_track_02 | 6 | 03_03 | 2 | DFAM (Moog drummer from another mother) and other Drum Machines | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_04_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_03_drums.mid | 96.235 | 103.092 | 6.857 | true | true | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | audio_midi | 03_03_2 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0007_track_03 | 6 | 03_03 | 3 | Bass guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_05_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_03.wav | null | 96.235 | 103.092 | 6.857 | true | false | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | audio_only | 03_03_3 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0007_track_05 | 6 | 03_03 | 5 | Farfisa organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_08_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_07_farfisa.mid | 96.235 | 103.092 | 6.857 | true | true | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | audio_midi | 03_03_5 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0007_track_06 | 6 | 03_03 | 6 | Disney Steel Drum | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_10_steel_drum.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_09_steel_drum.mid | 96.235 | 103.092 | 6.857 | false | true | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | midi_only | 03_03_6 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0007_track_08 | 6 | 03_03 | 8 | Granular Grazed Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_12_grazed_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_08.wav | null | 96.235 | 103.092 | 6.857 | true | false | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | audio_only | 03_03_8 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0007_track_09 | 6 | 03_03 | 9 | Main vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_13_main_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_09.wav | null | 96.235 | 103.092 | 6.857 | true | false | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | audio_only | 03_03_9 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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"track_id": "03_03",
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} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null | |
03_03_seg_0007_track_10 | 6 | 03_03 | 10 | Dbl vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_03/03_03_14_dbl_vocals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_03/03_03_seg_0007_track_10.wav | null | 96.235 | 103.092 | 6.857 | true | false | They say the waters will rise and that there is no escape | Chorus 1 | combined | 96.235 | 103.092 | false | false | null | 17 | 57 | 12 | 0 | 0 | audio_only | 03_03_10 | 147 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Tangier | 2020-06-23T00:00:00 | [04:23.096] | true | true | Soft shell in the ghost trap waiting for a pull that never comes Golf carts float upside down out near where the markers washed away Rot tide tugs pilings down That dock is buoyed up by prayers alone The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again It’s his will, it’s his order One nation cried underwater One nation cried underwater The outside men they talk of carbon, they talk of apes They say the waters will rise and that there is no escape Well, the waters killed the Pharaoh’s men Sometimes you have to drown the world to start it back up again This town ain’t built upon stone but the settled bones sleep through the airish ‘morn I’ll stay, I’ll never leave until the island is swallowed whole All gone, swept away like a third of the stars in the heavens It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater It’s his will, it’s his order It’s his will, it’s his order One nation cried underwater | Boards of Canada, discogs_id: 307, Joy Division, discogs_id: 3898, Mad Professor, discogs_id: 7870 | contemplative, dreamy, eerie, hypnotic, introspective, melancholic, mysterious, surreal, tranquil, humorous | Ambient, Electronic, Indie Rock, Post-Punk, Dub | 03_03.lrc | Off the coast of Virginia lies Tangier Island, a small landmass in the Chesapeake Bay. The island is known for its unique dialect, which has been preserved over centuries due to the island's isolation. This community has also been significantly impacted by climate change, with rising sea levels threatening its very existence. Yet, due to their Christain ideology, many residents deny the reality of climate change and perhaps even nihilistically welcome it as a Noah-like flood that will cleanse the world. Their dialect, insular culture and denial of the rising waters plays upon the re-breacketing of the world in a post-climate change era. The past thing remembered was the high water marker - which was in Ellicot City not Tangier Island. | {
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"question_marks": 0,
"rebracketing_coverage": 0.039473684210526314,
"rebracketing_intensity": 3.3057851239669422,
"rebracketing_type": "spatial",
"sentence_count": 6,
"temporal_complexity_score": 0.24793388429752067,
"track_duration": 263.096,
"track_id": "03_03",
"track_position": 3,
"uncertainty_level": 0.27548209366391185,
"word_count": 121
} | Opening : We hear only the gentle tide of the ocean and an erie synth lead., [00:00.000]-[00:04.027] | Intro : The synth lead continues and a strange, primitive drum machine begins, [00:04.028]-[00:50.193] | Verse 1 : The first verse begins with sullen vocals and a steady beat., [00:50.194]-[01:29.277] | Chorus 1 : The chorus kicks in with more energy and a driving bass line., [01:29.278]-[01:57.212] | Bridging Chorus : The mood becomes warbly and the vocals more prophetic-sounding., [01:57.213]-[02:17.113] | Chorus 2 : The chorus returns with a bit more intensity., [02:17.114]-[02:43.155] | Verse 2 : Back to the verse to expand the story., [02:43.156]-[03:22.241] | Breaking Down : The song swings toward a dub-like feel as the some instruments drop out., [03:22.242]-[03:24.095] | Bridging Verse : The mood returns to a dazed testimonial and then, in a sick humorous gesture, we hear the sound of a steel drum playing ala "Under the Sea" from The Little Mermaid., [03:24.096]-[04:16.235] | The Tangier Dialect : The song ends with Tangier Island residents speaking in their unique dialect., [04:16.236]-[04:23.096] | null |
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