segment_id string | segment_index int64 | song_id string | track_number int64 | track_description string | track_group string | track_player string | source_audio_file string | segment_audio_file string | midi_file string | start_seconds float64 | end_seconds float64 | duration_seconds float64 | has_audio bool | has_midi bool | lyric_text string | structure_section string | segment_type string | original_start_seconds float64 | original_end_seconds float64 | has_structure_adjustments bool | structure_adjustments string | is_sub_segment bool | sub_segment_info string | lrc_line_number float64 | lyric_char_count uint32 | lyric_word_count uint32 | start_adjustment_seconds float64 | end_adjustment_seconds float64 | content_type string | manifest_track_key string | bpm int64 | tempo_numerator float64 | tempo_denominator float64 | key_signature_note string | key_signature_mode string | rainbow_color string | rainbow_color_temporal_mode string | rainbow_color_objectional_mode string | rainbow_color_ontological_mode string | transmigrational_mode string | title string | release_date string | total_running_time string | vocals bool | lyrics bool | lrc_lyrics string | sounds_like string | mood string | genres string | lrc_file string | concept string | training_data dict | song_structure string | midi_group_file string |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_08 | 9 | 03_07 | 8 | Drum Kit | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_15_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_14_kit.mid | 121.112 | 125.05 | 3.938 | true | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | audio_midi | 03_07_8 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_09 | 9 | 03_07 | 9 | Kick Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_17_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_16_kick.mid | 121.112 | 125.05 | 3.938 | true | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | audio_midi | 03_07_9 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_10 | 9 | 03_07 | 10 | Snare Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_19_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_18_snare.mid | 121.112 | 125.05 | 3.938 | true | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | audio_midi | 03_07_10 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_11 | 9 | 03_07 | 11 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_21_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_20_hihat.mid | 121.112 | 125.05 | 3.938 | false | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | midi_only | 03_07_11 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_12 | 9 | 03_07 | 12 | Cymbals | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_23_cymbals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_22_cymbals.mid | 121.112 | 125.05 | 3.938 | false | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | midi_only | 03_07_12 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_13 | 9 | 03_07 | 13 | Rack Toms | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_26_rack_toms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_13.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_24_rack_toms.mid | 121.112 | 125.05 | 3.938 | false | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | midi_only | 03_07_13 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_14 | 9 | 03_07 | 14 | Floor Tom | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_27_floor_tom.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_14.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_25_floor_tom.mid | 121.112 | 125.05 | 3.938 | false | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | midi_only | 03_07_14 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_18 | 9 | 03_07 | 18 | Shaker | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_31_shaker.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_18.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_30_shaker.mid | 121.112 | 125.05 | 3.938 | false | true | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | midi_only | 03_07_18 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_24 | 9 | 03_07 | 24 | Coms Chatter | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_38_coms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_24.wav | null | 121.112 | 125.05 | 3.938 | true | false | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | audio_only | 03_07_24 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0010_track_25 | 9 | 03_07 | 25 | Glitch FX | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_39_glitch.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0010_track_25.wav | null | 121.112 | 125.05 | 3.938 | true | false | *"There’s something coming through"* | Interlude 2 | combined | 121.112 | 125.05 | false | false | null | 27 | 36 | 4 | 0 | 0 | audio_only | 03_07_25 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0011_track_02 | 10 | 03_07 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_03_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_02_bass.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_2 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_03 | 10 | 03_07 | 3 | DX7 Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_05_dx7.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_04_dx7.mid | 125.05 | 127.238 | 2.188 | false | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | midi_only | 03_07_3 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_04 | 10 | 03_07 | 4 | Modular Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_07_modular.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_06_modular.mid | 125.05 | 127.238 | 2.188 | false | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | midi_only | 03_07_4 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_05 | 10 | 03_07 | 5 | Farfisa Organ | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_09_farfisa.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_08_farfisa.mid | 125.05 | 127.238 | 2.188 | true | false | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_only | 03_07_5 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_06 | 10 | 03_07 | 6 | Steel Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_11_steel_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_10_steel_piano.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_6 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_07 | 10 | 03_07 | 7 | 808 Drum Machine | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_13_808.