segment_id string | segment_index int64 | song_id string | track_number int64 | track_description string | track_group string | track_player string | source_audio_file string | segment_audio_file string | midi_file string | start_seconds float64 | end_seconds float64 | duration_seconds float64 | has_audio bool | has_midi bool | lyric_text string | structure_section string | segment_type string | original_start_seconds float64 | original_end_seconds float64 | has_structure_adjustments bool | structure_adjustments string | is_sub_segment bool | sub_segment_info string | lrc_line_number float64 | lyric_char_count uint32 | lyric_word_count uint32 | start_adjustment_seconds float64 | end_adjustment_seconds float64 | content_type string | manifest_track_key string | bpm int64 | tempo_numerator float64 | tempo_denominator float64 | key_signature_note string | key_signature_mode string | rainbow_color string | rainbow_color_temporal_mode string | rainbow_color_objectional_mode string | rainbow_color_ontological_mode string | transmigrational_mode string | title string | release_date string | total_running_time string | vocals bool | lyrics bool | lrc_lyrics string | sounds_like string | mood string | genres string | lrc_file string | concept string | training_data dict | song_structure string | midi_group_file string |
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
03_08_seg_0007_track_21 | 6 | 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_0007_track_21.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_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_0007_track_22 | 6 | 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_0007_track_22.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_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_0008_track_02 | 7 | 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_0008_track_02.wav | null | 76.115 | 83.056 | 6.941 | true | false | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 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_0008_track_07 | 7 | 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_0008_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 76.115 | 83.056 | 6.941 | false | true | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 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_0008_track_08 | 7 | 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_0008_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 76.115 | 83.056 | 6.941 | true | true | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 0 | 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_0008_track_09 | 7 | 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_0008_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 76.115 | 83.056 | 6.941 | true | true | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 0 | 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_0008_track_10 | 7 | 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_0008_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 76.115 | 83.056 | 6.941 | true | true | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 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_0008_track_17 | 7 | 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_0008_track_17.wav | null | 76.115 | 83.056 | 6.941 | true | false | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 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_0008_track_21 | 7 | 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_0008_track_21.wav | null | 76.115 | 83.056 | 6.941 | true | false | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 0 | 0 | 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_0008_track_22 | 7 | 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_0008_track_22.wav | null | 76.115 | 83.056 | 6.941 | true | false | Valued customers draw near and feed, | Chorus 1 | combined | 76.115 | 83.056 | false | false | null | 19 | 36 | 6 | 0 | 0 | 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_0009_track_02 | 8 | 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_0009_track_02.wav | null | 83.056 | 97.025 | 13.969 | true | false | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 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_0009_track_05 | 8 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0009_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 83.056 | 97.025 | 13.969 | true | true | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 39 | 8 | 0 | 0 | audio_midi | 03_08_5 | 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_0009_track_07 | 8 | 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_0009_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 83.056 | 97.025 | 13.969 | true | true | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 39 | 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_0009_track_09 | 8 | 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_0009_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 83.056 | 97.025 | 13.969 | true | true | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 39 | 8 | 0 | 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_0009_track_10 | 8 | 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_0009_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 83.056 | 97.025 | 13.969 | true | true | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 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_0009_track_17 | 8 | 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_0009_track_17.wav | null | 83.056 | 97.025 | 13.969 | true | false | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 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_0009_track_21 | 8 | 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_0009_track_21.wav | null | 83.056 | 97.025 | 13.969 | true | false | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 39 | 8 | 0 | 0 | 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_0009_track_22 | 8 | 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_0009_track_22.wav | null | 83.056 | 97.025 | 13.969 | true | false | We’ve only just begun to bend and bleed | Chorus 1 | combined | 83.056 | 97.025 | false | false | null | 21 | 39 | 8 | 0 | 0 | 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_0010_track_02 | 9 | 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_0010_track_02.wav | null | 97.025 | 104.107 | 7.082 | true | false | Sink your teeth, this thing could be real, | Verse Type A 2 | combined | 97.025 | 104.107 | false | false | null | 23 | 42 | 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_0010_track_05 | 9 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0010_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 97.025 | 104.107 | 7.082 | true | true | Sink your teeth, this thing could be real, | Verse Type A 2 | combined | 97.025 | 104.107 | false | false | null | 23 | 42 | 8 | 0 | 0 | audio_midi | 03_08_5 | 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_0010_track_07 | 9 | 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_0010_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 97.025 | 104.107 | 7.082 | true | true | Sink your teeth, this thing could be real, | Verse Type A 2 | combined | 97.025 | 104.107 | false | false | null | 23 | 42 | 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_0010_track_10 | 9 | 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_0010_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 97.025 | 104.107 | 7.082 | true | true | Sink your teeth, this thing could be real, | Verse Type A 2 | combined | 97.025 | 104.107 | false | false | null | 23 | 42 | 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_0010_track_18 | 9 | 03_08 | 18 | Steel Wool Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_24_steel_wool_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0010_track_18.wav | null | 97.025 | 104.107 | 7.082 | true | false | Sink your teeth, this thing could be real, | Verse Type A 2 | combined | 97.025 | 104.107 | false | false | null | 23 | 42 | 8 | 0 | 0 | audio_only | 03_08_18 | 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_0010_track_19 | 9 | 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_0010_track_19.wav | null | 97.025 | 104.107 | 7.082 | true | false | Sink your teeth, this thing could be real, | Verse Type A 2 | combined | 97.025 | 104.107 | false | false | null | 23 | 42 | 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_0011_track_02 | 10 | 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_0011_track_02.wav | null | 104.107 | 119.023 | 14.916 | true | false | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 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_0011_track_05 | 10 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0011_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 104.107 | 119.023 | 14.916 | true | true | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 0 | 0 | audio_midi | 03_08_5 | 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_0011_track_07 | 10 | 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_0011_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 104.107 | 119.023 | 14.916 | false | true | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 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_0011_track_10 | 10 | 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_0011_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 104.107 | 119.023 | 14.916 | true | true | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 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_0011_track_18 | 10 | 03_08 | 18 | Steel Wool Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_24_steel_wool_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0011_track_18.wav | null | 104.107 | 119.023 | 14.916 | true | false | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 0 | 0 | audio_only | 03_08_18 | 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_0011_track_19 | 10 | 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_0011_track_19.wav | null | 104.107 | 119.023 | 14.916 | true | false | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 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_0011_track_20 | 10 | 03_08 | 20 | Vocal 2 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_26_vocal_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0011_track_20.wav | null | 104.107 | 119.023 | 14.916 | true | false | Pure love in a box of cereal If you trust your judgment, you could be Dodge material | Verse Type A 2 | combined | 104.107 | 119.023 | true | End aligned to Verse Type A 2 boundary at 119.023s | false | null | 25 | 84 | 17 | 0 | 0 | audio_only | 03_08_20 | 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_0012_track_02 | 11 | 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_0012_track_02.wav | null | 119.023 | 133.132 | 14.109 | true | false | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0012_track_03 | 11 | 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_0012_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 119.023 | 133.132 | 14.109 | true | true | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0012_track_07 | 11 | 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_0012_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 119.023 | 133.132 | 14.109 | false | true | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0012_track_08 | 11 | 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_0012_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 119.023 | 133.132 | 14.109 | true | true | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0012_track_10 | 11 | 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_0012_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 119.023 | 133.132 | 14.109 | true | true | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0012_track_18 | 11 | 03_08 | 18 | Steel Wool Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_24_steel_wool_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0012_track_18.wav | null | 119.023 | 133.132 | 14.109 | true | false | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | audio_only | 03_08_18 | 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_0012_track_19 | 11 | 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_0012_track_19.wav | null | 119.023 | 133.132 | 14.109 | true | false | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0012_track_23 | 11 | 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_0012_track_23.wav | null | 119.023 | 133.132 | 14.109 | true | false | Here she comes, she’s all bows and curls Let us thank the heavens for those little girls | Verse Type B 2 | combined | 119.023 | 133.13 | true | Start aligned to Verse Type A 2 boundary