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|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
03_04_seg_0004_track_11 | 3 | 03_04 | 11 | Granular Synth Interference | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_19_interference.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0004_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_18_interference.mid | 97.22 | 127.22 | 30 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Interlude Frenzy | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 2/3 | 9 | 107 | 21 | 28.039 | -18.807 | audio_midi | 03_04_11 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0004_track_12 | 3 | 03_04 | 12 | Optigan (On Mellotron plugin) | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_21_mellotron.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0004_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_20_mellotron.mid | 97.22 | 127.22 | 30 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Interlude Frenzy | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 2/3 | 9 | 107 | 21 | 28.039 | -18.807 | audio_midi | 03_04_12 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0004_track_13 | 3 | 03_04 | 13 | Matrix Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_23_matrix.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0004_track_13.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_22_matrix.mid | 97.22 | 127.22 | 30 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Interlude Frenzy | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 2/3 | 9 | 107 | 21 | 28.039 | -18.807 | audio_midi | 03_04_13 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0004_track_14 | 3 | 03_04 | 14 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_24_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0004_track_14.wav | null | 97.22 | 127.22 | 30 | true | false | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Interlude Frenzy | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 2/3 | 9 | 107 | 21 | 28.039 | -18.807 | audio_only | 03_04_14 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0004_track_15 | 3 | 03_04 | 15 | Google Magenta NSynth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_25_nsynth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0004_track_15.wav | null | 97.22 | 127.22 | 30 | true | false | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Interlude Frenzy | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 2/3 | 9 | 107 | 21 | 28.039 | -18.807 | audio_only | 03_04_15 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_02 | 4 | 03_04 | 2 | Sample Cut Up Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_02_cutup_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_03_cutup_drums.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_2 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_03 | 4 | 03_04 | 3 | Fake motown drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_05_fake_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_04_fake_kit.mid | 125.22 | 146.027 | 20.807 | false | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | midi_only | 03_04_3 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_05 | 4 | 03_04 | 5 | Weird kick (tabla sounding) | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_07_weird_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_05.wav | null | 125.22 | 146.027 | 20.807 | true | false | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_only | 03_04_5 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_06 | 4 | 03_04 | 6 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_10_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_08_synth_bass.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_6 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_07 | 4 | 03_04 | 7 | Synth Bass Square Wave | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_11_synth_bass_square.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_09_synth_bass_square.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_7 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_08 | 4 | 03_04 | 8 | Mellotron Vibes | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_13_mellotron_vibes.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_12_mellotron_vibes.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_8 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_09 | 4 | 03_04 | 9 | Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_15_organ.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_14_organ.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_9 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_10 | 4 | 03_04 | 10 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_17_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_16_wurlitzer.mid | 125.22 | 146.027 | 20.807 | false | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | midi_only | 03_04_10 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_11 | 4 | 03_04 | 11 | Granular Synth Interference | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_19_interference.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_18_interference.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_11 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_12 | 4 | 03_04 | 12 | Optigan (On Mellotron plugin) | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_21_mellotron.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_20_mellotron.mid | 125.22 | 146.027 | 20.807 | true | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_midi | 03_04_12 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_13 | 4 | 03_04 | 13 | Matrix Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_23_matrix.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_13.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_22_matrix.mid | 125.22 | 146.027 | 20.807 | false | true | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | midi_only | 03_04_13 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_14 | 4 | 03_04 | 14 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_24_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_14.wav | null | 125.22 | 146.027 | 20.807 | true | false | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_only | 03_04_14 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0005_track_15 | 4 | 03_04 | 15 | Google Magenta NSynth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_25_nsynth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0005_track_15.wav | null | 125.22 | 146.027 | 20.807 | true | false | Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? | Breakdown | combined | 69.181 | 146.027 | true | Start aligned to Chorus 1 boundary at 69.220s | End aligned to Breakdown boundary at 146.027s | true | 3/3 | 9 | 107 | 21 | 56.039 | 0 | audio_only | 03_04_15 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_03 | 5 | 03_04 | 3 | Fake motown drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_05_fake_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_04_fake_kit.mid | 146.027 | 176.027 | 30 | false | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | midi_only | 03_04_3 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_06 | 5 | 03_04 | 6 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_10_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_08_synth_bass.