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_12_808.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_7 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_08 | 10 | 03_07 | 8 | Drum Kit | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_15_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_14_kit.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_8 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_09 | 10 | 03_07 | 9 | Kick Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_17_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_16_kick.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_9 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_10 | 10 | 03_07 | 10 | Snare Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_19_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_18_snare.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_10 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_11 | 10 | 03_07 | 11 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_21_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_20_hihat.mid | 125.05 | 127.238 | 2.188 | true | true | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_midi | 03_07_11 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_24 | 10 | 03_07 | 24 | Coms Chatter | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_38_coms.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_24.wav | null | 125.05 | 127.238 | 2.188 | true | false | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_only | 03_07_24 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0011_track_25 | 10 | 03_07 | 25 | Glitch FX | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_39_glitch.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0011_track_25.wav | null | 125.05 | 127.238 | 2.188 | true | false | *"There’s something wrong with the sky."* | Interlude 2 | combined | 125.05 | 128.172 | true | End aligned to Chorus 2 boundary at 127.238s | false | null | 29 | 41 | 6 | 0 | -0.934 | audio_only | 03_07_25 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_03 | 11 | 03_07 | 3 | DX7 Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_05_dx7.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_04_dx7.mid | 127.238 | 137.274 | 10.036 | false | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | midi_only | 03_07_3 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_04 | 11 | 03_07 | 4 | Modular Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_07_modular.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_06_modular.mid | 127.238 | 137.274 | 10.036 | true | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_midi | 03_07_4 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_06 | 11 | 03_07 | 6 | Steel Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_11_steel_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_10_steel_piano.mid | 127.238 | 137.274 | 10.036 | true | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_midi | 03_07_6 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_07 | 11 | 03_07 | 7 | 808 Drum Machine | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_13_808.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_12_808.mid | 127.238 | 137.274 | 10.036 | false | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | midi_only | 03_07_7 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_09 | 11 | 03_07 | 9 | Kick Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_17_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_16_kick.mid | 127.238 | 137.274 | 10.036 | true | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_midi | 03_07_9 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_10 | 11 | 03_07 | 10 | Snare Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_19_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_18_snare.mid | 127.238 | 137.274 | 10.036 | true | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_midi | 03_07_10 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_11 | 11 | 03_07 | 11 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_21_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_20_hihat.mid | 127.238 | 137.274 | 10.036 | true | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_midi | 03_07_11 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_12 | 11 | 03_07 | 12 | Cymbals | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_23_cymbals.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_12.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_22_cymbals.mid | 127.238 | 137.274 | 10.036 | false | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | midi_only | 03_07_12 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_14 | 11 | 03_07 | 14 | Floor Tom | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_27_floor_tom.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_14.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_25_floor_tom.mid | 127.238 | 137.274 | 10.036 | false | true | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | midi_only | 03_07_14 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_19 | 11 | 03_07 | 19 | Fuzz Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_32_fuzz_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_19.wav | null | 127.238 | 137.274 | 10.036 | true | false | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_only | 03_07_19 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_20 | 11 | 03_07 | 20 | Corrupter Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_34_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_20.wav | null | 127.238 | 137.274 | 10.036 | true | false | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_only | 03_07_20 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_21 | 11 | 03_07 | 21 | Main Vocal | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_35_main_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_21.wav | null | 127.238 | 137.274 | 10.036 | true | false | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_only | 03_07_21 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0012_track_22 | 11 | 03_07 | 22 | Second Vocal | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_36_second_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0012_track_22.wav | null | 127.238 | 137.274 | 10.036 | true | false | Does she know her path in this world break up nations? | Chorus 2 | combined | 128.172 | 137.274 | true | Start aligned to Chorus 2 boundary at 127.238s | false | null | 31 | 54 | 11 | -0.934 | 0 | audio_only | 03_07_22 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null |