at 119.023s | End aligned to Verse Type B 2 boundary at 133.132s | false | null | 27 | 88 | 17 | 0 | 0.002 | 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_0013_track_02 | 12 | 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_0013_track_02.wav | null | 133.132 | 142.137 | 9.005 | true | false | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 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_0013_track_05 | 12 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0013_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 133.132 | 142.137 | 9.005 | true | true | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 0 | audio_midi | 03_08_5 | 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_0013_track_07 | 12 | 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_0013_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 133.132 | 142.137 | 9.005 | false | true | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 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_0013_track_09 | 12 | 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_0013_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 133.132 | 142.137 | 9.005 | false | true | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 0 | 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_0013_track_10 | 12 | 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_0013_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 133.132 | 142.137 | 9.005 | true | true | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 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_0013_track_19 | 12 | 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_0013_track_19.wav | null | 133.132 | 142.137 | 9.005 | true | false | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 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_0013_track_23 | 12 | 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_0013_track_23.wav | null | 133.132 | 142.137 | 9.005 | true | false | Time to obey your thirst betcha you blush first | Bridge 2 | combined | 133.13 | 142.137 | true | Start aligned to Verse Type B 2 boundary at 133.132s | End aligned to Bridge 2 boundary at 142.137s | false | null | 29 | 47 | 9 | 0.002 | 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_0014_track_02 | 13 | 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_0014_track_02.wav | null | 142.137 | 150.167 | 8.03 | true | false | Champions of love, proceed, proceed, | Chorus 2 | combined | 142.137 | 150.167 | true | Start aligned to Bridge 2 boundary at 142.137s | false | null | 31 | 36 | 5 | 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_0014_track_05 | 13 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0014_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 142.137 | 150.167 | 8.03 | true | true | Champions of love, proceed, proceed, | Chorus 2 | combined | 142.137 | 150.167 | true | Start aligned to Bridge 2 boundary at 142.137s | false | null | 31 | 36 | 5 | 0 | 0 | audio_midi | 03_08_5 | 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_0014_track_09 | 13 | 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_0014_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 142.137 | 150.167 | 8.03 | true | true | Champions of love, proceed, proceed, | Chorus 2 | combined | 142.137 | 150.167 | true | Start aligned to Bridge 2 boundary at 142.137s | false | null | 31 | 36 | 5 | 0 | 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_0014_track_10 | 13 | 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_0014_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 142.137 | 150.167 | 8.03 | true | true | Champions of love, proceed, proceed, | Chorus 2 | combined | 142.137 | 150.167 | true | Start aligned to Bridge 2 boundary at 142.137s | false | null | 31 | 36 | 5 | 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_0014_track_21 | 13 | 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_0014_track_21.wav | null | 142.137 | 150.167 | 8.03 | true | false | Champions of love, proceed, proceed, | Chorus 2 | combined | 142.137 | 150.167 | true | Start aligned to Bridge 2 boundary at 142.137s | false | null | 31 | 36 | 5 | 0 | 0 | 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_0014_track_22 | 13 | 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_0014_track_22.wav | null | 142.137 | 150.167 | 8.03 | true | false | Champions of love, proceed, proceed, | Chorus 2 | combined | 142.137 | 150.167 | true | Start aligned to Bridge 2 boundary at 142.137s | false | null | 31 | 36 | 5 | 0 | 0 | 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_0015_track_02 | 14 | 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_0015_track_02.wav | null | 150.167 | 157.082 | 6.915 | true | false | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 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_0015_track_05 | 14 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0015_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 150.167 | 157.082 | 6.915 | false | true | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 0 | 0 | midi_only | 03_08_5 | 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_0015_track_06 | 14 | 03_08 | 6 | Wavering Pad | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_09_wavering_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0015_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_08_wavering_pad.mid | 150.167 | 157.082 | 6.915 | false | true | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 0 | 0 | midi_only | 03_08_6 | 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_0015_track_08 | 14 | 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_0015_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 150.167 | 157.082 | 6.915 | false | true | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 0 | 0 | midi_only | 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_0015_track_09 | 14 | 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_0015_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 150.167 | 157.082 | 6.915 | true | true | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 0 | 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_0015_track_10 | 14 | 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_0015_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 150.167 | 157.082 | 6.915 | true | true | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 