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_6 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_07 | 5 | 03_04 | 7 | Synth Bass Square Wave | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_11_synth_bass_square.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_09_synth_bass_square.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_7 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_08 | 5 | 03_04 | 8 | Mellotron Vibes | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_13_mellotron_vibes.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_12_mellotron_vibes.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_8 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_09 | 5 | 03_04 | 9 | Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_15_organ.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_14_organ.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_9 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_10 | 5 | 03_04 | 10 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_17_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_16_wurlitzer.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_10 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_11 | 5 | 03_04 | 11 | Granular Synth Interference | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_19_interference.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_18_interference.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_11 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_12 | 5 | 03_04 | 12 | Optigan (On Mellotron plugin) | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_21_mellotron.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_20_mellotron.mid | 146.027 | 176.027 | 30 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_midi | 03_04_12 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_14 | 5 | 03_04 | 14 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_24_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_14.wav | null | 146.027 | 176.027 | 30 | true | false | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_only | 03_04_14 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_15 | 5 | 03_04 | 15 | Google Magenta NSynth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_25_nsynth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_15.wav | null | 146.027 | 176.027 | 30 | true | false | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | audio_only | 03_04_15 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0006_track_20 | 5 | 03_04 | 20 | Vocoders | vocoders | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_30_vocoders.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0006_track_20.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_31_vocoder_one.mid | 146.027 | 176.027 | 30 | false | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Chorus 2 | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 1/2 | 11 | 77 | 11 | 0 | -15.045 | midi_only | 03_04_20 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_02 | 6 | 03_04 | 2 | Sample Cut Up Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_02_cutup_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_03_cutup_drums.mid | 174.027 | 191.072 | 17.045 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_midi | 03_04_2 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_03 | 6 | 03_04 | 3 | Fake motown drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_05_fake_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_04_fake_kit.mid | 174.027 | 191.072 | 17.045 | false | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | midi_only | 03_04_3 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_06 | 6 | 03_04 | 6 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_10_synth_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_08_synth_bass.mid | 174.027 | 191.072 | 17.045 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_midi | 03_04_6 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_07 | 6 | 03_04 | 7 | Synth Bass Square Wave | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_11_synth_bass_square.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_09_synth_bass_square.mid | 174.027 | 191.072 | 17.045 | false | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | midi_only | 03_04_7 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_09 | 6 | 03_04 | 9 | Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_15_organ.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_14_organ.mid | 174.027 | 191.072 | 17.045 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_midi | 03_04_9 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_10 | 6 | 03_04 | 10 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_17_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_16_wurlitzer.mid | 174.027 | 191.072 | 17.045 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_midi | 03_04_10 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_11 | 6 | 03_04 | 11 | Granular Synth Interference | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_19_interference.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_18_interference.mid | 174.027 | 191.072 | 17.045 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_midi | 03_04_11 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_12 | 6 | 03_04 | 12 | Optigan (On Mellotron plugin) | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_21_mellotron.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_20_mellotron.mid | 174.027 | 191.072 | 17.045 | true | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_midi | 03_04_12 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_13 | 6 | 03_04 | 13 | Matrix Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_23_matrix.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_13.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_22_matrix.mid | 174.027 | 191.072 | 17.045 | false | true | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | midi_only | 03_04_13 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_14 | 6 | 03_04 | 14 | Corrupted Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_24_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_14.wav | null | 174.027 | 191.072 | 17.045 | true | false | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_only | 03_04_14 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0007_track_15 | 6 | 03_04 | 15 | Google Magenta NSynth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_25_nsynth.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0007_track_15.wav | null | 174.027 | 191.072 | 17.045 | true | false | This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. | Outro | combined | 146.027 | 191.072 | true | Start aligned to Breakdown boundary at 146.027s | true | 2/2 | 11 | 77 | 11 | 28 | 0 | audio_only | 03_04_15 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null |