03_07_seg_0013_track_02 | 12 | 03_07 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_03_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_02.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_02_bass.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_2 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_03 | 12 | 03_07 | 3 | DX7 Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_05_dx7.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_04_dx7.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_3 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_04 | 12 | 03_07 | 4 | Modular Synth | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_07_modular.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_04.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_06_modular.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_4 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_06 | 12 | 03_07 | 6 | Steel Piano | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_11_steel_piano.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_10_steel_piano.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_6 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_08 | 12 | 03_07 | 8 | Drum Kit | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_15_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_14_kit.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_8 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_09 | 12 | 03_07 | 9 | Kick Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_17_kick.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_16_kick.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_9 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_10 | 12 | 03_07 | 10 | Snare Drum | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_19_snare.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_18_snare.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_10 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_11 | 12 | 03_07 | 11 | Hi-Hat | Drums | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_21_hihat.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_11.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_20_hihat.mid | 137.274 | 140.274 | 3 | true | true | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_midi | 03_07_11 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_19 | 12 | 03_07 | 19 | Fuzz Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_32_fuzz_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_19.wav | null | 137.274 | 140.274 | 3 | true | false | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_only | 03_07_19 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_20 | 12 | 03_07 | 20 | Corrupter Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_34_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_20.wav | null | 137.274 | 140.274 | 3 | true | false | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_only | 03_07_20 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_21 | 12 | 03_07 | 21 | Main Vocal | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_35_main_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_21.wav | null | 137.274 | 140.274 | 3 | true | false | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_only | 03_07_21 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_07_seg_0013_track_22 | 12 | 03_07 | 22 | Second Vocal | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_07/03_07_36_second_vocal.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_07/03_07_seg_0013_track_22.wav | null | 137.274 | 140.274 | 3 | true | false | Does she know her thoughts in this world bring damnation? | Chorus 2 | combined | 137.274 | 140.274 | false | false | null | 33 | 57 | 10 | 0 | 0 | audio_only | 03_07_22 | 154 | 4 | 4 | A | minor | Orange | Past | Thing | Imagined | null | Tell | 2020-06-23T00:00:00 | [03:10.041] | true | true | Didn’t you tell me that you’d been here before? You recognized the door? I know you came here looking to finish off this final chore. But I thought it was more. *"We’re getting reports of violence interrupting the second shift. Digging to resume."* We’re getting closer five more meters to breach the veil. Does she know her moves in this world break up nations? Does she know her words in this world bring damnation? We’re getting closer five more meters to breach the veil. To breach the veil. I can see from your eyes this won’t go very well. It’s always been your tell. You are so lovely even as you turn to leave. If only you could believe. *"Call back your men the levels are too high."* *"Fall back! Fall back!"* *"There’s something coming through"* *"There’s something wrong with the sky."* Does she know her path in this world break up nations? Does she know her thoughts in this world bring damnation? | Public Image Limited, discogs_id: 66302, Tears for Fears, discogs_id: 19814, Phil Collins, discogs_id: 101028, Peter Gabriel, discogs_id: 11136 | melancholic, relaxed, mercurial, nerdy, aggressive, dreamy, energetic, introspective | New Wave, Synthpop, Punk, Post-Punk, Art Rock, Alternative Rock | 03_07.lrc | A guys is meeting his ex at pub and they are rehashing their breakup. Although he's invited her here, he gets bored and begins thinking of some childish adventure out of a comic book or saturday morning cartoon about digging up a mystical artifact. The lyrics blur the lines between the two scenarios. The thing forgotten was her tell - not a look but a habit of 'digging' through her food when she's annoyed. | {
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} | Entering the pub : We hear the sound of a Welsh pub, with people chatting and glasses clinking., [00:00.000]-[00:04.200] | Verse 1 intro : Some airy synth pop and cheesy MOR drum machines start the song, [00:04.201]-[00:17.271] | Verse 1 : New wave-inspired verse with a light bassline and airy synths., [00:17.272]-[00:42.010] | Interlude : The maudlin narrative of a post-breakup conversation oddly transitions to coms chatter about a dig site., [00:42.011]-[00:48.077] | Bridge 1 : The vocals return unclear if they are describing a breakup or a dig site. The synths build in intensity and a piano line builds., [00:48.078]-[00:59.046] | Chorus : The chorus burst out in a big wave of LFO-destroyed guitars and a 70s-style punk vocal., [00:59.047]-[01:17.272] | Bridge 2 : The energy dies down and we return to the synths and drum machines, [01:17.273]-[01:30.107] | Verse 2 : The second verse is similar to the first but with some vocal variations., [01:30.108]-[01:55.082] | Interlude 2 : This interlude extends to here multiple "characters" discussing the dig site., [01:55.083]-[02:07.237] | Chorus 2 : The chorus repeats with more intensity descending into non-verbal vocals., [02:07.238]-[02:45.047] | Outro : The outro is a long instrumental section with the synths and drum machines fading out, [02:45.048]-[03:10.041] | null | |