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_0015_track_16 | 14 | 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_0015_track_16.wav | null | 150.167 | 157.082 | 6.915 | true | false | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 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_0015_track_21 | 14 | 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_0015_track_21.wav | null | 150.167 | 157.082 | 6.915 | true | false | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 0 | 0 | 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_0015_track_22 | 14 | 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_0015_track_22.wav | null | 150.167 | 157.082 | 6.915 | true | false | Valued customers draw near and feed, | Chorus 2 | combined | 150.167 | 157.082 | false | false | null | 33 | 36 | 6 | 0 | 0 | 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_0016_track_02 | 15 | 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_0016_track_02.wav | null | 157.082 | 178.161 | 21.079 | true | false | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 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_0016_track_03 | 15 | 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_0016_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 157.082 | 178.161 | 21.079 | true | true | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 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_0016_track_05 | 15 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0016_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 157.082 | 178.161 | 21.079 | true | true | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 0 | audio_midi | 03_08_5 | 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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03_08_seg_0016_track_06 | 15 | 03_08 | 6 | Wavering Pad | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_09_wavering_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0016_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_08_wavering_pad.mid | 157.082 | 178.161 | 21.079 | true | true | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 0 | audio_midi | 03_08_6 | 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_0016_track_08 | 15 | 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_0016_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 157.082 | 178.161 | 21.079 | true | true | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 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_0016_track_09 | 15 | 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_0016_track_09.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_14_sweet_bell.mid | 157.082 | 178.161 | 21.079 | false | true | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 0 | 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_0016_track_10 | 15 | 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_0016_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 157.082 | 178.161 | 21.079 | true | true | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 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_0016_track_20 | 15 | 03_08 | 20 | Vocal 2 | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_26_vocal_2.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0016_track_20.wav | null | 157.082 | 178.161 | 21.079 | true | false | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 0 | audio_only | 03_08_20 | 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_0016_track_21 | 15 | 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_0016_track_21.wav | null | 157.082 | 178.161 | 21.079 | true | false | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 0 | 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_0016_track_22 | 15 | 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_0016_track_22.wav | null | 157.082 | 178.161 | 21.079 | true | false | We’ve only just begun to bend and feed | Verse Type A as transition to Jams | combined | 157.082 | 178.161 | true | End aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 35 | 38 | 8 | 0 | 0 | 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_0017_track_02 | 16 | 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_0017_track_02.wav | null | 178.161 | 185.214 | 7.053 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 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_0017_track_03 | 16 | 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_0017_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 178.161 | 185.214 | 7.053 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 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_0017_track_05 | 16 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0017_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 178.161 | 185.214 | 7.053 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 0 | 0 | audio_midi | 03_08_5 | 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_0017_track_06 | 16 | 03_08 | 6 | Wavering Pad | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_09_wavering_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0017_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_08_wavering_pad.mid | 178.161 | 185.214 | 7.053 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 0 | 0 | audio_midi | 03_08_6 | 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_0017_track_07 | 16 | 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_0017_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 178.161 | 185.214 | 7.053 | false | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 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_0017_track_08 | 16 | 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_0017_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 178.161 | 185.214 | 7.053 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 0 | 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_0017_track_10 | 16 | 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_0017_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 178.161 | 185.214 | 7.053 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 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_0017_track_13 | 16 | 03_08 | 13 | Corrupter Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_19_corrupter_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0017_track_13.wav | null | 178.161 | 