03_04_seg_0008_track_02 | 7 | 03_04 | 2 | Sample Cut Up Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_02_cutup_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_03_cutup_drums.mid | 191.072 | 194.072 | 3 | true | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | audio_midi | 03_04_2 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_04_seg_0008_track_07 | 7 | 03_04 | 7 | Synth Bass Square Wave | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_11_synth_bass_square.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_09_synth_bass_square.mid | 191.072 | 194.072 | 3 | false | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | midi_only | 03_04_7 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_04_seg_0008_track_08 | 7 | 03_04 | 8 | Mellotron Vibes | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_13_mellotron_vibes.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_12_mellotron_vibes.mid | 191.072 | 194.072 | 3 | true | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | audio_midi | 03_04_8 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_04_seg_0008_track_10 | 7 | 03_04 | 10 | Wurlitzer | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_17_wurlitzer.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_16_wurlitzer.mid | 191.072 | 194.072 | 3 | false | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | midi_only | 03_04_10 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_04_seg_0008_track_11 | 7 | 03_04 | 11 | Granular Synth Interference | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_19_interference.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_18_interference.mid | 191.072 | 194.072 | 3 | false | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | midi_only | 03_04_11 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_04_seg_0008_track_12 | 7 | 03_04 | 12 | Optigan (On Mellotron plugin) | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_21_mellotron.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_20_mellotron.mid | 191.072 | 194.072 | 3 | false | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | midi_only | 03_04_12 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_04_seg_0008_track_13 | 7 | 03_04 | 13 | Matrix Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_23_matrix.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_04/03_04_seg_0008_track_13.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_04/03_04_22_matrix.mid | 191.072 | 194.072 | 3 | false | true | No more, not there. Not there no more. No more, not there. Not there no more. | Outro | combined | 191.072 | 194.072 | false | false | null | 13 | 77 | 16 | 0 | 0 | midi_only | 03_04_13 | 85 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | It Used To Be Space, Now it's Here | 2020-06-23T00:00:00 | [03:38.027] | true | true | I forgot I was walking south without the towers in sight I could swear it was right by Ear, but I must not be right This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. Was it across from the park? Where John met his Mark? Or off Dekalb Ave? Where Nicky the Knife got stabbed? This street? This block? Retreat? Jaywalk? Circles and circles. Keep walking. No more, not there. Not there no more. No more, not there. Not there no more. | Hood, discogs_id: 5047, Brian Eno, discogs_id: 634 | contemplative, dreamy, hypnotic, introspective, melancholic, urban, somber, nostalgic, experimental, textured, rhythmic, layered | electronic, experimental, downtempo, trip hop, indie electronic, lo-fi, chillout, art pop, post-rock, IDM | 03_04.lrc | I lived in NYC area for college and for about five years after. For work I made the mistake of moving to the UK for a year. Unbeknownst to me, there's a tax treaty set up specifically between New York and London that made moving back a financial impossibility. When I finally made it back to New York everything had changed. A theater space I used as a landmark had changed it's name from "Here" to "Space" and I wound up texting a friend "It used to be Space, now it's Here." I was lost in my former home and downtown didn't know North from South without the World Trade Center to orient me. The song is about that dislocation and the feeling of being an outsider in a place that used to be home. Although not a favorite song of mine it has one of the best lines I've ever written "Was it across from the (Central) Park, where John( Lennon) met his Mark( Chapman)? Or off Dekalb Ave (in Williamsburg Brooklyn) where Nicky the Knife (local mobster) got stabbed?" The past thing misremembered was the "Ear" sign/bar being above Canal. | {
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} | Opening : We hear the sounds of a Manhattan street, with cars and people., [00:00.000]-[00:03.043] | Intro : Dreary optigan and mellotron vibes play and odd-tempo riff with light percussion drum machines., [00:03.044]-[00:10.145] | Chopped MC : A radio DJ hyping a ticker give away has been chopped up into micro-samples and reassembled rhythmically to sound like a deconstructed rap. This technique would later be expanded by mapping to pitch-based extraction and used on Pulsar Palace., [00:10.146]-[00:27.131] | Verse 1 : The drum machines and noises make just enough space for a weary vocal to come through., [00:27.132]-[00:44.116] | Chorus 1 : The chorus kicks in but then the tail end of each chorus dips out to a strange sing-songy round., [00:44.117]-[01:09.220] | Verse 2 : The verse returns., [01:09.221]-[01:26.205] | Interlude : The interlude is a dirge-like instrumental break with a sitar-sounding baritone guitar., [01:26.206]-[01:43.190] | Interlude Frenzy : The interlude continues but the drum machines go into a frenzy., [01:43.191]-[02:00.175] | Breakdown : All but a deep synthetic bass drop drops out. It wobbles sounding like a Tabla drum., [02:00.176]-[02:26.027] | Chorus 2 : Repeat of the chorus but with the energy winding down., [02:26.028]-[02:45.043] | Interlude 2 : A reprise of the interlude, the baritone is now on equal footing with the optigan and mellotron., [02:45.044]-[03:00.000] | Outro : The looping outro features a repeated vocal phrase "Not there no more", [03:00.001]-[03:38.027] | An Incident in Chelsea : The sounds of an argument on the street in Manhattan., [03:38.028]-[03:38.027] | null | |