03_08_seg_0001_track_02 | 0 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_02.wav | null | 21.163 | 28.187 | 7.024 | true | false | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0001_track_03 | 0 | 03_08 | 3 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_04_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 21.163 | 28.187 | 7.024 | true | true | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_midi | 03_08_3 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0001_track_07 | 0 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 21.163 | 28.187 | 7.024 | true | true | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_midi | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0001_track_10 | 0 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 21.163 | 28.187 | 7.024 | true | true | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0001_track_16 | 0 | 03_08 | 16 | Clean Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_22_clean_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_16.wav | null | 21.163 | 28.187 | 7.024 | true | false | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_only | 03_08_16 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0001_track_17 | 0 | 03_08 | 17 | Amazing Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_23_amazing_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_17.wav | null | 21.163 | 28.187 | 7.024 | true | false | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_only | 03_08_17 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0001_track_19 | 0 | 03_08 | 19 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_25_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0001_track_19.wav | null | 21.163 | 28.187 | 7.024 | true | false | Keep your mind as busy as your mouth. | Verse Type A 1 | combined | 21.163 | 28.187 | true | Start aligned to Verse Type A 1 boundary at 21.163s | false | null | 5 | 37 | 8 | 0 | 0 | audio_only | 03_08_19 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0002_track_02 | 1 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_02.wav | null | 28.187 | 35.243 | 7.056 | true | false | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0002_track_03 | 1 | 03_08 | 3 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_04_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 28.187 | 35.243 | 7.056 | true | true | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | audio_midi | 03_08_3 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0002_track_07 | 1 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 28.187 | 35.243 | 7.056 | false | true | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | midi_only | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0002_track_10 | 1 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 28.187 | 35.243 | 7.056 | true | true | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0002_track_16 | 1 | 03_08 | 16 | Clean Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_22_clean_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_16.wav | null | 28.187 | 35.243 | 7.056 | true | false | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | audio_only | 03_08_16 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0002_track_17 | 1 | 03_08 | 17 | Amazing Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_23_amazing_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_17.wav | null | 28.187 | 35.243 | 7.056 | true | false | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | audio_only | 03_08_17 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0002_track_19 | 1 | 03_08 | 19 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_25_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0002_track_19.wav | null | 28.187 | 35.243 | 7.056 | true | false | Don’t be shy, it’s what it’s all about. | Verse Type A 1 | combined | 28.187 | 35.243 | false | false | null | 7 | 39 | 8 | 0 | 0 | audio_only | 03_08_19 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null | |
03_08_seg_0003_track_02 | 2 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_02.wav | null | 35.243 | 43.075 | 7.832 | true | false | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0003_track_03 | 2 | 03_08 | 3 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_04_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 35.243 | 43.075 | 7.832 | true | true | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_midi | 03_08_3 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0003_track_07 | 2 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 35.243 | 43.075 | 7.832 | true | true | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_midi | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0003_track_10 | 2 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 35.243 | 43.075 | 7.832 | true | true | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0003_track_16 | 2 | 03_08 | 16 | Clean Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_22_clean_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_16.wav | null | 35.243 | 43.075 | 7.832 | true | false | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_only | 03_08_16 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0003_track_17 | 2 | 03_08 | 17 | Amazing Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_23_amazing_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_17.wav | null | 35.243 | 43.075 | 7.832 | true | false | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_only | 03_08_17 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0003_track_19 | 2 | 03_08 | 19 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_25_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0003_track_19.wav | null | 35.243 | 43.075 | 7.832 | true | false | She looks great even this close up | Verse Type A 1 | combined | 