185.214 | 7.053 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 0 | 0 | audio_only | 03_08_13 | 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_0017_track_15 | 16 | 03_08 | 15 | Grazer Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_21_grazer_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0017_track_15.wav | null | 178.161 | 185.214 | 7.053 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 0 | 0 | audio_only | 03_08_15 | 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_0017_track_16 | 16 | 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_0017_track_16.wav | null | 178.161 | 185.214 | 7.053 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 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_0017_track_19 | 16 | 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_0017_track_19.wav | null | 178.161 | 185.214 | 7.053 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 178.161 | 185.214 | true | Start aligned to Verse Type A as transition to Jams boundary at 178.161s | false | null | 37 | 39 | 9 | 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_0018_track_02 | 17 | 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_0018_track_02.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_03 | 17 | 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_0018_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 185.214 | 192.132 | 6.918 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_04 | 17 | 03_08 | 4 | Modular Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_05_modular_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0018_track_04.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 0 | audio_only | 03_08_4 | 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_0018_track_05 | 17 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0018_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 185.214 | 192.132 | 6.918 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 0 | audio_midi | 03_08_5 | 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_0018_track_06 | 17 | 03_08 | 6 | Wavering Pad | Synths | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_09_wavering_pad.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0018_track_06.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_08_wavering_pad.mid | 185.214 | 192.132 | 6.918 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 0 | audio_midi | 03_08_6 | 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_0018_track_07 | 17 | 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_0018_track_07.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_10_ambient_light.mid | 185.214 | 192.132 | 6.918 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_08 | 17 | 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_0018_track_08.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_12_melody.mid | 185.214 | 192.132 | 6.918 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 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_0018_track_10 | 17 | 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_0018_track_10.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_16_chords.mid | 185.214 | 192.132 | 6.918 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_11 | 17 | 03_08 | 11 | Heart Broken Guitar | Guitars | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_18_heart_broken_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0018_track_11.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 0 | audio_only | 03_08_11 | 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_0018_track_15 | 17 | 03_08 | 15 | Grazer Guitar | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_21_grazer_guitar.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0018_track_15.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 0 | audio_only | 03_08_15 | 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_0018_track_16 | 17 | 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_0018_track_16.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_17 | 17 | 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_0018_track_17.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_19 | 17 | 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_0018_track_19.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 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_0018_track_21 | 17 | 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_0018_track_21.wav | null | 185.214 | 192.132 | 6.918 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 185.214 | 192.132 | false | false | null | 39 | 39 | 9 | 0 | 0 | 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_0019_track_02 | 18 | 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_0019_track_02.wav | null | 192.132 | 201.063 | 8.931 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 192.132 | 201.063 | false | false | null | 41 | 39 | 9 | 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_0019_track_03 | 18 | 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_0019_track_03.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_03_dm.mid | 192.132 | 201.063 | 8.931 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 192.132 | 201.063 | false | false | null | 41 | 39 | 9 | 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_0019_track_04 | 18 | 03_08 | 4 | Modular Drums | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_05_modular_drums.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0019_track_04.wav | null | 192.132 | 201.063 | 8.931 | true | false | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 192.132 | 201.063 | false | false | null | 41 | 39 | 9 | 0 | 0 | audio_only | 03_08_4 | 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_0019_track_05 | 18 | 03_08 | 5 | Drum Kit | null | RainbowPlayer.GABE | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_07_drum_kit.wav | /Volumes/LucidNonsense/White/staged_raw_material/../training/output/track_segments/03_08/03_08_seg_0019_track_05.wav | /Volumes/LucidNonsense/White/staged_raw_material/03_08/03_08_06_drum_kit.mid | 192.132 | 201.063 | 8.931 | true | true | Give in! Give in! Give in to the taste! | Verse A as Jams | combined | 192.132 | 201.063 | false | false | null | 41 | 39 | 9 | 0 | 0 | audio_midi | 03_08_5 | 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 |
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