03_05_seg_0001_track_04 | 0 | 03_05 | 4 | Electric Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_06_electric_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_04.wav | null | 43.05 | 53.017 | 9.967 | true | false | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_only | 03_05_4 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_05 | 0 | 03_05 | 5 | Hybrid Kick | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_07_hybrid_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_08_hybrid_kick.mid | 43.05 | 53.017 | 9.967 | true | true | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_midi | 03_05_5 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_06 | 0 | 03_05 | 6 | Snare | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_10_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_09_snare.mid | 43.05 | 53.017 | 9.967 | true | true | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_midi | 03_05_6 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_07 | 0 | 03_05 | 7 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_12_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_11_hihat.mid | 43.05 | 53.017 | 9.967 | false | true | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | midi_only | 03_05_7 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_08 | 0 | 03_05 | 8 | Toms | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_14_toms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_13_toms.mid | 43.05 | 53.017 | 9.967 | true | true | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_midi | 03_05_8 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_09 | 0 | 03_05 | 9 | Cymbals | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_16_cymbals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_15_cymbals.mid | 43.05 | 53.017 | 9.967 | false | true | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | midi_only | 03_05_9 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_10 | 0 | 03_05 | 10 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_18_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_17_farfisa.mid | 43.05 | 53.017 | 9.967 | true | true | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_midi | 03_05_10 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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03_05_seg_0001_track_11 | 0 | 03_05 | 11 | Moog Grandmother Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_19_grandmother.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_11.wav | null | 43.05 | 53.017 | 9.967 | true | false | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_only | 03_05_11 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_14 | 0 | 03_05 | 14 | Lead Guitar with re-mic | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_23_lead_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_14.wav | null | 43.05 | 53.017 | 9.967 | true | false | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_only | 03_05_14 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_15 | 0 | 03_05 | 15 | Vocal One Verse and Chorus | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_24_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_15.wav | null | 43.05 | 53.017 | 9.967 | true | false | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_only | 03_05_15 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0001_track_16 | 0 | 03_05 | 16 | Vocal Two Verse and Chorus | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_25_vocal_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0001_track_16.wav | null | 43.05 | 53.017 | 9.967 | true | false | We walked the streets of Newton. The year was ninety-three. | Verse 1 | combined | 42.212 | 53.017 | true | Start aligned to Settling Pre-verse boundary at 43.050s | false | null | 5 | 59 | 10 | 0.838 | 0 | audio_only | 03_05_16 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0002_track_04 | 1 | 03_05 | 4 | Electric Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_06_electric_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_04.wav | null | 53.017 | 62.017 | 9 | true | false | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_only | 03_05_4 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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03_05_seg_0002_track_05 | 1 | 03_05 | 5 | Hybrid Kick | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_07_hybrid_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_08_hybrid_kick.mid | 53.017 | 62.017 | 9 | true | true | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_midi | 03_05_5 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_06 | 1 | 03_05 | 6 | Snare | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_10_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_09_snare.mid | 53.017 | 62.017 | 9 | true | true | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_midi | 03_05_6 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_07 | 1 | 03_05 | 7 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_12_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_11_hihat.mid | 53.017 | 62.017 | 9 | false | true | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | midi_only | 03_05_7 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_08 | 1 | 03_05 | 8 | Toms | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_14_toms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_13_toms.mid | 53.017 | 62.017 | 9 | true | true | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_midi | 03_05_8 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_09 | 1 | 03_05 | 9 | Cymbals | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_16_cymbals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_15_cymbals.mid | 53.017 | 62.017 | 9 | false | true | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | midi_only | 03_05_9 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_10 | 1 | 03_05 | 10 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_18_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_17_farfisa.mid | 53.017 | 62.017 | 9 | true | true | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_midi | 03_05_10 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_11 | 1 | 03_05 | 11 | Moog Grandmother Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_19_grandmother.