35.243 | 43.075 | true | End aligned to Verse Type A 1 boundary at 43.075s | false | null | 9 | 34 | 7 | 0 | 0 | audio_only | 03_08_19 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_02 | 3 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_02.wav | null | 43.075 | 50.131 | 7.056 | true | false | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_03 | 3 | 03_08 | 3 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_04_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 43.075 | 50.131 | 7.056 | true | true | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | audio_midi | 03_08_3 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_07 | 3 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 43.075 | 50.131 | 7.056 | false | true | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | midi_only | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_10 | 3 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 43.075 | 50.131 | 7.056 | true | true | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_17 | 3 | 03_08 | 17 | Amazing Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_23_amazing_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_17.wav | null | 43.075 | 50.131 | 7.056 | true | false | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | audio_only | 03_08_17 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_19 | 3 | 03_08 | 19 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_25_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_19.wav | null | 43.075 | 50.131 | 7.056 | true | false | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | audio_only | 03_08_19 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0004_track_23 | 3 | 03_08 | 23 | Vocal 5 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_29_vocal_5.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0004_track_23.wav | null | 43.075 | 50.131 | 7.056 | true | false | Here she comes, walking down the aisle | Verse Type B 1 | combined | 43.075 | 50.131 | true | Start aligned to Verse Type A 1 boundary at 43.075s | false | null | 11 | 38 | 7 | 0 | 0 | audio_only | 03_08_23 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_02 | 4 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_02.wav | null | 50.131 | 57.184 | 7.053 | true | false | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_03 | 4 | 03_08 | 3 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_04_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 50.131 | 57.184 | 7.053 | true | true | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | audio_midi | 03_08_3 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_07 | 4 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 50.131 | 57.184 | 7.053 | false | true | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | midi_only | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_10 | 4 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 50.131 | 57.184 | 7.053 | true | true | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_17 | 4 | 03_08 | 17 | Amazing Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_23_amazing_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_17.wav | null | 50.131 | 57.184 | 7.053 | true | false | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | audio_only | 03_08_17 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_19 | 4 | 03_08 | 19 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_25_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_19.wav | null | 50.131 | 57.184 | 7.053 | true | false | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | audio_only | 03_08_19 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0005_track_23 | 4 | 03_08 | 23 | Vocal 5 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_29_vocal_5.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0005_track_23.wav | null | 50.131 | 57.184 | 7.053 | true | false | All-wheel drive and a bright white smile | Verse Type B 1 | combined | 50.131 | 57.072 | true | End aligned to Verse Type B 1 boundary at 57.184s | false | null | 13 | 40 | 7 | 0 | 0.112 | audio_only | 03_08_23 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_02 | 5 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_02.wav | null | 57.184 | 69.933 | 12.749 | true | false | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_03 | 5 | 03_08 | 3 | Drum Machine | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_04_dm.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 57.184 | 69.933 | 12.749 | true | true | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_midi | 03_08_3 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_07 | 5 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 57.184 | 69.933 | 12.749 | false | true | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | midi_only | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_08 | 5 | 03_08 | 8 | Melody Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_13_melody.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 57.184 | 69.933 | 12.749 | true | true | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_midi | 03_08_8 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_09 | 5 | 03_08 | 9 | Sweet Bell | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_15_sweet_bell.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 57.184 | 69.933 | 12.749 | false | true | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | midi_only | 03_08_9 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_10 | 5 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 57.184 | 69.933 | 12.749 | true | true | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_19 | 5 | 03_08 | 19 | Vocal 1 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_25_vocal_1.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_19.wav | null | 57.184 | 69.933 | 12.749 | true | false | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_only | 03_08_19 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_21 | 5 | 03_08 | 21 | Vocal 3 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_26_vocal_3.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_21.wav | null | 57.184 | 69.933 | 12.749 | true | false | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_only | 03_08_21 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0006_track_22 | 5 | 03_08 | 22 | Vocal 4 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_28_vocal_4.