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_11.wav | null | 53.017 | 62.017 | 9 | true | false | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_only | 03_05_11 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_14 | 1 | 03_05 | 14 | Lead Guitar with re-mic | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_23_lead_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_14.wav | null | 53.017 | 62.017 | 9 | true | false | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_only | 03_05_14 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_15 | 1 | 03_05 | 15 | Vocal One Verse and Chorus | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_24_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_15.wav | null | 53.017 | 62.017 | 9 | true | false | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_only | 03_05_15 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_16 | 1 | 03_05 | 16 | Vocal Two Verse and Chorus | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_25_vocal_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_16.wav | null | 53.017 | 62.017 | 9 | true | false | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_only | 03_05_16 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0002_track_17 | 1 | 03_05 | 17 | Vocal Three Chorus and Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_26_vocal_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0002_track_17.wav | null | 53.017 | 62.017 | 9 | true | false | I asked you what class you cut. You asked me to let you be, | Verse 1 | combined | 53.017 | 62.017 | false | false | null | 7 | 59 | 14 | 0 | 0 | audio_only | 03_05_17 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null | |
03_05_seg_0003_track_02 | 2 | 03_05 | 2 | Synth bass 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_03_synth_bass_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_02_synth_bass_1.mid | 62.017 | 72.001 | 9.984 | false | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | midi_only | 03_05_2 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_04 | 2 | 03_05 | 4 | Electric Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_06_electric_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_04.wav | null | 62.017 | 72.001 | 9.984 | true | false | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_only | 03_05_4 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_05 | 2 | 03_05 | 5 | Hybrid Kick | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_07_hybrid_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_08_hybrid_kick.mid | 62.017 | 72.001 | 9.984 | true | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_midi | 03_05_5 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_06 | 2 | 03_05 | 6 | Snare | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_10_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_09_snare.mid | 62.017 | 72.001 | 9.984 | true | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_midi | 03_05_6 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_07 | 2 | 03_05 | 7 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_12_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_11_hihat.mid | 62.017 | 72.001 | 9.984 | false | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | midi_only | 03_05_7 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_08 | 2 | 03_05 | 8 | Toms | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_14_toms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_13_toms.mid | 62.017 | 72.001 | 9.984 | true | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_midi | 03_05_8 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_09 | 2 | 03_05 | 9 | Cymbals | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_16_cymbals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_15_cymbals.mid | 62.017 | 72.001 | 9.984 | false | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | midi_only | 03_05_9 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_10 | 2 | 03_05 | 10 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_18_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_17_farfisa.mid | 62.017 | 72.001 | 9.984 | true | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_midi | 03_05_10 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_11 | 2 | 03_05 | 11 | Moog Grandmother Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_19_grandmother.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_11.wav | null | 62.017 | 72.001 | 9.984 | true | false | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_only | 03_05_11 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_12 | 2 | 03_05 | 12 | Shredder Faux Metal Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_21_shredder.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_20_shredder.mid | 62.017 | 72.001 | 9.984 | false | true | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | midi_only | 03_05_12 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_14 | 2 | 03_05 | 14 | Lead Guitar with re-mic | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_23_lead_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_14.wav | null | 62.017 | 72.001 | 9.984 | true | false | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_only | 03_05_14 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_15 | 2 | 03_05 | 15 | Vocal One Verse and Chorus | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_24_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_15.wav | null | 62.017 | 72.001 | 9.984 | true | false | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_only | 03_05_15 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0003_track_17 | 2 | 03_05 | 17 | Vocal Three Chorus and Background Vocals | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_26_vocal_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0003_track_17.wav | null | 62.017 | 72.001 | 9.984 | true | false | “You know, the moon is covering the only thing to see” | Verse 1 | combined | 62.017 | 72.137 | true | End aligned to Chorus 1 boundary at 72.001s | false | null | 9 | 54 | 11 | 0 | -0.136 | audio_only | 03_05_17 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_02 | 3 | 03_05 | 2 | Synth bass 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_03_synth_bass_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_02_synth_bass_1.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_2 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_04 | 3 | 03_05 | 4 | Electric Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_06_electric_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_04.wav | null | 72.001 | 91.051 | 19.05 | true | false | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_only | 03_05_4 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_05 | 3 | 03_05 | 5 | Hybrid Kick | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_07_hybrid_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_08_hybrid_kick.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_5 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_06 | 3 | 03_05 | 6 | Snare | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_10_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_09_snare.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_6 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_07 | 3 | 03_05 | 7 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_12_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_11_hihat.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_7 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_08 | 3 | 03_05 | 8 | Toms | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_14_toms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_13_toms.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_8 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_09 | 3 | 03_05 | 9 | Cymbals | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_16_cymbals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_15_cymbals.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_9 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_10 | 3 | 03_05 | 10 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_18_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_17_farfisa.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_10 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_11 | 3 | 03_05 | 11 | Moog Grandmother Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_19_grandmother.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_11.wav | null | 72.001 | 91.051 | 19.05 | true | false | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_only | 03_05_11 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_12 | 3 | 03_05 | 12 | Shredder Faux Metal Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_21_shredder.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_20_shredder.mid | 72.001 | 91.051 | 19.05 | true | true | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_midi | 03_05_12 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_13 | 3 | 03_05 | 13 | Rhythm Guitar with re-mic | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_22_rhythm_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_13.wav | null | 72.001 | 91.051 | 19.05 | true | false | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_only | 03_05_13 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
03_05_seg_0004_track_14 | 3 | 03_05 | 14 | Lead Guitar with re-mic | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_05/03_05_23_lead_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_05/03_05_seg_0004_track_14.wav | null | 72.001 | 91.051 | 19.05 | true | false | Look to the ceiling as it fades away It was just a feeling, another weekday | Chorus 1 | combined | 72.137 | 91.15 | true | Start aligned to Chorus 1 boundary at 72.001s | End aligned to Verse 2 boundary at 91.051s | false | null | 11 | 75 | 15 | -0.136 | -0.099 | audio_only | 03_05_14 | 100 | 4 | 4 | C | major | Orange | Past | Thing | Imagined | null | Newton | 2020-06-23T00:00:00 | [04:48.000] | true | true | We walked the streets of Newton. The year was ninety-three. I asked you what class you cut. You asked me to let you be, “You know, the moon is covering the only thing to see” Look to the ceiling as it fades away It was just a feeling, another weekday From his porch, an old man heard us and spilled his herbal tea. He screamed, and rose, and fell, again, and called to us from his knees “If I catch you shits 'round here again, you’ll be hanging from that tree” And so we carried on in my Shadow, north on Twenty-Three I asked you if you’d seen a ghost. You said you’d seen enough of me. Look to the ceiling as it fades away Who knows what you’re feeling, it’s hard to say There’s no more revealing what led us astray It was just a feeling, another weekday | Pale Saints, discogs_id: 88711, Ruhr, discogs_id: 93854, Ride, discogs_id: 10138, The Lewers, discogs_id: 13801555, The Jesus and Mary Chain, discogs_id: 243280 | contemplative, nostalgic | indie rock, shoegaze, dream pop, alternative rock, psychedelic rock, art rock | 03_05.lrc | One of the most directly autobiographical songs, Newton (named for the town in Sussex County, NJ where I grew up - and obviously Rainbow-related) is about the "magical bored" moments of youth. The girl in the song is a composite of friends I spent a lot of time with back then - a couple of which had some mental health issues. Their unknowable inner worlds were something that I both related to and could never get close to. There's touches of drug-use and the casual racism of that area and time. Musically, the song is an extrapolation of the WSUS weather alert jingle - which had a cheesy synth melody that I always found haunting. The past thing remembered incorrectly was the jingle's melody. | {
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} | A WSUS alert intro : The 1980s Sussex County, NJ weather alert jingle along with a buried announcer's voice., [00:00.000]-[00:14.100] | Opening verse : The music kicks in full throttle with gigantic 1990s style guitars, [00:14.101]-[00:33.150] | Settling Pre-verse : The music drops down to a more contemplative level, [00:33.151]-[00:43.050] | Verse 1 : The first verse, with a more traditional indie rock arrangement, [00:43.051]-[01:12.000] | Chorus 1 : The chorus takes a major weird turn with trippy vocal effects and pulsating synths and background vocals., [01:12.001]-[01:26.100] | Bridge 1 : A guitar line, based on the WSUS jingle, guides us back to the verse, [01:26.101]-[01:31.050] | Verse 2 : The second verse, there's variations on the vocal melody to suite the lyrics, [01:31.051]-[02:00.000] | Bridge 2 : The bridge idea is developed and extended to bring back to the next verse, the stuttered vocals from the chorus now underpin the whole section, [02:00.001]-[02:24.000] | Verse 3 : The third verse concludes the lyrical story, [02:24.001]-[02:43.050] | Chorus 2 : The chorus is brought in now more lamenting and wistful, [02:43.051]-[03:12.000] | Bridge 3 : The bridge is repeated again, now with more organ and synths, [03:12.001]-[03:21.000] | Jams : The elements introduced, the WSUS jingle, 90s guitars, organs and stuttered vocals are all jammed out in a long outro section, [03:21.001]-[04:33.150] | Outro : The drums drop out and the song ends with the guitars and synths playing off the jingle melody, [04:33.151]-[04:48.000] | null |
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