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0006_track_22.wav | null | 57.184 | 69.933 | 12.749 | true | false | She’s here to spray away the stains you fight each day | Bridge 1 | combined | 57.072 | 68.085 | true | Start aligned to Verse Type B 1 boundary at 57.184s | End aligned to Bridge 1 boundary at 69.933s | false | null | 15 | 54 | 11 | 0.112 | 1.848 | audio_only | 03_08_22 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0007_track_02 | 6 | 03_08 | 2 | Synth Bass | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_02_gm_bass.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0007_track_02.wav | null | 69.933 | 76.115 | 6.182 | true | false | Champions of love, proceed, proceed, | Chorus 1 | combined | 68.085 | 76.115 | true | Start aligned to Bridge 1 boundary at 69.933s | false | null | 17 | 36 | 5 | 1.848 | 0 | audio_only | 03_08_2 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0007_track_07 | 6 | 03_08 | 7 | Ambient Light | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_11_ambient_light.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0007_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 69.933 | 76.115 | 6.182 | true | true | Champions of love, proceed, proceed, | Chorus 1 | combined | 68.085 | 76.115 | true | Start aligned to Bridge 1 boundary at 69.933s | false | null | 17 | 36 | 5 | 1.848 | 0 | audio_midi | 03_08_7 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0007_track_08 | 6 | 03_08 | 8 | Melody Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_13_melody.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0007_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 69.933 | 76.115 | 6.182 | true | true | Champions of love, proceed, proceed, | Chorus 1 | combined | 68.085 | 76.115 | true | Start aligned to Bridge 1 boundary at 69.933s | false | null | 17 | 36 | 5 | 1.848 | 0 | audio_midi | 03_08_8 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0007_track_09 | 6 | 03_08 | 9 | Sweet Bell | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_15_sweet_bell.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0007_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 69.933 | 76.115 | 6.182 | true | true | Champions of love, proceed, proceed, | Chorus 1 | combined | 68.085 | 76.115 | true | Start aligned to Bridge 1 boundary at 69.933s | false | null | 17 | 36 | 5 | 1.848 | 0 | audio_midi | 03_08_9 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
03_08_seg_0007_track_10 | 6 | 03_08 | 10 | Chords Synth | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_17_chords.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0007_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 69.933 | 76.115 | 6.182 | true | true | Champions of love, proceed, proceed, | Chorus 1 | combined | 68.085 | 76.115 | true | Start aligned to Bridge 1 boundary at 69.933s | false | null | 17 | 36 | 5 | 1.848 | 0 | audio_midi | 03_08_10 | 133 | 4 | 4 | C | minor | Orange | Past | Thing | Imagined | null | Here Comes the Mechanical Bride | 2020-06-23T00:00:00 | [04:36.022] | true | true | Keep your mind as busy as your mouth. Don’t be shy, it’s what it’s all about. She looks great even this close up Here she comes, walking down the aisle All-wheel drive and a bright white smile She’s here to spray away the stains you fight each day Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and bleed Sink your teeth, this thing could be real, Pure love in a box of cereal If you trust your judgment, you could be Dodge material Here she comes, she’s all bows and curls Let us thank the heavens for those little girls Time to obey your thirst betcha you blush first Champions of love, proceed, proceed, Valued customers draw near and feed, We’ve only just begun to bend and feed Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! Give in! Give in! Give in to the taste! | Carpenters, discogs_id: 170357, Pale Saints, discogs_id: 88711, My Bloody Valentine, discogs_id: 6516, Cocteau Twins, discogs_id: 12373 | joyous, precious, celebratory, sick, intense, frightening, chaotic, depraved, surreal, nightmarish | Wedding March, Shoegaze, Dream Pop, Noise Pop, Experimental, Art Rock, Commercial Jingle, Sound Collage | 03_08.lrc | Hazy memories of 1970s television ads always gave me the creeps. This play on both Mendelssohn's Wedding March and the saccharine pop of The Carpenters is meant to evoke that same feeling of unease and dread. The commercial jingles are reordered to tell the story of child sacrifice and cannibalism. The "mechanical bride" is from Marshal McLuhan's idea of the "mechanical bride" - the way media and technology shape our perceptions and experiences. The thing misremembered was a strange board game add where a disc was overturned and a cookie, like a girl scout thin mint, was revealed. I misremembered it being a Eucharistic wafer. | {
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"word_count": 105
} | Intro : The song kicks right in with drums, bass, and synths. A melody stretches across the repeating chord progression., [00:00.000]-[00:21.162] | Verse Type A 1 : The vocals begin here repeating the previous chords., [00:21.163]-[00:43.075] | Verse Type B 1 : As this section begins, we get more of a sense of a celebratory, bridal march., [00:43.076]-[00:57.184] | Bridge 1 : The music gets more sparse and delicate with keyboard melodies playing off the sappy bridal theme., [00:57.185]-[01:09.933] | Chorus 1 : The chorus continues with the bridal march, the last vocal is held and overlaps into the next section., [01:09.934]-[01:30.055] | Verse Type A 2 : The vocals return with variation of the vocal melody and some underscored overdubs to differentiate it from the first verse., [01:30.056]-[01:59.023] | Verse Type B 2 : The bridal march returns with more energy and a fuller arrangement., [01:59.024]-[02:13.132] | Bridge 2 : A reprise of the earlier bridge section., [02:13.133]-[02:22.137] | Chorus 2 : The chorus returns with more energy and a fuller arrangement. The last vocal is held and overlaps into the next section., [02:22.138]-[02:44.052] | Verse Type A as transition to Jams : The verse part is stepped up and builds into the jams section., [02:44.053]-[02:58.161] | Verse A as Jams : Layers upon layers of vocals and guitars build up to a climax., [02:58.162]-[04:03.151] | Outro : The song ends with a monstrous barrage of 1970s television ads chopped and filtered into a cacophony of sound., [04:03.152]-[04:36.022] | null |
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